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Artículos de revistas sobre el tema "Cocteau, Jean, Cocteau, Jean"

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Publicado: 4 de junio de 2021
Última modificación: 5 de febrero de 2022

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1

Leahy, S. "Jean Cocteau." French Studies 61, no. 3 (2007): 398–99. http://dx.doi.org/10.1093/fs/knm113.

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2

Knowles, K. "Jean Cocteau." French Studies 63, no. 3 (2009): 357. http://dx.doi.org/10.1093/fs/knp050.

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3

ANDERSON, LAURA. "Musique concrète, French New Wave cinema, and Jean Cocteau'sLe Testament d'Orphée(1960)." Twentieth-Century Music 12, no. 2 (2015): 197–224. http://dx.doi.org/10.1017/s1478572215000031.

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AbstractJean Cocteau (1889–1963) is recognized as one of France's most well-known film directors, directing six films over a thirty-year period. This article argues that his film soundscapes occupy a unique position in the history of French film sound, providing a key link between contemporary experimentation in art music and the sonic experimentation of the New Wave filmmakers. This argument is best exemplified byLe Testament d'Orphée(1960), which represents the apotheosis of Cocteau's artistic output as well as the stage at which he was most confident in handling the design of a film soundsc
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4

Deaville, James, and Simon Wood. "Synchronization by the Grace of God? The Film/Music Collaboration of Jean Cocteau and Georges Auric." Canadian University Music Review 22, no. 1 (2013): 105–26. http://dx.doi.org/10.7202/1014501ar.

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Jean Cocteau's relationship with music has never been explored in detail with regard to his films. Given his well-known statements against synchronization, Cocteau appears upon first glance not to have paid much attention to the relationship between image, word and music, entrusting the music to his long-term friend Georges Auric. However, a closer examination of Auric's scores in the context of their films reveals a much closer corraboration of music and film than previously thought by specialists (or admitted by Cocteau). Analysis of musical and filmic elements in Le Sang d'un poète (1932),
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5

Baquero, Gaston, Greg Simon, and Steven F. White. "Homage to Jean Cocteau." Callaloo 29, no. 2 (2006): 296–97. http://dx.doi.org/10.1353/cal.2006.0085.

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6

Baquero, Gaston. "Homenaje a Jean Cocteau." Callaloo 29, no. 2 (2006): 298–99. http://dx.doi.org/10.1353/cal.2006.0086.

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7

Vinogradov, Vladimir Vyacheslavovich, and Zh Kokto. "Jean Cocteau. Trilogy about Death, or Between Dionysius and Apollo." Journal of Flm Arts and Film Studies 2, no. 3 (2010): 74–88. http://dx.doi.org/10.17816/vgik2374-88.

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The article is devoted to three films made by Jean Cocteau - Le Sang d'un poиte, Orphйe, Le Testament d'Orphйe, that form a trilogy of a kind. The author analyses the main image system of the trilogy in Apollonic and Dyonisic terms and comes to certain typological conclusions about Cocteau's mythology. Beside exploring the "modern" myth of Poet and Death, the article describes the cultural context around each of the mentioned ilms
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8

de Cossart, Michael, and Erik Aschengreen. "Jean Cocteau and the Dance." Dance Research: The Journal of the Society for Dance Research 5, no. 1 (1987): 73. http://dx.doi.org/10.2307/1290667.

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9

Phillips, Ian. "The poetry of Jean Cocteau." Lancet 356, no. 9235 (2000): 1117. http://dx.doi.org/10.1016/s0140-6736(00)02745-8.

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10

Somerville, Kristine. "Jean Cocteau: Master of Disguise." Missouri Review 38, no. 4 (2015): 63–73. http://dx.doi.org/10.1353/mis.2015.0061.

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11

Christout, Marie‐Françoise. "The dance of Jean Cocteau." Dance Chronicle 10, no. 3 (1986): 367–74. http://dx.doi.org/10.1080/01472528608568959.

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12

Rahde, Maria Beatriz Furtado. "Jean Cocteau: comunicação visual e imaginário mitopoiético." Revista Contracampo, no. 13 (December 1, 2005): 83. http://dx.doi.org/10.22409/contracampo.v0i13.500.

