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Journal articles on the topic 'Saltimbanques'

Author: Grafiati

Published: 11 March 2023

Last updated: 31 July 2025

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1

Horn, Pierre L., and Sergio Kokis. "Saltimbanques." World Literature Today 76, no. 3/4 (2002): 110. http://dx.doi.org/10.2307/40157665.

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2

Belkorchia, Elodie. "Des saltimbanques aux médiateurs." La Gazette des archives 251, no. 3 (2018): 13–26. http://dx.doi.org/10.3406/gazar.2018.5627.

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3

Dasen, Véronique. "Saltimbanques et circulation de jeux." Archimède. Archéologie et histoire ancienne 6 (2019): 127–43. http://dx.doi.org/10.47245/archimede.0006.ds2.06.

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4

Dagnaud, Monique, and Dominique Mehl. "Chapitre II - "Géomètres" contre "saltimbanques"." Réseaux 8, no. 3 (1990): 35–65. http://dx.doi.org/10.3406/reso.1990.3566.

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5

Rayzal, Alexandra. "Une école pour les saltimbanques." Cahiers pédagogiques N° 547, no. 6 (2018): 32–33. http://dx.doi.org/10.3917/cape.547.0032.

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6

Cossery, Albert. "Un complot de saltimbanques(Excerpts)." Contemporary French and Francophone Studies 13, no. 2 (2009): 247–58. http://dx.doi.org/10.1080/17409290902790912.

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7

Véronique, Dasen. "Saltimbanques et circulation de jeux." Saltimbanques et circulation de jeux, no. 6 (August 8, 2019): 127–43. https://doi.org/10.5281/zenodo.3364110.

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This paper is part of the ERC project Locus Ludi 741520. In classical antiquity, acrobats were one of the vectors of the circulation of playful objects and skills, such as juggling, tightrope walking, hooping, equilibrism and animal shows. Various fragmentary documents enable to grasp the contours of their proteiform identity and of their different activities. Designated by various terms (<em>thaumatopoioi, thaumatourgoi, planoi, circulatores</em>) often associated with distant lands (Egypt, India), or with the physical difference, like dwarfism, these artists participate in the cultural &ldqu

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8

Annen, Paule. "Saltimbanques, intermittent(e)s, une lutte qui vient de loin." Cahiers du féminisme 79, no. 1 (1996): 24–26. http://dx.doi.org/10.3406/cafem.1996.4460.

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9

Dazord, Noël. "S'éloigner devant dans Saltimbanques. Mouvement et image fixe dans Alcools." L Information Grammaticale 73, no. 1 (1997): 36–41. http://dx.doi.org/10.3406/igram.1997.2928.

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10

Blum, Harold P., and Elsa J. Blum. "The Models of Picasso's Rose Period: The Family of Saltimbanques." American Journal of Psychoanalysis 67, no. 2 (2007): 181–96. http://dx.doi.org/10.1057/palgrave.ajp.3350023.

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11

Mallen, Enrique. "From Convention to Contention: La Famille de Saltimbanques and Les Demoiselles d'Avignon." Advances in Humanities Research 9, no. 1 (2024): 18–29. http://dx.doi.org/10.54254/2753-7080/9/2024047.

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In 1905 and 1907 Pablo Picasso worked on two large canvases for which multiple preparatory studies exist. These paintings marked quite different stages in the Spaniard's career. If the first one symbolized his final acceptance into the French modernist establishment, which is usually known as his Rose Period; the second was meant to be a radical break from those conventions, and a determined push to distance himself from established practices. More specifically, what took place between the two canvases was a transition from a fusion of realism and metaphor/allegory to a neo-primitive (and mode

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12

Rilke, Rainer Maria, and Barbara Goldberg. "Cemetery, and: Cimetièrre, and: Acrobats, and: Saltimbanques, and: Melon, and: Comment fais-tu." Pleiades: Literature in Context 42, no. 2-1 (2022): 97–102. http://dx.doi.org/10.1353/plc.2022.0099.

