Relevant bibliographies by topics / Yasmina

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

Academic literature on the topic 'Yasmina'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Yasmina"

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Fishbach, Constance. "Yasmina Khadra. L'Équation africaine." Afrique contemporaine 246, no. 2 (2013): 169. http://dx.doi.org/10.3917/afco.246.0169.

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Toumi, Alek Baylee. "Khalil by Yasmina Khadra." French Review 93, no. 2 (2019): 221–22. http://dx.doi.org/10.1353/tfr.2019.0039.

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Biondi, Carminella. "Yasmina Khadra, L’Olympe des Infortunes." Studi Francesi, no. 162 (LIV | III) (November 1, 2010): 601. http://dx.doi.org/10.4000/studifrancesi.6465.

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Carroll, Noel (Noel E. ). "Friendship and Yasmina Reza's Art." Philosophy and Literature 26, no. 1 (2002): 199–206. http://dx.doi.org/10.1353/phl.2002.0003.

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Toumi, Alek Baylee. "L'équation africaine by Yasmina Khadra." French Review 86, no. 2 (2012): 419. http://dx.doi.org/10.1353/tfr.2012.0124.

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Vitali, Ilaria. "Yasmina Khadra, L’imposture des mots." Studi Francesi, no. 144 (XLVIII | III) (December 15, 2004): 662. http://dx.doi.org/10.4000/studifrancesi.38467.

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Prochaska, David. "THINKING EAST, LOOKING WEST: YASMINA BOUZIANE." Contemporary French Civilization 26, no. 2 (October 2002): 218–31. http://dx.doi.org/10.3828/cfc.2002.26.2.008.

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Norman, Naomi J., and Anne E. Haeckl. "The Yasmina necropolis at Carthage, 1992." Journal of Roman Archaeology 6 (1993): 238–50. http://dx.doi.org/10.1017/s1047759400011570.

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Chilcoat, Michelle. "Heureux les heureux by Yasmina Reza." French Review 87, no. 3 (2014): 219–20. http://dx.doi.org/10.1353/tfr.2014.0349.

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Toumi, Alek Baylee. "Qu’attendent les singes by Yasmina Khadra." French Review 88, no. 3 (2015): 257–58. http://dx.doi.org/10.1353/tfr.2015.0401.

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Dissertations / Theses on the topic "Yasmina"

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Ågerup, Karl. "L'esthétique didactique de Yasmina Khadra." Licentiate thesis, Stockholms universitet, Humanistiska fakulteten, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-55686.

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Based on three novels by the contemporary Algerian novelist Yasmina Khadra, the study discusses didactic and aesthetic features of the literary text. While essentially set in the Arab world, Khadra’s fiction links to western encyclopaedia and journalistic discourse. In relating to this part of the reader’s experience, the novels produce an impression of proximity to the peripheral real, and a sense of responsibility. It is suggested that this interdiscursivity be viewed not as a deviation from literature but as inherent to literary discourse itself; the text comments and constitutes simultaneously. Emphasising the hybridity of literary means and didactical drive, the study proposes that Khadra’s work be labelled “didafiction”.
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Kadari, Louiza. "De l'utopie totalitaire aux oeuvres de Yasmina Khadra, approches des violences intégristes /." Paris : l'Harmattan, 2007. http://catalogue.bnf.fr/ark:/12148/cb41081574f.

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Bouchetard, Alice. "Yasmina Reza, le miroir et le masque." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040012.

