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Journal articles on the topic 'Maeterlinck, Maurice'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Mankovskaya, Nadezhda B. "Maurice Maeterlinck’s Philosophy of Art." Journal of Flm Arts and Film Studies 10, no. 1 (2018): 76–90. http://dx.doi.org/10.17816/vgik10176-90.

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In the article the key ideas of Maurice Maeterlincks philosophy of art, inspired by the spirit of German idealism, European Romanticism and also mysticism and occultism are considered. On this basis his own original philosophical-aesthetic and artistic views which have laid down in a basis of philosophy of art of symbolism crystallize. The main problems interesting for Maeterlinck in this sphere are metaphysics of art and its philosophical-aesthetic aspects: silence, hidden, destiny, external and internal, madness, mystical ecstasy; essence of artistic image and symbol in art; aesthetic catego

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2

Avram, Cristi. "Isabelle – The Last Princess of Maurice Maeterlinck." Theatrical Colloquia 10, no. 2 (2020): 166–76. http://dx.doi.org/10.2478/tco-2020-0028.

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AbstractMaurice Maeterlinck, the author of some of the plays associated with the symbolist aesthetic, in which the character is often an unseen presence associated to destiny or death, writes in the first part of his career a collection of dramas in which the heroines seem to appear each time under different guises. At the end of his career, Maeterlinck returns to the mysterious universe proposed in his first text – The Princess Maleine, finishing the circle of love dramas, the dramas of the profound self discovery. The princess Isabelle comes and claims the unfulfillment of her sisters from t

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3

TOKSOY ÇEBER, Duygu. "Maurice Maeterlinck Oyunlarında Ses." Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi 60, no. 2 (2020): 942. http://dx.doi.org/10.33171/dtcfjournal.2020.60.2.22.

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Maurice Maeterlinck'in oyunları Avrupa modernizminin ilk anti-Aristotelesyen dramaturgisi olarak addedilir. Olayörgüleştirmeyi baştacı eden dönemin tiyatro anlayışına karşılık Maeterlinck oyunları, belli bir değişimi işaret etmektedir. Bu yönüyle Maeterlinck oyunları konvansiyonel tiyatro pratiklerine meydan okuyarak yeni tiyatro formlarına yol açar. Bu çalışmada, Aristotelesçi sava karşı, sahnenin şiirsel dilini amaçlayan Maeterlinck'in “Evin İçi”, “Çağrılmadan Gelen” ve “Körler” adlı oyunları ses açısından incelenecektir.

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4

Williams, Christine Sustek. "Intérieur by Maurice Maeterlinck." Theatre Journal 67, no. 2 (2015): 323–24. http://dx.doi.org/10.1353/tj.2015.0070.

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5

Parisse, Lydie. "Le théâtre intérieur de Maurice Maeterlinck dans La Mort de Tintagiles." Cahiers ERTA, no. 21 (2020): 83–97. http://dx.doi.org/10.4467/23538953ce.20.005.12026.

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Maeterlinck`s Innertheater in Tintagile`s death Tintagile’s death (1894) is an etape in the Maeterlinck’s work. This drama bears the strong imprint of a decisive évent in the life of the author : the discovery of the writings of the médieval Flemish mystic Ruysbroeck, of wich he became the translator from 1885 to 1888. The langage of mysti‐ cism allows a renowal of writing and dramatic aesthetics.

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6

Ghigny, Laurence. "Maurice Maeterlinck. Correspondance, n° 6." Textyles, no. 21 (August 15, 2002): 125–26. http://dx.doi.org/10.4000/textyles.1027.

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7

Bowditch, Lucy. "Eduard Steichen and Maurice Maeterlinck." History of Photography 17, no. 4 (1993): 334–41. http://dx.doi.org/10.1080/03087298.1993.10442315.

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8

De Vos, Jozef. "Nicolas Maeterlinck & André Capiteyn, Maurice Maeterlinck. Wonen in Dromen." Documenta 30, no. 1 (2019): 69–70. http://dx.doi.org/10.21825/doc.v30i1.10645.

