Spelling suggestions: "subject:"criticism anda interpretation"" "subject:"criticism ando interpretation""
1121 |
L' évolution du féminisme dans l'oeuvre de Marie LabergePilon, Simone January 1995 (has links)
No description available.
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1122 |
L' effet-idéologie dans les dialogues de la nouvelle "Arsène Guillot"Gagné, Marie-Josée, 1971- January 1996 (has links)
No description available.
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1123 |
The poetics of postmodernism : Robert Creeley and open-verseAlapi, Zsolt István January 1984 (has links)
No description available.
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1124 |
La femme dans les romans d'Anne Hébert /Aonzo, Jeannine January 1981 (has links)
No description available.
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1125 |
Noël du Fail : les propos rustiques de maistre Leon Ladulfe : politique et sociétéArmantier, Louis January 1977 (has links)
No description available.
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Le réalisme merveilleux dans les Contes de Jacques Ferron ; suivi de, Contes à rebours /Armand-Gouzi, Nathalène January 1996 (has links)
No description available.
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1127 |
Max Frischs Einstellung zur Schweiz.Arnold, Barbara Karin January 1965 (has links)
No description available.
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1128 |
La citation dans la pensée créatrice de Bernd Alois ZimmermannViens, Lise January 1995 (has links)
No description available.
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Les voix de Vivier : langage harmonique, langage mélodique et langage imaginaire dans les dernières oeuvres de Claude VivierLevesque, Patrick January 2004 (has links)
No description available.
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THE FUNCTION OF CINEMA IN THE WORKS OF GUILLERMO CABRERA INFANTE AND MANUEL PUIG (CUBA, ARGENTINA).HALL, KENNETH ESTES. January 1986 (has links)
This dissertation studies the influence of film on the works and careers of Guillermo Cabrera Infante (Cuba, 1929- ) and Manuel Puig (Argentina, 1932- ). Emphasis is put on their critical views, fiction, and filmscripts. Generic, thematic, and technical questions concerning film and their works are discussed, without, however, an attempt at exhaustiveness. After an introduction in Chapter 1, the next chapter addresses the relationship of Cabrera to the film, a topic developed more fully in Chapter 3. As the critic of Un oficio del Siglo 20 (1973) and Arcadia todas las noches (1978), he is placed in the "auteurist" tradition, a view which he later modified. Chapter 3 further discusses his concept of film. The next two chapters concern his critical collections. Mythic, generic, and aesthetic areas are treated. The basis for a continuity with his major fiction is demonstrated. In Chapter 6, Vanishing Point (1969-70) is studied from generic and mythic perspectives. The filmscript is used in preference to the film, which severely revised it. The two major fictional works of Cabrera, Tres tristes tigres (1965), and La Habana para un Infante Difunto (1979), are analyzed in Chapters 7 and 8 with reference to filmic allusions, connections to his criticism, and technique. Generic continuity is demonstrated in both works, while Chapter 8 also concerns the mechanisms of parody and of "blasphemy" against the "temple" of film. The next chapter is a comparative overview of Puig and Cabrera. Common (and divergent) directorial and generic interests are discussed, as well as the influence of certain directors on the work of Puig. Molina, from El beso de la mujer arana (1976), is placed within a context of gay movie tastes. Chapter 10 is partially devoted to two filmscripts by Puig, La cara del villano and Recuerdo de Tijuana (originally published in 1980), the first as an adaptation of a literary work and the second as an example of film noir. The chapter also deals with Kiss of the Spider Woman (1985), an adaptation of the novel by Puig. Chapter 11 briefly concludes the study.
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