Academic literature on the topic 'Symbolisme (littérature) – Au théâtre'
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Journal articles on the topic "Symbolisme (littérature) – Au théâtre"
Polak, Gabrielle, Francine Behar-Cohen, and Marianne Berdugo. "Des yeux et du regard : proverbes et expressions." médecine/sciences 36, no. 11 (November 2020): 1045–53. http://dx.doi.org/10.1051/medsci/2020202.
Full textBardelmann, Claire. "Une anatomie du désordre : métaphores musicales du corps dans le théâtre élisabéthain." Moreana 43 & 44 (Number, no. 4 & 1-2 (March 2007): 132–49. http://dx.doi.org/10.3366/more.2007.43-44.4_1-2.8.
Full textMessu, Michel. "Le cinéma de Denys Arcand comme analyseur de la marche tranquille du Québec vers l’érotique sociale des nations." Sociologie et sociétés 46, no. 1 (April 28, 2014): 81–99. http://dx.doi.org/10.7202/1024679ar.
Full textCellard, Karine. "Avant Refus global." Dossier 41, no. 2 (July 5, 2016): 83–93. http://dx.doi.org/10.7202/1036938ar.
Full textBarboni, Thilde. "Espace transitionnel, symbolisme et littérature érotique." Équivalences 30, no. 1 (2003): 23–32. http://dx.doi.org/10.3406/equiv.2003.1255.
Full textRobert, Lucie. "La littérature au théâtre." Voix et Images 12, no. 1 (1986): 155. http://dx.doi.org/10.7202/200619ar.
Full textGamboni, Dario. "Le «symbolisme en peinture» et la littérature." Revue de l'Art 96, no. 1 (1992): 13–23. http://dx.doi.org/10.3406/rvart.1992.347981.
Full textCatellani, Andrea. "Symbolisme et rhétorique." Protée 36, no. 1 (September 15, 2008): 39–51. http://dx.doi.org/10.7202/018804ar.
Full textColombo Timelli, Maria. "Jacques Ribard, Symbolisme et christianisme dans la littérature médiévale." Studi Francesi, no. 142 (XLVIII | I) (July 1, 2004): 164–65. http://dx.doi.org/10.4000/studifrancesi.40387.
Full textColombo Timelli, Maria. "Jaques Ribard, Symbolisme et christianisme dans la littérature médiévale." Studi Francesi, no. 142 (XLVIII | I) (July 1, 2004): 153–55. http://dx.doi.org/10.4000/studifrancesi.40242.
Full textDissertations / Theses on the topic "Symbolisme (littérature) – Au théâtre"
Losco-Lena, Mireille. "La réinvention de l'espace et du temps dans le théâtre symboliste." Paris 3, 1998. http://www.theses.fr/1998PA030111.
Full textSymbolist theatre, as it developed in France and Belgium towards the end of the nineteenth century (1890- 1900), ventured towards a renewal of play-writing. The theorizing discourse of the authors is characterized by a denial of the real and a reassessment of the poetic which remains often vague ; yet their plays stand as tokens of a richness which transmutes their idealist reaction into a genuine reinvention of space and time marked by a concern for discontinuity and plurality. While addressing the modem transformations of the notions of space and time, the symbolist cosmos thus reactivates the medieval pattern of space (part one). This generates a poetics of relavity which jeopardizes dramatic forms, and which the symbolists set out to transcend along two main paths: that of the dramatic structure of wander on the one hand, seen as a tentative process of inventoring the multiple loci of the cosmos, which ceaselessly comes up against some sense of infinity overflowing the structure of the drama, thereby pointing to its incompleteness, or to its fragmentation (part two); and, on the other hand, the path of the short form, governed by a desire to embrace and to possess the invisible, which, on its part, is necessarily bound to come up against (and acknowledge) the irreducible chasm that cuts it from the being (part three). Studying the formal contradictions inherent to symbolist drama thus allows us to address its inscription within the larger frame of the revolutions in drama at the turn of the century, and especially the essential role which this theatre played in the process of setting drama in jeopardy
Sorokina-Vermorel, Natalia. "Le théâtre russe de 1900 à 1916 : le déplacement des valeurs artistiques, du symbolisme au futurisme : du théâtre intérieur au théâtre en tant que tel." Lyon 3, 2006. https://scd-resnum.univ-lyon3.fr/in/theses/2006_in_sorokinavermorel_n.pdf.
