Дисертації з теми "Cinq poèmes de Baudelaire"
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Leyva, Dragomir Octavian. "Cinq Poèmes de Baudelaire : En undersökning av Claude Debussys sångcykel genom en pianists ögon." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4230.
Repertoar, inspelning finns bifogat:
Claude Debussy - Cinq Poèmes de Charles Baudelaire:
I. Le Balcon, II. Harmonie du Soir, III. Le Jet d’Eau, IV. Recueillement, V. La Mort des Amants
Eleonora Poignant - sopran
Mathilda Sidén Silvfer - mezzo-sopran
Astrid Banck Linderoth - sopran
Évrard, Anaëlle. "Traductions et traducteurs des Petits poèmes en prose de Baudelaire en Espagne : du modernismo à la Edad de Plata." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20136/document.
With the translations of Baudelaire’s Spleen de Paris (Petits poèmes en prose) in Spain from the 1880’s to the 1930’s as its main object, this thesis intends to examine their historical, literary and publishing context in order to determine how the book was received. The corpus includes Castilian and Catalan translations and considers their insertion into their target literary systems in Havana, Madrid and Barcelona as well as their main textual characteristics. A particular focus is placed on the translators as active recipients of the text since they are both its readers and its rewriters. Their portraits shed light on the translators’ condition, be they renowned or unknown, at a time when translation progressively acquires more dignity, at least in speeches, while translators are still largely scorned and underpaid. The translators themselves tend to waver between belittling this task, so rarely gratifying, and giving in to its temptation. These portraits also convey their conception of translation, France and Baudelaire to get a better understanding of what was at stake individually in the work they accomplished. The reception of the genre of the prose poem is addressed mainly through analysing the publishing choices and interpreting the prefaces of the studied versions
Tomando por objeto las traducciones del Spleen de Paris (Petits poèmes en prose) en España entre los años 1880 y 1930, esta tesis se propone examinar el contexto histórico, literario y editorial de su publicación, para determinar las modalidades de recepción del libro. El corpus contiene traducciones en castellano y en catalán y considera su inserción en los sistemas literarios de acogida en La Habana, Madrid y Barcelona así como sus principales características textuales. Particular atención se ha prestado a los traductores, receptores activos del texto por ser al mismo tiempo sus lectores y reescritores. Sus retratos ponen en evidencia la condición de los traductores, sean renombrados o desconocidos, en un periodo en el cual la traducción va adquiriendo mayor dignidad, al menos en los discursos, mientras los traductores siguen despreciados y mal pagados. Los mismos traductores vacilan entre el menosprecio hacia una tarea tan poco gratificante y la fuerte tentación que representa dicha tarea a pesar de todo. Esos retratos incluyen el estudio de su concepción de la traducción, de Francia y de Baudelaire para entender mejor también lo que está en juego individualmente en el trabajo que llevaron a cabo. La recepción del género del poema en prosa se analiza principalmente a través de las decisiones editoriales y de la interpretación de los prólogos en las versiones estudiadas
Verduci, Didier Cédric. "La relation solitude-multitude dans les petits poèmes en prose de Baudelaire /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83155.
Kim, Jihyun. "Les poèmes du Crépuscule urbain chez Baudelaire : l’ironie dans le lyrisme de la modernité." Thesis, Rennes 2, 2020. http://www.theses.fr/2020REN20030.