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9

Turk, Boštjan Marko. "Maurice Maeterlinck in nerazrešljivi blodnjak eksistence." Linguistica 53, no. 1 (2013): 251–62. http://dx.doi.org/10.4312/linguistica.53.1.251-262.

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Pričujoča študija želi opozoriti na vlogo ontološke krščanske podstati, ki je prisotna v delu belgijskega pisatelja, dramatika, pesnika in esejista Maurica Maeterlincka. V resnici je razvedovanje po fenomenih bivajočega ter njihove eventualne metafizične korenine skupni imenovalec premnogih del tega avtorja. Še posebej je prepoznavno v pomembnem delu dramatskega opusa, h kateremu prištevamo Slepce, Sestro Beatriče, Modro ptico, Marijo iz Magdale in Čudež svetega Antona.

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10

Piret, Pierre. "Maurice Maeterlinck. Études réunies par Georges Dottin." Textyles, no. 15 (March 1, 1999): 242–43. http://dx.doi.org/10.4000/textyles.1291.

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11

Moler, Lara Biasoli. "Maurice Maeterlinck e a ressurreição do ator." Sala Preta 2 (November 26, 2011): 72. http://dx.doi.org/10.11606/issn.2238-3867.v2i0p72-77.

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12

Taggart, Ashley. "Maeterlinck and Beckett: Paying Lip-Service to Silence." Samuel Beckett Today / Aujourd'hui 22, no. 1 (2010): 93–106. http://dx.doi.org/10.1163/18757405-022001007.

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This essay looks at Beckett's debt – aesthetic and stylistic – to Maurice Maeterlinck. His play ( 1890) is one of a number of his works which prefigure many of Beckett's theatrical obsessions. Inaction (or hidden action), a strong sense of the unknown, oppressive silence and a sense of impending extinction, predominate. Maeterlinck also leads the way for those (like Beckett) who would use the stage to bring a tragic attitude to bear on the mysteries of everyday life, in the conviction that “the essential doesn't change.”

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13

Hodson, W. L., and Patrick McGuinness. "Maurice Maeterlinck and the Making of Modern Theatre." Modern Language Review 96, no. 2 (2001): 516. http://dx.doi.org/10.2307/3737413.

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14

Picard, Nicolas. "Les biographies animales: Histoires naturelles, histoires personnelles // Animal Biographies: Natural Stories, Personal Stories // Biografías animales: Historias naturales, historias personales." Ecozon@: European Journal of Literature, Culture and Environment 8, no. 1 (2017): 178–88. http://dx.doi.org/10.37536/ecozona.2017.8.1.1230.

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Résumé Cet article aborde la question des biographies animales dans la littérature de langue française. Alors qu’elle intéresse depuis peu l’éthologie, la philosophie, l’histoire, elle a toujours passionné les écrivains, en particulier les auteurs d’inspiration naturaliste soucieux de décrire les vies des bêtes observées, et les écrivains « animaliers » fascinés par des bêtes dont ils partagent les vies ou dont ils fréquentent quotidiennement les mondes. A partir des oeuvres de Maurice Maeterlinck (1862-1949), Jacques Delamain (1874-1953), Louis Pergaud (1882-1915) et Maurice Genevoix (1890-19

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15

Sánchez Vanegas, Mario. "Escritura teatral. Los ciegos: una tragedia simbolista." Ciencias Sociales y Educación 7, no. 13 (2018): 133–43. http://dx.doi.org/10.22395/csye.v7n13a6.

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Los ciegos de Maurice Maeterlinck es la obra que expondré en este texto como una “tragedia griega”. En términos dramáticos, presenta la languidez y el desfallecimiento existencial del hombre, el desamparo y la orfandad en que se halla ante un designio incognoscible y lóbrego. La argumentación se construye a través de la importancia que Nietzsche da al coro como un papel apolíneo para hacer explícito el sufrimiento. Así mismo, planteo que Maeterlinck no duda en hacer de esta pieza un gran coro que proclama la verdad del mundo y no otra sino “la de lo espantoso y absurdo del ser”.

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16

Vandenborre, Katia. "Tracing Maurice Maeterlinck in Stanisław Przybyszewski’s Life and Works." Rocznik Komparatystyczny 8 (2017): 339–52. http://dx.doi.org/10.18276/rk.2017.8-16.