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13

Van Vuuren, H. "‘Saltimbanque en Vriendin’ Opnuut Gelees." Literator 7, no. 2 (1986): 74–84. http://dx.doi.org/10.4102/lit.v7i2.882.

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N.P. van Wyk Louw’s poem, “Saltimbanque en vriendin” (Tristia, 1962), has to be read against the background of the saltinnbanque tradition in literature and painting. Poems of Baudelaire, IVIarsman and Rilke illustrate the mechanism of this tradition: a metaphysical world implied behind the physical world of the artist.The paintings of Georges Rouault and Pablo Picasso around the figure of the clown/saltimbanque are discussed. It is shown that the saltimbanque usually represents the poet/author/artist himself. Finally it is pointed out that "Saltimbanque en vriendin" can be read as the groundp

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14

Hill, W. Nick, and Javier Campos. "Los saltimbanquis." World Literature Today 74, no. 2 (2000): 445. http://dx.doi.org/10.2307/40155780.

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15

Spielmann, Claude. "Le nom du saltimbanque." Le Coq-Héron 129, no. 1 (1993): 49–53. https://doi.org/10.3406/coqhe.1993.1665.

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16

Jones, Patricia Spears. "Saltimbanque: A Work-in-Progress." Callaloo 19, no. 4 (1996): 836–38. http://dx.doi.org/10.1353/cal.1996.0158.

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17

Hamburger, Klára. "Franz Liszt: Un saltimbanque en province." Studia Musicologica 50, no. 3-4 (2009): 363–68. http://dx.doi.org/10.1556/smus.50.2009.3-4.6.

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18

Berthon, Guillaume. "Marot "joueur" : portrait de l’auteur en saltimbanque." Babel, Hors-série Agrégation (January 1, 2019): 13–39. http://dx.doi.org/10.4000/babel.5537.

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19

Burningham, Bruce R. "Jongleuresque Dialogue, Radical Theatricality, and Maese Pedro’s Puppet Show." Cervantes 23, no. 1 (2003): 165–200. http://dx.doi.org/10.3138/cervantes.23.1.165.

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Mediante un análisis del espectáculo juglaresco —cuya esencia teatral consta de un “diálogo” entre actor y espectador— este ensayo examina la manera en que las varias tradiciones juglarescas, picarescas y carnavalescas convergen en el episodio del retablo de maese Pedro. Cervantes construye un microcosmo del teatro de su época, con la participación de cuentistas, juglares, saltimbanquis, prestidigitadores, animales, cantantes y titiriteros. Esta meditación sobre la historia teatral española culmina con la “juglarización” del propio Quijote. El narrador, en un momento crucial, se dirige directa

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20

Heymann, Pierre-�tienne. "Six esquisses pour un portrait du scribe en saltimbanque." �tudes th��trales N�56-57, no. 1 (2013): 34. http://dx.doi.org/10.3917/etth.056.0034.

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21

Taillandier, Fanny. "Pour une poésie saltimbanque : éloge d’Aya Nakamura, PNL et Soolking." Audimat N° 14, no. 2 (2021): 109–28. http://dx.doi.org/10.3917/audi.014.0109.

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22

Weissenbacher, Christiane. "Dufetel (Nicolas), Haine (Malou), Franz Liszt, un saltimbanque en province." Revue d’Alsace, no. 134 (October 1, 2008): 470–72. http://dx.doi.org/10.4000/alsace.609.

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23

Michelli S. Oliveira, Juliana, and Marcos Namba Beccari. "A poética pictórica de Charles Baudelaire." Revista Científica/FAP 30, no. 1 (2024): 151–69. http://dx.doi.org/10.33871/19805071.2024.30.1.8964.