After having tried to be modern through his romantic aspirations during the 1840s, Baudelaire’s vision depends more and more on a pessimistic and critical perception of historical and existential reality. It is then that the first of the four poems, which are thedirect object of the present thesis, appears: “Le Crépuscule du soir”, in 1852, followed by the prose poem of the same title in 1855, then “La Fin de la journée” and “Recueillement” in 1861; finally, by a new version of the prose poem in 1862. When readtogether successively, these five texts, composed in the course of more than ten years, and which share the same theme —the feeling that the subject feels at nightfall in the modern metropolis— seem to us very likely to reveal a profound meaning in the evolution of Baudelaire’s poetics.Revolving around the immanent tension in their theme, the “urban crepuscule” : a tension between an intimate, lyrical pole of the “evening”, and a realistic, disenchanted pole of the “city”, our reading of these poems tries to show how Baudelaire, defining his position in the fluctuating literary field of mid-nineteenth century France, has imposed a new path, as paradoxical as “heroic”, yet without seeking to hide his oscillation between “modernity”— even if still vague in definition— and an ideal of “pure”lyricism
Almeida, Mônica de. "Réinventions du "Spleen de Paris" : traduire Baudelaire." Paris 8, 2006. http://www.theses.fr/2006PA082698.
The prose poem is considered as a problematic notion in language studies and despite many attempts to find a definition to this writing, it still remains an irregularity in the universe of literature. In Paris Spleen Baudelaire refers to his poems as an “accident”, as a work “that has neither head nor tail, since everything, on the contrary, is both head and tail, alternatively and reciprocally”. The goal of this research is to discuss some aspects concerning the principles of composition and the peculiarity of the Small Prose Poems, based on the translations of this work in Portuguese (Brazil), and also taking into account fragments of versions in English and in Spanish. These reinventions frame independent literary projects and they are oriented by distinct conceptions of language. In this way, each rewriting presents elements to think on different strategies and theories of Translation
Moussaron, Jean-Pierre. "A défaut - la littérature : (Baudelaire, Flaubert, Proust, Deguy)." Paris 8, 1997. http://www.theses.fr/1997PA08A001.
Ferreira, Jeferson. "Estudo sobre o erigir de uma locução moderna nos Petits Poèmes en Prose, de Charles Baudelaire." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-14062011-083337/.
Published in 1869 therefore, a posthumous work the collection of poems of the book Petits Poèmes en Prose, by Charles Baudelaire, presents itself to the critics as a two-level enigma: on the first one, as a project with a poetic subject that contrasts itself with the lyrical locution of Les Fleurs du Mal; and on the second level, as a genre that challenges the formal places conventionally dedicated to prose and poetry. Starting at this problem, the present paper has the objective of analyze the adventure of Baudelaires prose poetry, respecting his singular diction and never forgetting to place it over all the critical wealth of the genre. Therefore, these poems enunciative ambient is recovered in prose; considering initially the places and functions of the poetry/prose opposition in the XIX Century and, later, linking this research to the peculiarities of baudelairean poetics. From the relationship with the verbal matters and the observation of the use of appositives and sequential constructions, it establishes a relationship between the theoretical reflection and a so-called modern lyrics, a poetics of the uncertain that has shown itself as a fertile ground, giving the work an openness in the way of the incomplete as a scriptural project.
Cho, Jae-Ryong. "Les enjeux théoriques du poème en prose : filiation historique (d'Alphonse Rabbe, Aloysius Bertrand à Charles Baudelaire) et théorique (Aloysius Bertrand, Charles Baudelaire et Stéphane Mallarmé)." Paris 8, 2002. http://www.theses.fr/2002PA082061.
Berat, Fanny. "Les origines journalistiques du poème en prose ou Le siècle de Baudelaire." Lille 3, 2006. http://www.theses.fr/2006LIL30014.
The genealogy of prose poem has already been studied : origins have been found in the poetic prose of the 17th and 18th centuries, and the "inventors" of the genre in early 19th century have also been explored. My work wants to add a point to this genealogy, showing that prose poem can have journalistic origins. In the Spleen de Paris, Baudelaire re-creates the prose poem : he focuses in on the present, having in view to give a "description of modern life". Thus, he meets the designs of his time's press, more specifically of the "petite presse" ones, which delivers a painting of modern life in a satirical way. He also crosses the literary movements of realism, "bohème" and "fantaisie". First, I have studied the "petite presse", which is a specific phenomenon of the 19th century mediatic landscape. I have pointed out its protagonists and also Baudelaire's place in it. The second part analyses prose poems published in papers between 1845 and 1865, and underlines the idea that the notion of modernity has a journalistic origin. The third part examines the journalistic genres and their topics, to confront them with Baudelaire's prose poetry. Finally, I prropose a new definition of baudelairian prose poem, which emphasizes its caricatural manner
Opsitch, Yann. "Etude Comparative Et Intertextuelle Sur Le Thème Des “Fenêtres” Dans Quatre Poèmes De Charles Baudelaire, Stéphane Mallarmé, Marie Krysinska Et Guillaume Apollinaire." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103366/.