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17

Laoureux, Denis. "Quaghebeur (Marc) (dir.), Présence/Absence de Maurice Maeterlinck | Dessons (Gérard), Maeterlinck, le théâtre du po." Textyles, no. 32-33 (December 15, 2007): 242–44. http://dx.doi.org/10.4000/textyles.373.

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18

Laoureux, Denis. "Maurice Maeterlinck et les arts plastiques : filiations et concomitances." Textyles, no. 17-18 (December 15, 2000): 100–112. http://dx.doi.org/10.4000/textyles.1419.

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19

Wuensch, April. "Maurice Maeterlinck and the Making of Modern Theatre (review)." MLN 115, no. 4 (2000): 834–39. http://dx.doi.org/10.1353/mln.2000.0056.

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20

Wilkinson, Lynn Rosellen. "Maurice Maeterlinck and the Making of Modern Theatre (review)." Nineteenth Century French Studies 30, no. 1 (2001): 203–5. http://dx.doi.org/10.1353/ncf.2001.0062.

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21

Tchystiak, D. O. "Symbolisme phonetique dans le premier theatre de Maurice Maeterlinck." Стиль і переклад, Вип. 1 (3) (2016): 125–42.

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22

Enache, Eugenia. "« Les marques » de l’absence dans le théâtre de Maurice Maeterlinck." Quêtes littéraires, no. 2 (December 30, 2012): 46–53. http://dx.doi.org/10.31743/ql.4626.

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Our approach is focused on the issue of the “markers” of absence as well as on the expression and materialization of that absence in a corpus of works formed of the following plays: L’Intruse, Les Aveugles, Intérieur by Maurice Maeterlinck. The acceptions the concept of “absence” may receive throughout our analysis are parts of the phenomenon of progressive alienation seen, for instance, as separation (stressing the idea of distance and departure), or as solitude, then omission (in the sense of forgetting), and culminating with the inability of perception that anticipates isolation, phys

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23

Turk, Boštjan Marko. "L'habitus de la Bible dans l'oeuvre dramatique de Maurice Maeterlinck." Acta Neophilologica 46, no. 1-2 (2013): 105–15. http://dx.doi.org/10.4312/an.46.1-2.105-115.

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Lʼétude présente se donne pour objectif dʼétablir le rapport entre lʼunivers de la Bible et lʼoeuvre dramatique de Maurice Maeterlinck. En fait, lʼauteur belge vouait une prédilection aux sujets relatifs à lʼAncien et au Nouveau Testament. Ceux-ci mettent en relief lʼintégralité de lʼexistence de lʼhomme, ce qui présente ipso facto un soubassement sans pareil pour lʼexploatation dramatique, à tel point les histoires de la Bible sont imprégnées de dynamisme, reposant sur lʼeschatologie du tragique et de lʼinévitable. MauriceMaeterlinck en tant que dramaturge poursuit ces principes jusquʼaux moi

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24

Accardi, Andrea. "Le suicide de l’avenir. Une impasse représentative chez Maurice Maeterlinck." Les Lettres Romanes 66, no. 3-4 (2012): 373–86. http://dx.doi.org/10.1484/j.llr.1.103075.

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25

Сhystiak, D. O. "MYTHOLOGICAL CONCEPTUALIZATION IN THE PLAY ‘PRINCESS MALEINE’ BY MAURICE MAETERLINCK." Науковий вісник ДДПУ імені Івана Франка. Серія: Філологічні науки (мовознавство), no. 15 (2021): 193–99. http://dx.doi.org/10.24919/2663-6042.15.2021.34.

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26

Therrien, Ève Irène. "De l’inanimé à l’Anima. Le fil conducteur entre l’acteur et le spectateur chez Denis Marleau." Globe 11, no. 2 (2011): 117–33. http://dx.doi.org/10.7202/1000524ar.