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Numa obra plena de multifaces, Jean Cocteau (1889-1963) foi, sem dúvida, o grande poeta do século XX, tanto na literatura, no teatro, nas artes gráfico/ plásticas, como na arte visual cinematográfica. Cocteau sempre fez poemas de suas manifestações criativas, pelas quais perpassavam o imaginário mítico, os contos de fadas, a filosofia, com sua concepção do estético, do fantástico na comunicação visual e nas relações humanas. A Bela e a Fera, obra cinematográfica de sua autoria, com base no conto original de Madame de Beaumont estimula o espectador nesses elementos citados, pois,
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13

Acocella, Joan, and Frank W. D. Ries. "The Dance Theatre of Jean Cocteau." Dance Research Journal 19, no. 1 (1987): 44. http://dx.doi.org/10.2307/1477773.

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14

Klimenok, Alexandr V. "The ‘Boulevard’ Theatre of Jean Cocteau." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 19, no. 1 (2019): 67–72. http://dx.doi.org/10.18500/1817-7115-2019-19-1-67-72.

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15

Baudry, Robert. "Le Lancelot-Guenièvre de Jean Cocteau." Cahiers de recherches médiévales et humanistes, no. 2 (December 12, 1996): 37–49. http://dx.doi.org/10.4000/crm.2479.

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16

Gullentops, David. "La partie d’échecs chez Jean Cocteau." Ligeia N° 169-172, no. 1 (2019): 171. http://dx.doi.org/10.3917/lige.169.0171.

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17

Haine, Malou. "Claude Debussy vu par Jean Cocteau." Revue musicale OICRM 2, no. 1 (2014): 191. http://dx.doi.org/10.7202/1055852ar.

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18

FREEMAN, E. "Review. Jean Cocteau. Knapp, Bettina L." French Studies 46, no. 2 (1992): 227. http://dx.doi.org/10.1093/fs/46.2.227.

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19

El Gharbie, Rana. "L’adaptation cinématographique d’oeuvres théâtrales chez Jean Cocteau." Études littéraires 45, no. 3 (2015): 31–41. http://dx.doi.org/10.7202/1032443ar.

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Jean Cocteau adapte à l’écran trois de ses pièces : L’Aigle à deux têtes en 1947, Les Parents terribles en 1948 et Orphée en 1950. À travers la structure de leur intrigue, leur langage, leurs décors et un jeu de mise en abyme, les deux premières adaptations affichent une théâtralité qui les apparente. Mais elles se distinguent en ce que leur degré d’utilisation des techniques cinématographiques, et par conséquent la profondeur de leur pouvoir de théoriser le rapport liant le théâtre et le septième art, diffère significativement. De plus, l’écriture cinématographique se révèle en elles essentie
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20

Gordon, Tom. "Jean Cocteau: Evangelist of the Avant-garde." Canadian University Music Review 22, no. 1 (2001): 1. http://dx.doi.org/10.7202/1014495ar.

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21

Touzot, Jean. "Max Jacob et Jean Cocteau : images convergentes." Centre de recherches Max Jacob 7, no. 1 (1985): 160–74. http://dx.doi.org/10.3406/maxja.1985.1242.

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22

Gates, Laura Doyle. "Jean Cocteau and ‘la poésie du théǎtre’." Romance Quarterly 35, no. 4 (1988): 435–41. http://dx.doi.org/10.1080/08831157.1988.9925851.

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23

Costa, Wellington Júnio. "RETRATOS DE AUTOR: AUTORRETRATOS DE JEAN COCTEAU." Em Tese 18, no. 2 (2012): 336. http://dx.doi.org/10.17851/1982-0739.18.2.336-348.

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Artista pluridisciplinar, o poeta francês Jean Cocteau construiu uma obra em<br />que a expressão do “eu” é um tema central. Este artigo propõe uma reflexão<br />sobre as questões suscitadas por uma série de autorretratos que o autor<br />produziu entre 1910 e 1917, tais como identidade, imagem, memória e<br />narrativa.
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24

Manitt, Russ. "Écrits sur la musique by Jean Cocteau." Notes 73, no. 3 (2017): 561–63. http://dx.doi.org/10.1353/not.2017.0023.