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Ao retratar a vida moderna por meio da prosa poética, Charles Baudelaire encontra na pintura um de seus aliados para a criação de cenas e narrativas. Interrogando as interfaces entre a literatura, a pintura e a sociedade em Le Spleen de Paris, este artigo se propõe a estudar os recursos presentes nos poemas “Le gâteau”, “Les yeux des pauvres”, “Le joujou des pauvres” e “Le vieux saltimbanque”, enfatizando a ambivalência que caracteriza a modernidade baudelairiana. Para tanto, após revisar a importância da pintura no itinerário do poeta e a inovação estilística da obra estudada, desenvolve-se u

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24

Prudius, Irina G. "The Representation of Molière’s Image in the M. Poirson and R. Maraï’s Graphic Novel “Molière: Du Saltimbanque au Favori”." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 31, no. 1 (2025): 85–96. https://doi.org/10.15826/izv1.2025.31.1.008.

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The article is devoted to the reception of the personality of the playwright J.-B. Molière in the graphic novel “Molière: du saltimbanque au favouri” (2022) written by French authors M. Poirson and R. Maraï. This book has not been translated into Russian. The article explores the verbal and visual components of the graphic novel in order to reveal the specifics of Molière’s image representation in the book written by the authors of the XXI century. It analyses Molière’s biography, his interaction with famous personalities of his time, his attitude towards theatre and religion and his creative

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25

Beaud, Paul, Monique Sauvage, and Patrice Flichy. "Géomètre contre saltimbanque : la prédominance de la programmation dans la TV française." Réseaux 11, no. 2 (1993): 187–204. http://dx.doi.org/10.3406/reso.1993.3625.

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26

De Palacio, Jean. "René Maizeroy : tristes devis." Roczniki Humanistyczne 70, no. 5 (2022): 155–62. http://dx.doi.org/10.18290/rh21705.11.

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Cet article étudie la faible présence de René Maizeroy dans l’entreprise collective de Catulle Mendès. Dans les quatre nouvelles qu’il propose dans le Nouveau Décaméron – « Nini Rosalin », « La Tentation de Saint Antoine », « Les Montefiore » et « Don Juan » –, ce n’est pas à l’écrivain provocateur que l’on a affaire, mais à un René Maizeroy animé d’une inspiration tragique. Trois des quatre personnages présentés, le grand seigneur don juanesque, le saltimbanque et la jeune fille élevée au couvent, meurent au dénouement ; et le quatrième, l’aristocratique hongrois comte Zzavody, épuisé, ne va

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27

Ehrhardt, Damien. "Nicolas Dufetel et Malou Haine, éd. 2007. Liszt : un saltimbanque en province. Lyon : Symétrie, xii, 424 p. ISBN 978-2-914373-27-2 (couverture rigide)." Intersections: Canadian Journal of Music 29, no. 1 (2009): 119. http://dx.doi.org/10.7202/039116ar.

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28

Mannooretonil, Agnès. "Jim Fergus, La vengeance des mères, Tome 2 . Traduit de l’anglais (États-Unis) par Jean-Luc Piningre. Cherche-midi, 2016, 390 pages, 22 €. Jim Harrison, Vieux saltimbanque, Traduit de l’anglais (États-Unis) par Brice Matthieussent. Flammarion, 2016, 160 pages, 15 €." Études Janvier, no. 1 (2016): VI. http://dx.doi.org/10.3917/etu.4234.0121f.

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29

Johnson, Jennifer. "The Sideshow at the Salon: Positioning the Spectator and Transforming Spectacle in Fernand Pelez’s Grimaces et misère—Les Saltimbanques (1888)." Nineteenth-Century Art Worldwide 17, no. 2 (2018). http://dx.doi.org/10.29411/ncaw.2018.17.2.6.

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30

Tanabe, James, and Niels Planel. "L'avenir du saltimbanque." Sens public, 2010. http://dx.doi.org/10.7202/1064030ar.

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31

Nké, Fridolin. "Sartre, le saltimbanque de la rue d’Ulm." Sens public, 2012. http://dx.doi.org/10.7202/1062854ar.

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