Full textDiassinous, Nicolas. "Crise de scène : dramaturgies poétiques du romantisme au symbolisme." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0398.
Full textThis reflection deals with the influence of lyrical poetry over theatrical works from romanticism to symbolism. By confronting the corpuses of the romantic drama and the symbolist theater, but also by exhuming the Parnassiens’ theater, it envisions encountering constants and highlighting a crisis of Aristotelian theater whose effects extend up until the most contemporary dramaturgies. But considering the existence of a theater by poets, one that integrates the characteristics of lyrical poetry into the dramatic forms, raises several paradoxes. This theater by poets is before all one that reduces more and more the importance of the action, in favour of the lyrical expression. The drama and the actantial model it implies get converted in one unique and static situation, where all the intersubjective conflicts have been erased. Because of its subjectivity, lyrical poetry internalizes the drama: and thus all the dramatic components have to be searched for inside the subject. Its interest for interiority leads the theater by poets to abandon the mimetic representation system, because of its favouring of the abstraction of ideas over the objective and material reality. This subjectivity imported by poetry into the dramatic form explains why the dramatists break the absolute taboo of Aristotelian theater: the poet’s presence inside his play. The lyricisation of theater entails the poet’s manifestation in a form where it is prohibited
Lucet, Sophie. "Le Théâtre en liberté des symbolistes : dérives de l'écriture dramatique à la fin du XIXème siècle." Paris 4, 1996. http://www.theses.fr/1996PA040274.
Full textThis study which revolves,to a large extent,on an analysis of specific dramatic texts,serves to fill a lacuna in the literary history of French Symbolism (between the years 1886-1900) which has largely ignored or downplayed the importance of the dramatic output of this movement. .
Sakamaki, Koji. "L'influence des idées de Mallarmé sur les théories de la représentation à la fin du XIXe siècle et au début du XXe siècle." Paris 8, 2007. http://www.theses.fr/2007PA082973.
Full textThe dissertation aims to examine several phenomena concerning the "crisis of the representation" which have become apparent in the late 19th century, taking into consideration both the theater's situations and the relationship between Mallarmé's several texts and the others'. Our study tries to clarify the essence of the cultural revolution in the field of the representation which has occurred at the end of the 19th century and the beginning of the 20th century. This dissertation is composed of five chapters. The first one concerns the traces of theatrical works which represent in themselves some tendencies of Mallarmé's theater : "Crisis of the drama". The second chapter treats Mallarmé as a theorist of the dance in order to clarify the struggle between "mimesis" and "poiesis", two important aesthetic conceptions. At this point, we investigate "poiesis" which represents the originality of Mallarmé's thinkings. The third chapter observes, on the other hand, two theatrical tendencies at this time, which mean the symbolism and the naturalism. We focus on the Mallarmé's thinkings which are distinct from these two movements. And the fourth chapter anlyses the relationship between Mallarmé and Wagner, who was, for the poet, the most important artist and theorician in the late 19th century. Finally, we focus on the Mallarmé's thinkings about the "community" which are concerned distinctly with the "representation". We hope that this dissertation will reach to Mallarmé's basic problems in this context of the crisis of art, politics and society. This work also tries to make sure Mallarmé's idea of the representation, which had been always at the center of this poet
Kabeya, Mukamba Fabien Honoré. "De "La Princesse Maleine" au "Miracle des mères" : l'imprégnation religieuse dans le théâtre maeterlinckien." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-01011175.
Full textPellois, Anne. "Utopies symbolistes : fictions théatrales de l'homme et de la cité." Grenoble 3, 2006. http://www.theses.fr/2006GRE39051.