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25

Mendonça de Freitas, Emanuele, Cristiane Barcelos, and Douglas Ceccagno. "A ECHARPE DE JOCASTA: UMA LEITURA SIMBÓLICA DE A MÁQUINA INFERNAL, DE JEAN COCTEAU." Cadernos do IL, no. 57 (November 22, 2018): 139. http://dx.doi.org/10.22456/2236-6385.83238.

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Ao analisar as peças Édipo Rei, de Sófocles, e A máquina infernal, de Jean Cocteau, com foco não só nas semelhanças e diferenças entre ambas, mas também nos símbolos presentes na obra de Cocteau, este artigo pretende identificar possíveis pontos de conexão entre os textos na representação do mito de Édipo. Para tanto, recorremos à teoria do imaginário para interpretar alguns dos símbolos identificados na peça francesa. Os principais referenciais teóricos pesquisados são Albin Lesky, Marvin Carlson, Aristóteles e Gilbert Durand.
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26

Wierzbicki, James. "Cocteau’s Chimney, Carter’s Cadenza: ‘Dream Time’ Symbols in Sight and Sound." KronoScope 10, no. 1-2 (2010): 15–34. http://dx.doi.org/10.1163/156852410x561826.

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AbstractThe idea of ‘dream time’, or oneiric time, has doubtless been with us since the dawn of human consciousness. But ‘dream time’ is a special kind of time that does not really take time or occupy time, and thus to depict it in a temporal, linear medium is patently impossible. The French filmmaker Jean Cocteau and the American composer Elliott Carter were fully aware of this when they sought to create symbols of the familiar yet ineffable ‘dream time’ phenomenon. This essay examines the interrupted ‘falling chimney’ sequence that frames Cocteau’s 1930 surrealist film Le Sang d’une poète an
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27

Thiel-Jańczuk, Katarzyna. "Entre l’art de l’invisibilité et l’art de la démesure : Marcel Proust caricaturé par Jean Cocteau." Quêtes littéraires, no. 10 (December 30, 2020): 185–96. http://dx.doi.org/10.31743/ql.11542.

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Partant d’un dessin de Marcel Proust par Jean Cocteau conçu en 1922 ainsi que d’un essai biographique de Claude Arnaud publié en 2013, l’auteur de l’article présente la relation entre les deux écrivains en référence à la problématique de leur « visibilité » (Nathalie Heinich). Dans ce contexte-là, le dessin de Cocteau, restant en accord avec le caractère démesuré de Marcel Proust, peut être aujourd’hui considéré comme une représentation caricaturale de l’auteur de la Recherche qui démythifie une image de Proust-écrivain invisible créée par la vulgate structuraliste. Aussi, dans le contexte méd
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28

Miller Gottlieb, Lynette. "Phone-Crossed Lovers: Dehumanizing Technology in Cocteau's and Poulenc's La Voix humaine." Canadian University Music Review 22, no. 1 (2013): 86–104. http://dx.doi.org/10.7202/1014500ar.

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Forty years after his previous collaboration with his former mentor Jean Cocteau, Francis Poulenc embarked on another joint work with the playwright, the opera La Voix humaine (1958). The sole character is a woman known as Elle, who converses with her former lover on the telephone, a device representative of the negative side of technological progress made during the first few decades of the twentieth century. This study considers the nature of the collaboration between Cocteau and Poulenc, then employs narrative theory to interpret the telephone's power in this drama.
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29

Boulouque, Claudine. "Jean Cocteau inconnu. Le fonds Cocteau à la Bibliothèque historique de la ville de Paris." Cahiers de l'Association internationale des études francaises 53, no. 1 (2001): 293–96. http://dx.doi.org/10.3406/caief.2001.1428.

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30

Duarte, Eunice Gonçalves. "Máquinas desumanizadoras, máquinas humanizadoras: sobre o teatro e a tecnologia." Pitágoras 500 2, no. 1 (2012): 12–22. http://dx.doi.org/10.20396/pita.v2i1.8634774.