Ouakaoui, Malek. "Le fantastique chez Baudelaire : la poétique de l'insolite." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100055.
Tzvetan Todorov defines the fantastic as being a genre at the interface between the strange and the wonderful, a genre characteristic of the novel but not of poetry. Baudelaire's poetry, however, seems to depart from this rule, both formally and thematically. The Little Poems in Prose is a hybrid between the collection of short stories and that of poetry. In The Flowers of Evil, the order of the plays obeys the logic of a narrative. As for the translations of the works of Edgar Allan Poe, Baudelaire indulged into poetry. Thematically, the fantastic patterns are present in Baudelaire's work almost systematically. Some of them are unique and unusual forms to the writer. Given that he exalts the formal and thematic bipolarity, Baudelaire’s romance is not reminiscent of Hoffman's approach to writing. Bearing in mind the theory of Todorov, we attempt, step by step to demonstrate the existence of a Baudelairean fantasy which seems to have inspired even some films
Gazagne, Sylvie Marie. "La "grammaire du sacré" : Cinq grandes odes de Paul Claudel, Les noces de Pierre Jean Jouve, Poèmes d'Yves Bonnefoy, ou Qu'en est-il de la poésie quand les dieux se taisent ?" Toulouse 2, 2001. http://www.theses.fr/2001TOU20048.
After a brief historical overview of semantics, this study will apply the principles of François Rastier's textual semantics to Jouve's Les Noces and identifiy the main isotopies linked to the sacred in this collection. The obvious limits of this approach highlight the necessity of adding a semantic dimension to the actantial data-narrative sequences gradually structuring the general movement of the work-, and to a communicative aim which actualizes topoi and intertextual references. A semantic approach, hence, leads to stylistic considerations. Using Dominique Maingueneau's concept, this study identifies two major representations of the sacred : the hymnal model depicting an inspired poet celebrating creation as a reflection of divine omnipotence and as a theatre of Providence, and the initiatory model depicting a mystical poet fathoming heavenly signs and constructing a precarious meaning. An understanding of the internal movement of the work, providing the basis for the semantico-stylistic analysis, leads to a thematic literary study. For all three poets, the sacred first emerges at an orgiastic, fusional and celebrative level leading to a tragic separating tension with the finite character of the human condition and the entire profane world. Claudel gradually exorcises this temptation using Catholicism compatible with his latent nostalgia for a pagan sacredness of the world in which religion conjures up danger. By renouncing the illusion of an absolute being guilty of "excarnation", Bonnefoy opts for a secular equivalent of Christian agape which, despite itself, reintroduces the sacred/profane dichotomy. Jouve strives to sublimate erotic, orgiastic energy, producing a fragile sacredness of everyday life fleetingly glimpsed througt the eternal. The sacred remains the "radically other", but is it not the prerogative of poetry to place any referent in the realm of the radically other ?
Flory, Emmanuel. "L' imaginaire de la ville dans la poésie moderne : 1857-1918." Clermont-Ferrand 2, 2009. http://www.theses.fr/2009CLF20010.
Bataillé, Christophe. "Les Déserts de l’Amour d’A. Rimbaud : codicologie, généricité, textualité." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040138.