Full textLate 19th-early 20th century symbolist drama in France and Belgium has often been deemed reactionary as the idealism it conveyed was at odds with the social, political and ideological realities of its time. The Utopian principle helps understand how symbolist artists relate to and prove ideologically critical of their epoch – especially during the 1890-1900 decade. Such artists feel frustrated with the ideal- and representation-deprived Third Republic and sceptical about its ability to enforce the Liberty, Equality and Fraternity principles; they thus favour the liberties of exceptional individuals, including artists and heroic ones, over the illusory-seeming egalitarianism of the Republic which they question from an anarchistic, anti-liberal and reactionary standpoint. Their mystical approach to the form and role of socially irreplaceable art leads them to claim the necessity for theatrical feasts to weave a new civic communal fabric (first part). The theatrical representation of exceptional individuals who have embraced revolutionary methods introduces creative dialectics involving myths, history and Utopias which allow theatrical fiction to stage the range of the symbolists' alternatives to their epoch (second part). Theatrical art dealing with the soul or the subject is the ultimate goal of the symbolist artistic project as the representation of the subject creates emotional bonds within an ideal theatrical community which eventually leads to the creation of a genuine dramatic Utopia (third part)
Bailey, Marianne Wichmann. "Le Théâtre rituel d'Aimé Césaire : les structures mythiques de l'imaginaire dramatique." Paris 4, 1985. http://www.theses.fr/1985PA040025.
Full textEinman, Maria. "Lector in drama. Les enjeux fictionnels et imaginaires du suicide dans le théâtre français du XIXe siècle." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA048/document.
Full textThis study examines the reading of drama texts as the reading of fictional texts, aiming to broaden the current approach according to which the reading of drama texts is mainly limited to text analysis. This question is examined in the light of the issue of suicide in 19th-century French drama. The principal aim of this study is therefore to understand the impact of the character’s suicide on the reader via the detailed analysis of the ins and outs of the suicidal act. The study applies Vincent Jouve’s concept of the virtual reader, who is defined as an implicit and atemporal recipient of the text effects. This reader emerges in a fictional world that is supported by an operative device (dispositif) based on the Lacanian triptych of the Real, the Symbolic and the Imaginary.The dissertation consists of five chapters. The theoretical discussion is followed by four chapters that deal, respectively, with melodrama, romantic drama, naturalist drama, and symbolist drama. In addition to the effect of the fictional suicide on the reader (which is systematically connected to the catharsis), the evolution of theatrical genres and forms is explored from the perspective of “virtual” reading. Thereby, the reading of 19th-century French drama could be viewed as a journey from the optimistic certainty of melodrama to the tragic indeterminacy of symbolist drama, from actual to probable suicides, from “sorrowful” catharsis to anticatharsis
Imbert, Jeanne. "Edouard Dujardin, un cas exemplaire au sein du symbolisme : genres et formes (1885 -1893)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040145.
Full textEdouard Dujardin (1861-1949), the founder of Revue wagnérienne (the Wagnerian Journal) and Revue Indépendante de littérature et d’art (the independent journal of literature and art) has not only been a theoretician on symbolism but also a practitioner. His literary work between 1885 and 1893 explores verse as well as prose and traces back its questionings. Being resolutely engaged in the avant-Garde, it does not only tackle the structure of realism but also questions the model of mimesis in a sort of formal and intense research. It thus happens that Dujardin’s literary work testifies, in an exemplary way for that matter, to the crisis in verse that the literary universe was undergoing. Genres, forms and confrontations of different forms of arts define this course in three parts which does not follow a linear plan nor a chronological one but rather a specific questioning determined by each literary work. This is the reason why we started by studying his drama which raised the question of the character’s identity. The name of Antonia was thus used as a thread to tackle the relationship between prose and verse, as shown in the poem in prose or in free verse.In a second part, we questioned the forms-The poetic prose of his short stories and of his novel- which partly fulfil the criteria of the poem in verse. Lastly, in the context of the confrontation between the different types of arts, we focused on the text viewed as a phenomenon- Les Lauriers sont coupes- considered by critics as a form of “stream of consciousness” then on the connection between poetry and music through the study of the work Litanies, “mélopées” for piano and song, which confronts poem and music
Books on the topic "Symbolisme (littérature) – Au théâtre"
Vidalin, Robert. Le théâtre d'Ibsen et le symbolisme maçonnique. Paris: Cercle parisien de la Ligue française de l'enseignement, 1986.