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Yasmina Reza, auteur de théâtre français, reconnue dans le monde entier, a reçu les prix les plus prestigieux : trois Molières (FR), un Laurence Olivier Award (GB), deux Tony Award (USA), le Die Welt (All), pour ne citer qu’eux. En France, elle est encore souvent considérée comme un auteur à succès, n’offrant au public qu’une forme de théâtre de boulevard contemporain. L’étude précise des textes dramatiques de Yasmina Reza, de sa langue, de ses personnages et des structures de ses pièces, laisse apparaître sous le masque de la comédie une richesse et une complexité plus profondes. Elle met en scène des personnages bourgeois dont la vie se caractérise par une certaine facilité, tout en levant le voile sur des préoccupations métaphysiques universelles. Il s’agit toujours de la confrontation de l’homme avec le monde ou avec ses semblables. Cette pensée de l’individu inquiet s’accompagne dans la forme d’une réflexion sur le pouvoir de l’art dramatique. La caractérisation bourgeoise de son théâtre est autant un miroir tendu au public qu’un masque qui voile une interrogation permanente sur le sens de la vie et de l’art, dans la continuité du travail de l’avant-garde du milieu du XXe siècle dont elle se révèle être une relève inattendue
The Famous French playwright Yasmina Reza received some of the most prestigious prices in the world : three Molières (FR), a Laurence Olivier Award (UK), two Tony Award (USA), a Die Welt (DE). Nevertheless, in France she is still considered as merely a successful author, with some kind of new farce to offer. A specific study of Yasmina Reza’s drama, including her language, her characters and the architecture of her plays, brings out other meaningful and complex colors from under the mask of comedy. She stages middle-class characters whose life is quite easy; in the meantime she reveals universal metaphysical issues. It is always about a clash between a person and the world or a person and his kind. This reflection about the anxious being goes on stage with a reconsideration of the power of theater. The middle-class characterization is a mirror for the audience as well as it is a mask that covers a constant questioning about the meaning of life and art, continuing the work of the avant-garde of the middle of the 20th century, of which she appears to be an unexpected new recruit
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Muttib, Hussein Thakaa. "La quête identitaire dans le théâtre de Yasmina Reza." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20033/document.

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Le théâtre de Yasmina Reza s’inscrit dans le cadre du théâtre contemporain. La présente étude aborde la problématique de la quête identitaire. Dans cet espace conflictuel, les personnages rezaldiens – écrivains en manque d’inspiration, critiques ou historiens – sont en perte d’identité. Ces protagonistes souffrent de l’angoisse de la mort, de la disparition d’un proche ou de leur vieillissement, vécu comme un naufrage. Ils ne peuvent que subir les circonstances qui leur sont imposées et vivent une vie vouée à la répétition des scénarios du passé. Dans ce théâtre sans action, le drame intérieur transparaît à travers l’absurdité d’une vie remplie d’actes dérisoires et de paroles insignifiantes ou d’un retour vers le passé familial. Seul le langage est le lieu de l’action constituant la clé qui va résoudre le nœud dramatique. Dans cette quête d’unification identitaire, chacun essaie douloureusement, par le récit, d’accepter son passé et ce qu’il est devenu, loin de ce qu’il aurait rêvé d’être. Cette fragilité identitaire se montre un moteur de la création. L’écriture théâtrale de Reza, pleine de contradictions, conduit vers la pacification. C’est dans une écriture du quotidien que l’auteur invente son style et son identité. Une telle quête théâtrale montre la volonté de Reza d’emmener ses personnages vers une quête de sécurité, d’identité et du sens de leur vie
Yasmina Reza’s theatre is a part of the contemporary theatre. This study approaches the identity’s quest. In this theatre of conflict, the rezaldians ─ writers lacking in inspiration, critics or historians ─ are in loss of identity. These protagonists suffer from fear of death, of living in the memory of close relative or of the fact of getting older, experienced as a shipwrecked. They can only suffer of the imposed circumstances upon them and live a life doomed of a repeat scenarios of the past. In this kind of theatre without action, the inner drama transpires through the absurdity of a life filled with ridiculous acts and insignificant words or remembering family’s history. In this kind of plays, the language is the only action as the key which solves the dramatic plot. In this quest for unification of identity, each one tries painfully, through the story, to accept his past and the fact how he becomes now, far away from what he can imagine himself. This fragility of the identity is thus tending to end up as an engine creation. Reza’s writing, full of contradictions, is a looking for pacification. The author of this play invents her own style and identity by describing the quotidian life of her character. Such quest theatrical shows how Reza wants to make her character doing his quest of security, of his own identity and looking for a meaning in his life
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Rafiei, Masoomeh. "L'étude thématique du théâtre et du cinéma de Yasmina Reza." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA087.