This thesis proposes a global approach to The Deserts of Love. Given the many uncertainties surrounding this text, the prerequisite for its analysis is the exploration of Rimbaud’s manuscript, to prove the order of the folios, to provide an accurate text, to establish its date of transcription by a diachronic study of the poet’s handwriting ; the ambition is also to judge the extent to which this is a finished work, whether the known text is complete and, lastly, to determine the source of the untypical numbering of the folios. After examining the concept of genre and its implications, the generic approach will seek to define the generic status of the dream narrative and then problematise the formal genre of The Deserts of Love on the basis of a reflexion on the subject of the prose poem. The need to contextualise this generic approach requires the analysis of several representative authors in the two generic fields involved (Nodier, Bertrand, Nerval) and in particular of the Baudelaire of the Petits Poëmes en prose. The thesis concludes with a detailed literary commentary of The Deserts of Love
Rivière, Bernard. "Pour introduire à la connaissance immanente au procès créateur. Doctrine de l'imitation. Première partie. Cinq lectures pragmatiques : Baudelaire, Cézanne, Léger, Heidegger, Deleuze : éléments tirés d'une pragmatique à usage personnel et proposés pour servir notamment de fondement à une convention provisoire sur les critères du jugement esthétique." Université Paris-Est Créteil Val de Marne (UPEC), 2000. http://www.theses.fr/2000PA120060.
English summary not transmitted
Liao, Ying-Chen, and 廖英辰. "The musical analysis and vocsl interpretation of Debussy's Cinq poèmes de Baudelaire." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/42180504165743151213.
國立臺北教育大學
音樂教育學系碩士班
95
Achille-Claude Debussy(1862-1918), one of the important French composers in the 19th century, was deeply influenced by Symbolism. It freed him from traditional compositional concepts and skills, which enabled him to combine both music and visual colors. In Debussy’s melodies, he developed refined nuance in his melodies, imbuing them with the subtle rhythm of French speech, and further united music and literary. Charles Baudelaire(1818-1894), a pioneer of French Symbolism, whose poems brought readers into a world of imagination. His view toward art deeply touched Debussy’s heart. In their separate fields, they are both known for uniting sounds, words and images. They tried to infuse those elements into their worlds of imagination, in an attempt to evoke symbolic meanings of poems. For them, everything is obscure, yet clear. In this study, the two artists’ biographies are researched to detect the developments of their artistic styles. Summaries were made with the emphasis on the compositional style of Debussy’s vocal works. This is followed by analysis of the poems and each pieces in Cinq poèmes de Baudelaire. The focus on the last part is the interpretation. Four conclusions were made to reveal Debussy’s general music design for Baudelaire’s poems: 1. musical structures coincide with poetic forms. 2. Motives are used to symbolize important characters of the poems. 3. Music is as to conducing the establishment of the mood. 4. The characters consist in vocal and piano parts that are well thought and meticulously designed. After researching Debussy’s composition, the symbolic meaning inside Baudelaire’s work was revealed more vividly. This thesis is written in hope of providing information and resources for readers interested Debussy’s Cinq poèmes de Baudelaire, as well as performing suggestions for singers.
Kuo-Chan, Huang, and 黃國展. "The Research of "Cinq Poèmes de Bai Ts’ieou" By Shu Tsang Houei." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/2ycjf2.
Hsu, Shu Lan, and 許舒嵐. "The Analysis and Interpretation of Poulenc's early four groups of works, Cocardes(1915), Poèmes de Ronsard(1924-25), Cinq Poèmes de Max Jacob(1930) and Trois Poèmes de Louise Lalanne(1930)." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/89225670873673260041.