Find full textRibard, Jacques. Symbolisme et christianisme dans la littérature médiévale. Paris: Champion, 2001.
Find full textLe théâtre au XIXe siècle: Du romantisme au symbolisme. Rosny-sous-Bois: Bréal éditions, 2001.
Find full textTomiche, Nada. La littérature arabe contemporaine: Roman, nouvelle, théâtre. Paris: Maisonneuve & Larose, 1993.
Find full textStrubel, Armand. Le théâtre au Moyen Âge: Naissance d'une littérature dramatique. Rosny: Bréal, 2003.
Find full textDesmeules, Georges. Les personnages du théâtre québécois. Québec, Qué: L'Instant même, 2000.
Find full textDesmeules, Georges. Les personnages du théâtre québécois. Québec: L'Instant même, 2000.
Find full textTout contre le réel: Miroirs du fait divers : littérature, théâtre, cinéma. Paris: Manuscrit, 2008.
Find full textBook chapters on the topic "Symbolisme (littérature) – Au théâtre"
Vadé, Yves. "Deuil et fin du deuil dans le théâtre symboliste." In Deuil et littérature, 205–20. Presses Universitaires de Bordeaux, 2005. http://dx.doi.org/10.4000/books.pub.6488.
Full textFrigerio, Vittorio. "3. Anarchisme et symbolisme." In La Littérature de l’anarchisme, 45–51. UGA Éditions, 2014. http://dx.doi.org/10.4000/books.ugaeditions.9518.
Full textBazile, Sandrine. "Théâtre pour la jeunesse : théâtre miroir diffracté ?" In Littérature de jeunesse au présent, 137–49. Presses Universitaires de Bordeaux, 2015. http://dx.doi.org/10.4000/books.pub.34162.
Full textGuérin, Jeanyves. "Le maurrassisme au théâtre." In Maurrassisme et littérature. Volume IV, 185–99. Presses universitaires du Septentrion, 2012. http://dx.doi.org/10.4000/books.septentrion.48962.
Full textConnan-Pintado, Christiane. "Du conte au théâtre." In Littérature de jeunesse au présent, 167–83. Presses Universitaires de Bordeaux, 2015. http://dx.doi.org/10.4000/books.pub.34177.
Full textMichel, Pierre. "Wieslaw Mateusz Malinowski, Le Roman du symbolisme." In Métiers et marginalité dans la littérature, 235–36. Presses universitaires de Rennes, 2004. http://dx.doi.org/10.4000/books.pur.12035.
Full text"Théâtre médiéval." In Bibliographie de la littérature occitane: trente années d’études (1977-2007), 234–37. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.paieo-eb.4.00079.
Full textBernanoce, Marie. "Trouver sa voie/voix dans le théâtre contemporain…" In Littérature de jeunesse au présent, 109–27. Presses Universitaires de Bordeaux, 2015. http://dx.doi.org/10.4000/books.pub.34147.
Full textEthis, Emmanuel. "Préface." In Quand la littérature rencontre le théâtre, 9–11. Éditions Universitaires d’Avignon, 2011. http://dx.doi.org/10.4000/books.eua.826.
Full textMarch, Florence. "Introduction." In Quand la littérature rencontre le théâtre, 17–21. Éditions Universitaires d’Avignon, 2011. http://dx.doi.org/10.4000/books.eua.829.
Full textConference papers on the topic "Symbolisme (littérature) – Au théâtre"
Corbí-Sáez, María Isabel. "Le symbolisme de la mer dans Les Plages d’Agnès Varda au miroir de la littérature." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3069.
Full textDa Lisca, Caterina. "Les paysages aquatiques des symbolistes belges ou les « paysages de l’âme »." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3055.
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