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Partindo da análise de três peças de teatro, A voz humana de Jean Cocteau, The Gigli concert de Thomas Murphy e Krapp’s last tape de Samuel Beckett, pretende-se questionar de que forma as relações contemporâneas entre homem e máquina são exploradas no teatro.
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31

Kolovos, Nikos. "Ο Ορφέας του σκότους (Στον κινηματογράφο του Ζαν Κοκτό)". Σύγκριση 11 (31 січня 2017): 35. http://dx.doi.org/10.12681/comparison.10765.

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Lévénement le plus important de la «vie» d' Orphée fut sa descente dans l'Hadès, à laqualle il se résolut, demeuré inconsolable après la mort de sa bien- aimée Eurydice. La «mort» d' Orphée est le second événement extraordinaire de sa vie. Jean Cocteau s'est limité essentiellement à la description du premier événement pour tourner ses films «Orphée» (1950) et «Le Testament d'Orphée» (1959). Pour Cocteau, le cinéma était poétique par excellence, «un véhicule de poésie», selon ses propres termes. Car l'inventif langage audiovisuel lui donnait la possibilité de dépasser la réalité et de se mouvoi
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32

Jejcic, Marie. "Le Cap de Bonne-Esp�rance�: lire Jean Cocteau." Champ lacanien N�1, no. 1 (2004): 135. http://dx.doi.org/10.3917/chla.001.0135.

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33

Lefere, Robin. "Du métaphysique dans les contes romanesques de Jean Cocteau." Les Lettres Romanes 45, no. 4 (1991): 345–55. http://dx.doi.org/10.1484/j.llr.4.00481.

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34

DE VILLIERS, N. "THE RETROSPECTIVE CLOSET-EFFECT: JEAN COCTEAU AND ROLAND BARTHES." French Studies Bulletin 25, no. 93 (2004): 14–20. http://dx.doi.org/10.1093/frebul/25.93.14.

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35

Gercke, Daniel. "Ruin, Style and Fetish: the Corpus of Jean Cocteau." Nottingham French Studies 32, no. 1 (1993): 10–18. http://dx.doi.org/10.3366/nfs.1993.002.

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36

READ, P. "Review. Jean Cocteau: La Chute des angles. Chaperon, Danielle." French Studies 46, no. 2 (1992): 228. http://dx.doi.org/10.1093/fs/46.2.228.

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37

Jejcic, Marie. "Savoir du poète et maladie psychosomatique: Jean Cocteau–l'hiéroglyphe." L'Évolution Psychiatrique 72, no. 2 (2007): 259–69. http://dx.doi.org/10.1016/j.evopsy.2007.03.002.

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38

Harbec, Jacinthe. "Le ballet chez Cocteau : vers une manifestation avant-gardiste en compagnie du Groupe des Six et des Ballets suédois." Canadian University Music Review 22, no. 1 (2013): 40–67. http://dx.doi.org/10.7202/1014498ar.

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Dès ses premières activités artistiques, Jean Cocteau est à la recherche de manifestations avant-gardistes multidisciplinaires dans lesquelles se mêlent poésie, danse et musique. Le ballet est la forme d’expression qui répond le mieux à ses aspirations. En présentant d’abord les premières collaborations de Cocteau dans le domaine de la danse, l’auteure retrace les circonstances qui ont amené le poète à collaborer avec Rolf de Mare, directeur de la compagnie des Ballets suédois, ainsi qu’avec les jeunes compositeurs du Groupe des Six dans un projet collectif intitulé Les Mariés de la tour Eiffe
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39

Jones, David Andrew. "BETWEEN COLLABORATION AND RESISTANCE: JEAN COCTEAU AND THE OCCUPATION PRESS." Contemporary French Civilization 31, no. 2 (2007): 139–59. http://dx.doi.org/10.3828/cfc.2007.20.