國立臺灣師範大學
音樂學系在職進修碩士班
101
French composer Poulenc(1899-1963) occupies a very important position in the art song writing in the twentieth century. Poulenc’s early four groups of works, Cocardes(1915), Poèmes de Ronsard(1924-25), Cinq Poèmes de Max Jacob(1930) and Trois Poèmes de Louise Lalanne(1930) are discussed in this thesis. Except Poèmes de Ronsard, which was adopted from Pierre de Ronsard’s(1524-1585) poetry, the remaining three groups are adoptions of famous contemporary poets’ works. Cocardes was made by Jean Cocteau(1889-1963), Cinq Poèmes de Max Jacob was made by Max Jacob(1876-1944), and Trois Poèmes de Louise Lalanne was made by Guillaume Apollinaire(1880 -1918) and Marie Laurencin(1885-1956). From the four groups of musical compositions, we can find that Poulenc likes short musical forms, and there is no prelude in most of them. So far as melody is concerned, Poulenc likes to use distinctive and varied motives to link the whole song. Poulenc often uses semitone intervals which produce special sound effects as well. The key signatures in these sixteen art songs were modulated frequently, and many accidentals were used. Therefore, the writer of the thesis infers that Poulenc used key signatures just for the convenience of taking down the notation. The harmony iv was made depends on the atmosphere of the poems. The rhythm is free and he often modulated the time signatures to harmony with the poems, present the prosody of poems, or to change the atmospheres. The piano accompaniment often repeats the melody of the song. This is one of the important features of Poulenc’s art songs. Because Poulenc likes to use discordant sounds effects and temporary accidentals, singers who want to sing his works need to have good sense of pitch. Due to the short structures of his songs, the singers need to get into the situations of the songs quickly and change their mood and tone rapidly as well to create the atmospheres that Poulenc wants.
Lai, Yu-Yen, and 賴鈺嬿. "A Music Analysis and Interpretation of Cinq Poèmes de Baudelaire by Claude Debussy." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/bxefj9.
國立臺北藝術大學
音樂學系碩士班聲樂組
105
Achille-Claude Debussy (1862-1918) was a crucial French composer of the 20th century and he composed more than 80 mélodies during his lifetime. The poems Debussy selected for his mélodies were mostly from the works of symbolist poets. Symbolic poems had a great impact on his composition, contributing to his unique music style. In Debussy’s vocal works we can find his sensitivity in word setting and superb taste in literature. Debussy was good at transforming the nuance of French language into music, combining the music and poem perfectly, which has become the most remarkable feature of his mélodies. Debussy selected five poems of Charles Baudelaire(1821-1867) and composed his Cinq Poèmes de Baudelaire (1887 -1889) during the period when he just began to explore his music style around 1887. Poems of Baudelaire are not easy to understand. In addition to that, Debussy increased technical challenge by using unconventional harmony and rhythm. In this study, the biographies of Debussy and Baudelaire are researched to detect the developments of their artistic styles. And the meaning of lyrics is comprehended from a singer’s perspective as a foundation of music analysis and interpretation. Through this study, we hope to be able to have a better understanding of the symbolic meaning of this work.
Rider, Lori Seitz Seaton Douglass Debussy Claude Debussy Claude. ""Lyrical movements of the soul" Poetry and persona in the Cinq poemes de Baudelaire and Ariettes oubliees of Claude Debussy /." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-10092003-183424/.
Advisor: Douglass Seaton, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-21-03) Document formatted into pages; contains 381 pages. Includes biographical sketch. Includes bibliographic references.
Rider, Lori Seitz. ""Lyrical movements of the soul" poetry and persona in the Cinq poèmes de Baudelaire and Ariettes oubliées of Claude Debussy /." 2002. http://etd.lib.fsu.edu/theses/available/etd-10092003-183424/.
Tardrew, Vincent. "Processus compositionnel (mélodie, polyrythmie et polytonalité initialement improvisées) et orchestration : une analyse des cinq pièces composées à la maîtrise." Thesis, 2019. http://hdl.handle.net/1866/24568.
This thesis proposes an analysis of the composition process via melody, polytonality and polyrhythm through piano improvisation, ending with the orchestration of the five musical pieces composed during the two years of the master's in instrumental and vocal composition at the University of Montreal, from September 2017 to April 2019. These pieces are a Sextet, an Octet, a Movement for two pianos and percussions, 5 Miniatures for orchestra and Tristesse de la lune, a melody on a poem by Charles Baudelaire, totaling 33 minutes of music. We try to situate in a general context the place of these processes through the different references of the author to open fields of possibilities they bring to the future.