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Cet article propose une étude du travail « sacrificiel » de l’interprète dans les spectacles de Denis Marleau. Nous examinerons plus en détail deux productions des Aveugles de Maurice Maeterlinck, soit celles de 2002 et de 2004, pour comprendre le processus de « désincarnation » que les acteurs marlusiens effectuent tout au long des répétitions et les réactions que le metteur en scène espère obtenir de son public.

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27

Paulet Dubois, Françoise. "Regards, frayeurs et points de suspension dans L’Oiseau Bleu de Maurice Maeterlinck." Anales de Filología Francesa 27, no. 1 (2019): 533–53. http://dx.doi.org/10.6018/analesff.362061.

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La célebre obra de teatro L’Oiseau Bleu del Nobel belga de literatura Maurice Maeterlinck suscita desde hace más de un siglo un enorme interés por parte de realizadores y directores de cine, creadores de todo tipo y críticos. Sus distintas facetas como cuento de hadas mágico, simbólico y metafísico hacen de este texto una obra entrañable y sorprendente. A partir del léxico, me propongo estudiar la importancia de la vista y del miedo en el texto: los términos para designar estas dos nociones son extremadamente abundantes, lo que revela ciertas intenciones por parte del autor. Trataré de descubr

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28

Medeiros, Elen de. "Formas crepusculares, dores silenciosas: o teatro simbolista de Roberto Gomes." Pitágoras 500 1, no. 1 (2011): 22–39. http://dx.doi.org/10.20396/pita.v1i1.8634751.

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Este artigo tem por objetivo analisar as influências do teatro simbolista na dramaturgia de Roberto Gomes (1882-1922) e avaliar como essa tendência ajudou a impulsionar o teatro brasileiro moderno. O eixo central da obra desse autor – sob influência de Maurice Maeterlinck, principalmente – era muito mais o silêncio imposto no palco do que o diálogo como elemento supremo da comunicação dramática. Essas transformações na estética dramática teriam ajudado o teatro nacional na tão desejada modernização?

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29

Radermecker, Vincent. "Eau et mort chez Émile Verhaeren, Maurice Maeterlinck et Jean Louvet : des réminiscences chrétiennes ?" Lublin Studies in Modern Languages and Literature 42, no. 3 (2018): 18. http://dx.doi.org/10.17951/lsmll.2018.42.3.18.

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<p>The Seven Princesses by Maurice Maeterlinck, Body white of men of the shade by Jean Louvet and Towards the sea by Émile Verhaeren match « water » and « death ». In a gradation towards more hope of defeating disappearance. These three authors disowned the Christianity which they knew when they were a child. An attentive reading of texts discovers in them however Christian recollections, more or less conscious, more or less assumed.</p>

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30

Avram, Cristi. "Pelléas and Mélisande – Maurice Maeterlinck and the Opera Performance. 2018 Retrospective." Theatrical Colloquia 9, no. 1 (2019): 163–71. http://dx.doi.org/10.2478/tco-2019-0003.

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Abstract The road from the theatre text towards the opera performance is an attempt to essentialize words which unravel in order to ease the communication between the characters and the playwrights’ message. This endeavor is very difficult, as the play which stands at the root of the libretto already operates with an essentialization. Anyhow, the libretto cannot have the length of a play, but appends a musical dimension to the production. These things apply to Pelléas And Mélisande by Claude Debussy, built on the same text written by Maurice Maeterlinck. This article, although oriented towards

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31

Chystiak, D. O. "MYTHOLOGICAL COSMOLOGY IN THE PLAY “PELLEAS AND MELISANDE” BY MAURICE MAETERLINCK." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism", no. 3 (2021): 210–16. http://dx.doi.org/10.32838/2710-4656/2021.3-1/36.

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32

Borra, Antonello. "Preliminari a una rilettura delle Epistole entomologiche." Forum Italicum: A Journal of Italian Studies 52, no. 1 (2018): 49–62. http://dx.doi.org/10.1177/0014585817750384.

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A cento anni di distanza dalla scomparsa di Guido Gozzano, varrà la pena di rileggere il suo poema incompiuto sulle farfalle. La ricezione delle Epistole entomologiche è sempre stata poco favorevole, soprattutto a causa dei numerosi, evidenti debiti gozzaniani nei confronti di altri autori, tra cui primeggia Maurice Maeterlinck. Questo saggio propone di tornare a interrogarsi sul senso e sull’importanza delle Epistole alla luce di un’estetica del rifacimento e della citazione consustanziali da sempre all’opera di Gozzano.