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40

Anderson, Laura. "Sonic ‘Detheatricalization’: Jean Cocteau, Film Music, and ‘Les Parents Terribles’." Music and Letters 100, no. 4 (2019): 654–84. http://dx.doi.org/10.1093/ml/gcz081.

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Abstract Jean Cocteau’s adaptation of his controversial play Les Parents terribles for the screen stands out in his oeuvre as an attempt to reconcile theatre and cinema. It also presented a challenge in preparing a soundscape for a work that did not have any music in its original form. Parents occupies a unique, Janus-like position in the history of French film music, as forward-looking in its anticipation of New Wave treatment of music as material as it is representative of the turn to adapting stage plays for the screen that started in the 1930s. Drawing on production sketchbooks and testimo
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41

Chaperon, Danielle. "L'ange des intervalles : poétique du montage cinématographique chez Jean Cocteau." Cahiers de l'Association internationale des études francaises 53, no. 1 (2001): 351–66. http://dx.doi.org/10.3406/caief.2001.1432.

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42

Bellarsi, Franca. "Jean Cocteau et le sang poétique de la Beat Generation." L'Esprit Créateur 58, no. 4 (2018): 104–19. http://dx.doi.org/10.1353/esp.2018.0049.

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43

Wyns, Marielle. "Orphée de Jean Cocteau: pour une écriture de la mort." Les Lettres Romanes 52, no. 3-4 (1998): 285–97. http://dx.doi.org/10.1484/j.llr.4.01000.

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44

Kennelly, Brian G. "Jean Cocteau: figures de la narration ed. by Serge Linares." French Review 87, no. 1 (2013): 229–30. http://dx.doi.org/10.1353/tfr.2013.0041.

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45

Oliveira, Luciene Guimarães de. "“A Bela e a Fera ou a Ferida Grande Demais”, de Clarice Lispector: transtextualidade e transcriação." Em Tese 10 (December 31, 2012): 128. http://dx.doi.org/10.17851/1982-0739.10.0.128-132.

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A partir do corpus literário constituído pelos contos “A Bela e a Fera ou a ferida grande demais”, de Clarice Lispector, “Uma xícara de chá” de Katherine Mansfield, do conto deencantamento “La Belle et la Bête”, e do filme de Jean Cocteau A Bela e a Fera, articula-se a teoria da transtextualidade, desenvolvida pelo francês Gérard Genette, com o conceito de transcriação, de Haroldo de Campos.
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46

Adashevskaya, Zlatoslava Alexandrovna. "The Origins of Surrealism. Absolutizing the Unconscious." Journal of Flm Arts and Film Studies 4, no. 2-3 (2012): 296–305. http://dx.doi.org/10.17816/vgik42-3296-305.

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The article analyses three films that marked cinema’s mastering of the leading artistic trend at the turn of the 20-ies-30-ies ,that of Surrealism. Comparing films «Un Chien andalou»(1929) and «L'Age d’Or»(1930) by Salvador Dali and Luis Bunuel with the film «Le sang dun poète» by Jean Cocteau (1931) the author follows the transformations the main postulates of Andre Breton, the founder of Surrealism, underwent.
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47

Brangé, Mireille. "Jean Cocteau. Les adaptations, textes réunis et présentés par Serge Linares." Studi Francesi, no. 162 (LIV | III) (November 1, 2010): 585–86. http://dx.doi.org/10.4000/studifrancesi.6420.

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48

WYNS, M. "La constitution d’un personnage-idole chez Jean Cocteau : l’ange." Revue Théologique de Louvain 33, no. 1 (2002): 61–79. http://dx.doi.org/10.2143/rtl.33.1.2017492.

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49

Brangé, Mireille. "Caroline Surmann, Cinéma et théâtre chez Jean Cocteau. Intermédialité et esthétique." Studi Francesi, no. 174 (LVIII | III) (November 1, 2014): 635–36. http://dx.doi.org/10.4000/studifrancesi.1620.

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50

Mezzetti, Monia. "Jean Cocteau, sous la direction de S. Linarès et S. Winter." Studi Francesi, no. 189 (LXIII | III) (December 1, 2019): 608. http://dx.doi.org/10.4000/studifrancesi.21707.

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