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Yasmina Reza, l’une des dramaturges les plus honorées de la scène internationale, n’hésite pas à faire entrer son art dramatique sur la scène de l’art cinématographique : entre la forme romanesque et la forme dramatique, l’écriture rézienne expérimente également le domaine de l’image. Nous avons souhaité, d’abord, consacrer cette thèse à une étude analytique sur le théâtre rézien et ensuite sur son adaptation au cinéma. À travers ses pièces, Yasmina Reza met en scène des personnages ayant souvent les mêmes obsessions et soucis d’une pièce à l’autre, qui recourent fréquemment au même langage. Entre tragédie et comédie, la dramaturgie de Reza mélange le monologue et le dialogue pour raconter à la fois tout et presque rien. Le temps, l’espace, le décor, souvent simple et neutre, les objets quotidiens, servent à mettre en scène la vie quotidienne dans le théâtre rézien. De ce point de vue les ouvrages de Reza se rapprochent de ceux du cinéaste iranien Kiarostami. Au-delà de la présence des éléments autobiographiques et de la musique dans l’écriture dramatique rézienne, le théâtre de Reza se distingue par un langage spécifique, entre le silence, le non-dit et le récit, entre la conversation et le dialogue. Yasmina Reza déclare s’amuser avec les mises en abyme dans son théâtre, elle expérimente ainsi son premier film en tant que réalisatrice avec Chicas, une adaptation d’Une pièce espagnole qui multiplie les mises en abyme. Yasmina Resa poursuit avec l’écriture d’un scénario, Le pique-nique de Lulu Kreutz, réalisé par Didier Martiny, puis avec l’écriture du scénario de Carnage, d’après sa pièce Le dieu du carnage, en collaboration avec Roman Polanski. Dans cette thèse, nous avons tenté d’étudier l’adaptation des pièces réziennes au cinéma, leurs mises en scène et leurs personnages qui manifestent leurs violence et angoisses face à l’écran
Yasmina Reza, one of the most honored dramaturge artist internationally, does not hesitate to introduce her dramatic art on the cinematographic scene: in between the Romanesque forme and the dramatic one, the Yasmina Reza also experiments in the pictorial art. In the first instance, we have sought to focus this thesis on an analytic study of the Rezian theater to follow with her work of adaptation to the cinema. In her theatre plays, Yasmina Reza’s characters have often the same obsessions and often use the same language. Between tragedy and comedy, Reza’s dramaturgy weaves with monologue and dialogue to relate about everything and at times almost nothing. Time, space, the setting, often simple and neutral, daily objects, are used to compose the contemporary life in Reza’s plays. From this standpoint, Reza’s theatre plays are echoing with Iranian Kiarostami’s cinema.Beyond the presence of autobiographic elements and references to music in Reza’s plays, her writing is singles out specifically, alternating between silences, the not-said and the narrative, between the conversation and the dialogue. Yasmina Reza affirms enjoying using of mise en abyme in her theatre plays, thus she experiments her first movie as script writer and director of Chicas, an adaptation of Une pièce espagnole which uses many mises en abyme. Yazmina Reza continues writing with the script Le pique-nique de Lulu Kreutz directed by Didier Martiny, then with the writing of the script of Le dieu du carnage, in collaboration with Roman Polanski. In this thesis, we have attempted to study the adaptation of Reza’s plays to the cinema, their dramatization along with their characters who display their violence and anxiety in front of the screen
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Sterrett-Krause, Allison Elizabeth. "Evidence for Glass Production From the Yasmina Necropolis of Carthage." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147276909.

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Bitterlich, Thomas. "Die Schrift der Zivilisation in Yasmina Rezas "Der Gott des Gemetzels"." Universitätsbibliothek Leipzig, 2014. http://www.kulturtechnik-schreiben.imz.uni-erlangen.de/veranstaltungen-texte/schreiben-im-theater.shtml.

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Wie werden Schrift und Schreiben in einem der erfolgreichsten Theatertstücke der Theatersaison 2007/2008 repräsentiert? Welche Rolle und Bedeutung wird Ihnen von der Autorin zugewiesen? Der Beitrag verweist darauf, wie verschiedene Schriftarten und Schreibweisen den dramatischen Konflikts gestalten und die Figuren konstituieren.
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Abouali, Youssef. "La recherche de la vérité dans la trilogie de Yasmina Khadra." Thesis, Dijon, 2011. http://www.theses.fr/2011DIJOL012.