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33

Avram, Cristi. "Pages from Memory – Maeterlinck and the Russian Theatre Creators." Theatrical Colloquia 9, no. 2 (2019): 62–75. http://dx.doi.org/10.2478/tco-2019-0017.

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Abstract The dramaturgy and the essays of Maurice Maeterlinck are the starting point for essential changes in the art of theatre representation, marking the transition from realism, which had become naturalist, towards a theatre in which the essence and theatricality conduct to a revitalization of the theatre. The Russian directors V.E. Meyerhold and K.S. Stanislavsky are two of the most important theatre personalities who have searched for the new forms of theatre. Analyzing the first steps of Meyerhold’s directing, it is easy to see that the symbolist roots of theatre making can be found in

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34

Fauser, Annegret. "Lili Boulanger's La Princesse Maleine: A Composer and her Heroine as Literary Icons." Journal of the Royal Musical Association 122, no. 1 (1997): 68–108. http://dx.doi.org/10.1093/jrma/122.1.68.

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On 22 July 1917 Maurice Maeterlinck wrote to the composer Lili Boulanger:Dear Mademoiselle and Friend,All my thoughts are with you in your pain and your anxiety. But I have a confidence which comes to me from I don't know where and which I would like to share with you. I feel – I would nearly say, I know – that the child-genius who must give a voice to La princesse Maleine cannot pass away before having accomplished her work, which seems fused with her destiny.

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35

Janssens, Christian. "Maurice Maeterlinck et le cinéma : étude sur une adaptation de Monna Vanna." Textyles, no. 41 (March 15, 2012): 72–86. http://dx.doi.org/10.4000/textyles.1503.

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36

Crêteur, Stéphanie. "Maurice Maeterlinck : du théâtre de la perte au théâtre de la délivrance." Études littéraires 49, no. 2-3 (2020): 63. http://dx.doi.org/10.7202/1071484ar.

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37

Van Renterghem, Anouk. "« Ma chère Florence ». Maurice Maeterlinck - Florence Perkins. Vingt années de correspondance inédite." In Monte Artium 10 (January 2017): 185–203. http://dx.doi.org/10.1484/j.ima.5.114687.

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38

Mouze, Laetitia. "La proximité entre l’homme et l’abeille : un point de vue poétique (Maurice Maeterlinck)." Labyrinthe, no. 40 (March 1, 2013): 27–31. http://dx.doi.org/10.4000/labyrinthe.4301.

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39

Rizq, Noha Abdel Aziz. ""L'espace et les allusions de l'inconnu dans le premier théâtre de Maurice Maeterlinck"." مجلة کلیة الآداب جامعة الفیوم 12, no. 1 (2020): 1037–86. http://dx.doi.org/10.21608/jfafu.2020.180661.

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40

Borges Júnior, Eli. "Roberto Gomes e as tentativas de modernização do teatro brasileiro: convergências e desencontros com a dramaturgia da (in)ação de Maurice Maeterlinck." Sala Preta 15, no. 1 (2015): 112. http://dx.doi.org/10.11606/issn.2238-3867.v15i1p112-123.

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<div class="page" title="Page 2"><div class="layoutArea"><div class="column"><p><span>O artigo analisa alguns elementos fundamentais da dramaturgia simbolista de Maurice Maeterlinck e seus reflexos na obra do dramaturgo brasileiro Roberto Gomes. A partir de uma investigação breve, que se debruça principalmente sobre as características do silêncio e do esvaziamento da ação, busca-se catalisar a discussão sobre a ideia de modernização do teatro brasileiro, além de refletir sobre alguns aspectos inovadores que se desdobrariam nas novas formas artísticas d

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41

Rother, Adeline. "Becoming Zoö-curious." Humanimalia 8, no. 2 (2017): 87–107. http://dx.doi.org/10.52537/humanimalia.9632.