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Yasmina Khadra tente dans sa trilogie constituée des Hirondelles de Kaboul, L’Attentat et Les Sirènes de Bagdad de dissiper le malentendu entre Orient et Occident. La voie royale pour ce faire est d’entreprendre une recherche de la vérité, non seulement de ces deux entités ou de l’une d’elles, mais de l’homme en général et du monde tel qu’il est perçu, senti, conçu et intériorisé. Mais comment peut-on adhérer à une telle entreprise en sachant pertinemment la dimension fictionnelle de ces textes ? Toute l’originalité, tout l’intérêt de cette recherche, qui n’est pas seulement menée par l’auteur mais qui devrait aussi se poursuivre dans l’acte de lecture, est justement dans cette conception et cet abord du roman comme lieu dédié à la connaissance du vrai en investissant des formes diverses de savoirs et des puissances humaines en provenance de la raison et de l’imaginaire, du corps et de l’esprit, exprimant la rigueur et la fantaisie, l’ordonnancement et le chaos qui caractérisent l’existence dans toutes ses manifestations
In his trilogy The Swallows of Kabul, The Attack, and The Sirens of Baghdad, Yasmina Khadra has tried to settle down the misunderstanding between the East and the West. The royal path for this end is to take up a quest for truth not only for one or both of these entities, but for Man in general and for the whole world as perceived, felt, conceived and internalized. But how can we adhere to such an enterprise in spite of the fictional load of these texts? This framework that lie all the originality and interest of this research Ŕ which is led not only by the author, but should be pursued in the act of reading as well Ŕ is in fact in the conception and perspective of the novel as a locus for knowledge and truth by exploiting a variety of types of knowledge and human strengths evolving from reason and imagination, on body and spirit, expressing rigour and fantasy, order and chaos ; matters which characterize existence in all its various manifestations
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Hartling, Simon. "L'Autorité dissimulée - l'autorité manifeste : L'écriture de la violence chez Yasmina Khadra." Doctoral thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-21578.

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L’Autorité dissimulée – l’autorité manifeste. L’écriture de la violence chez Yasmina Khadra. (Dissimulated authority – manifest authority. Yasmina Khadra’s representation of violence.)  This study examines the representation of violence in two novels by Algerian author Yasmina Khadra (1955 - ): Les Agneaux du Seigneur (1998) and À quoi rêvent les loups (1999). The narrative techniques employed in these texts and, more directly, the assertions made by the author in interviews and autobiographical works give the impression of a writer aiming to impose on the reader a specific view of the Algerian civil war (1992-1998) while at the same time asserting that the novels are objective representations of the same historical period.   This authoritative position, it is argued, is surprising in the light of two discourses. According to the first, events of extreme violence are fundamentally inexpressible and therefore any work of art dealing with such events must find a way to express this inexpressibility. Secondly, many historians, journalists and writers argue that the civil war in Algeria was particularly ungraspable, and eludes being rendered affirmatively in any work, fictional or not.   The study aims to explain how Yasmina Khadra construes his authority in the fictional texts and via his performance in the media. The concepts of a dissimulated authority and a manifest authority are conceived in order to elucidate the ambiguous discourse created by Khadra in which we find both a need to convince the reader of the legitimacy of his rendering of the violent events and a tendency to explicitly take control of and guide our interpretation of the novels.   The final chapter of the dissertation argues that Khadra’s prolific use of animal vocabulary at once dissimulates and makes manifest the idea of an author wanting to impose certain ideas and ‘truths’ on the reader. In the conclusion it is suggested that the violence of the novels extends beyond the subject matter into Khadra's very approach to writing: that the two novels do not so much reflect the idea of the violence as a creator of chaos, but rather, in browbeating the reader into a passive role, end up imitating the very forcefulness and single-mindedness of violence itself.   The methodological approach of the study consists of a close reading as well as a thorough contextualization of the novels. The classical narratological concepts established by Gérard Genette are used to examine the dominant narrative modes of the stories. In explaining the ways in which Khadra proceeds to persuade the reader of the truth-value of the texts the theory on realistic discourse developed by Philippe Hamon constitutes an important reference.
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Ågerup, Karl. "Didafictions : Littérarité, didacticité et interdiscursivité dans douze romans de Robert Bober, Michel Houellebecq et Yasmina Khadra." Doctoral thesis, Stockholms universitet, Romanska och klassiska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-94770.