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This paper puts forth a new terminology and rationale for thinking about what it calls the zoö-curious gender discourse. Participants in this discourse are rethinking the sexes, sexualities, and sexual practices of human beings by looking closely at the sex lives of animals, especially insects. Within this strange tradition, I locate the insect metaphors of Jacques Derrida and of other French and francophone such as André Gide, Maurice Maeterlinck, and Jules Michelet. The strange erotic entomology of these French-language writers leads me to a reflection on how the sexual differences of animal

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42

Vuillemin, Alain. "REFLEXOS DE RIMBAUD em autores do século XX." Revista Légua & Meia 3, no. 1 (2017): 37. http://dx.doi.org/10.13102/lm.v3i1.1973.

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O simbolismo foi censurado por ter sido, na França, nas imediações de 1900, uma “escola de poetas estrangeiros”. Foi, ao contrário, o que deu riqueza, vitalidade e diversidade a este movimento no século XX. Sabe-se o papel que poetas como Jean Moréas, Maurice Maeterlinck, Stuart Merrill, Francis-Viété Griffin representaram na França com relação à gênese e difusão das idéias e concepções estéticas simbolistas, mas se conhece menos o que se passou com outros autores de expressão francesa oriundos de outros horizontes, Alphonsus de Guimarães no Brasil, Albert Lozeau no Quebeque, Alexandru Macédon

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43

Albera, François. "Christian Janssens, Maurice Maeterlinck, un auteur dans le cinéma des années dix et vingt." 1895, no. 85 (September 30, 2018): 207–9. http://dx.doi.org/10.4000/1895.6683.

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44

Bondaruk, L. V. "AUTHOR’S METHODS OF SYMBOLIC IMAGE REPRODUCTION IN THE DRAMATIC TEXT: LESYA UKRAINKA/MAURICE MAETERLINCK." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications 3, no. 2 (2019): 155–59. http://dx.doi.org/10.32838/2663-6069/2019.3-2/28.

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45

Gorceix, Paul. "L'image de la germanité chez un belge, flamand de langue française : Maurice Maeterlinck (1862-1949)." Revue de littérature comparée 299, no. 3 (2001): 397. http://dx.doi.org/10.3917/rlc.299.0397.

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46

Mccannon, John. "Passageways to Wisdom: Nicholas Roerich, The Dramas of Maurice Maeterlinck, and Symbols of Spiritual Enlightenment." Russian Review 63, no. 3 (2004): 449–78. http://dx.doi.org/10.1111/j.1467-9434.2004.00326.x.

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47

Amouroux, Rémy. "De l’entomologie à la psychanalyse." Gesnerus 64, no. 3-4 (2007): 219–30. http://dx.doi.org/10.1163/22977953-0640304003.

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Vues analytiques sur la vie des abeilles et des termites (Analytical perspectives on the life of bees and termites) is a letter from L. R. Delves Broughton to Freud dated the 7th of August, 1927. The letter was translated into French by Marie Bonaparte (1882–1962) for the Revue Française de Psychanalyse (French Review of Psychoanalysis) in 1927. A German translation of the letter was done for the review Imago in 1928. In his letter Delves Broughton develops a captivating connection between Man’s libidinal economy and that of certain social insects. His main argument is based on the readings of

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Laoureux, Denis. "Maeterlinck (Maurice), Carnets de travail 1881-1890. Édition établie et annotée par van de Kerckhove (Fabrice)." Textyles, no. 26-27 (April 15, 2005): 183–85. http://dx.doi.org/10.4000/textyles.673.

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Poggi, Stefano. "Fonti ovvie e trascurate. Le Temple enseveli di Maurice Maeterlinck e Le Temps retrouvé di Marcel Proust." Rivista di estetica, no. 48 (December 1, 2011): 271–82. http://dx.doi.org/10.4000/estetica.1527.

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Poggi, Stefano. "Fonti ovvie e trascurate. Le Temple enseveli di Maurice Maeterlinck e Le Temps retrouvé di Marcel Proust." Rivista di estetica, no. 49 (April 1, 2012): 385–96. http://dx.doi.org/10.4000/estetica.1736.

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