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Using as example twelve novels by Robert Bober, Michel Houellebecq and Yasmina Khadra, the dissertation discusses the aesthetic and pragmatic implications of integrating didactically historical reference in fictional narrative and personal theme. Rather than reducing the works of Bober, Houellebecq and Khadra to tendency novels sculptured to pass on a predetermined message, the study discusses the aesthetic values created by didactical play. Not only does historical reference form the setting of the novels but the feelings and ideas expressed by the characters also point outwards, challenging journalistic discourse and historical fact. After underlining the obvious heritage from social realism, littérature engagée and Tendenzliteratur, the study points to the possibility of a reading mode that uncannily marries self forgetting imaginary and historical learning. Finding no comprehensive description within existing theories of genre, the thesis proposes the neologism “didafiction” for a subcategory to the novel that, by systematic interdiscursive play, call for engagement without subscribing to pre-existent doctrines. The lessons given by this literature, rather than operating through a traditionally pedagogic rhetoric, work through sophisticated artistic procedures that integrate encyclopaedia and ethics in a personal theme structure.
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Books on the topic "Yasmina"

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Bănulescu, Ștefan. Yasmina. Nîmes [France]: J. Chambon, 1998.

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Naudillon, Françoise. Les masques de Yasmina. Ivry-sur-Seine: Editions Nouvelles du Sud, 2002.

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A requiem for Yasmina. London: New Millennium, 1995.

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Nuria, Villazán Martín, ed. Un novio para Yasmina. [Badajoz, Spain]: Diputación de Badajoz, Departamento de Publicaciones, 2009.

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Yasmina, et autres nouvelles algériennes. Paris: L. Levi, 1986.

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Marie-Odile, Delacour, and Huleu Jean-René, eds. Yasmina et autres nouvelles algériennes. 5th ed. [Paris]: Liana Levi, 1998.

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1943-, Frischeteau Gérard, ed. Yasmina et le petit coq: Conte. Saint-Laurent, Québec: Éditions P. Tisseyre, 2003.

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Courtois, Daniel. Algérie, lettres à Yasmina et Augustin. Nantes: Editions Sol'Air, 2001.

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Sebati, Fadʹela. Moi, Mireille lorsque j'etais Yasmina: Roman. Casablanca: Editions le Fennec, 1995.

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Bouchetard, Alice. Yasmina Reza: Le miroir et le masque. [Paris]: L. Scheer, 2011.

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Book chapters on the topic "Yasmina"

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Keil-Sagawe, Regina. "Khadra, Yasmina." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4076-1.

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Tschörner, Sylvia. "Yasmina Reza." In Kindler Kompakt Französische Literatur 20. Jahrhundert, 170–76. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05533-0_41.

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Tschörner, Sylvia. "Reza, Yasmina." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17519-1.

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Tschörner, Sylvia. "Yasmina Reza." In Kindler Kompakt Französische Literatur der Gegenwart, 60–66. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04498-3_6.

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Keil-Sagawe, Regina. "Khadra, Yasmina: Die Algier-Trilogie." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4077-1.

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Keil-Sagawe, Regina. "Khadra, Yasmina: Die Orient-Trilogie." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4078-1.

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Tschörner, Sylvia. "Reza, Yasmina: Das dramatische Werk." In Kindlers Literatur Lexikon (KLL), 1–4. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17520-1.

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Glynn, Dominic. "Yasmina Reza and Florian Zeller." In Contemporary European Playwrights, 261–76. Abingdon, Oxon ; New York : Routledge 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9781315111940-14.

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Balk, Jennifer, Aylin Inan, and Marie Senneke. "Yasmina Reza: Der Gott des Gemetzels." In Politische Bildung im Theater, 205–28. Wiesbaden: Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-09978-7_11.

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Kuhn, Barbara. "Narrative structures and iconicity in Yasmina Reza’sUne désolation." In Outside-In — Inside-Out, 359–74. Amsterdam: John Benjamins Publishing Company, 2005. http://dx.doi.org/10.1075/ill.4.26kuh.

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Conference papers on the topic "Yasmina"

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Rahman, Suria Hani A. "Gender And Religion In Malaysian Cinema: A Study On Yasmin Ahmad’s Films." In 7th International Conference on Communication and Media. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.06.02.32.

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Reports on the topic "Yasmina"

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‘Anxiety in the family: a genetically informed analysis of transactional associations between mother, father and child anxiety symptoms’. ACAMH, May 2020. http://dx.doi.org/10.13056/acamh.12015.

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Video abstract from author Yasmin Ahmadzadeh summarising her paper published in the JCPP, 'Anxiety in the family: a genetically informed analysis of transactional associations between mother, father and child anxiety symptoms'
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