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1	Evil: From the Banal to the Radical Mr Paul Formosa Unknown Date (has links) No description available.
2	La figure du couple machiavélique / The figure of Machiavellian couple Belot Gondaud, Caroline 11 December 2014 (has links) La figure du couple machiavélique, présente chez Shakespeare, Laclos, Barbey d'Aurevilly, Henry James, James M. Cain, entre autres, est étudiée selon une triple approche. La première approche, d'inspiration structurale, vise à dégager les éléments constitutifs de la figure et son scénario permanent. L’analyse conduite sur la base de cette approche confirme l'existence de deux matrices, l'une fondée sur le couple Macbeth, l'autre sur le couple de libertins des Liaisons dangereuses. La seconde approche, qui relève d'une démarche herméneutique, met en évidence le substrat biblique de la figure du couple machiavélique dans sa version shakespearienne, qui serait une réécriture du récit de la Chute de la Genèse. La version laclosienne du couple machiavélique serait pour sa part le marqueur de la dégradation des relations amoureuses dans leur conception post-courtoise. Enfin, la troisième approche est esthétique: elle vise à étudier la construction de la figure, son effet sur le lecteur, et sa valeur ajoutée par rapport à la figure canonique du Méchant. Elle s'attache aussi à définir l'esthétique du mal associée à la figure du couple machiavélique. / The figure of the Machiavellian couple, which appears in Shakespeare, Laclos, Barbey d’Aurevilly, Henry James, James M. Cain, among others, is studied through a three-fold approach. The first one is a structural one and aims at identifying the basic elements of the figure and its scenario. This approach confirms the existence of two matrix, one based on the couple of Macbeth and the other on the pair of libertines of Laclos’ novel Les Liaisons dangereuses. The second approach is interpretative and underlines the biblical basis of the figure of the Machiavellian couple in its Shakespearean version, which is a rewriting of the Fall of Adam and Eve while the couple of Laclos signals the deterioration of romantic relationships in a courtly meaning. The third approach deals with aesthetics and aims at studying the forms and poetics of the figure and its effect on the reader as well as its added value in relation to the “Canon figure” of the Villain. This third approach deals also with the aesthetics of Evil linked to the figure of the Machiavellian couple. Couple Machiavélisme Mal Amour Crime Méchant Laclos Macbeth Stéréotype Chute Liaisons dangereuses Diaboliques Henry James James M. Cain McEwan Ron Rash Boileau-Narcejac Kitsch Couple Machiavellianism Evil Love Crime Villain Laclos Macbeth Stereotype Fall Dangerous liaisons Diabolical Henry James James M. Cain McEwan Ron Rash Boileau-Narcejac Kitsch
3	Liszt och Djävulen : En analys av "Dantesonaten" Tjernbäck, Marcin January 2022 (has links) I detta arbete analyseras det omfattande pianoverket ”Dantesonaten” komponerat av Franz Liszt i syfte om att ta reda på vilka musikaliska och tekniska element han utnyttjat för att uttrycka djävulen, helvetet och andra diaboliska företeelser i sin musik. Därmed kommer en djupgående analys av eposet Den gudomliga komedin skrivet av Dante Alighieri genomförasdå Liszt baserat sin komposition på detta verk. Liszts intresse för Den gudomliga komedin och Dante som poet belyses samt varför han valt att basera sin sonat på detta ämne. Resultatet tyder på att Liszt använt dissonanta intervall som tritonus, dimackord, heltonsskalor, kromatik och tremoloteknik m.m. för att allt i kombination bilda en tydlig representation av det som kan kopplas med det diaboliska. Största delen av resultatet består av egna tolkningar men även andras interpretationer hämtade från olika litterära källor och online-resurser. Det var svårt att finna konkreta tecken på vad kompositörens egna återspeglingar i musiken må ha varit. Däremot kan detta arbete ändå vara en bra utgångspunkt för en pianist som planerar att spela verket och vill få idéer om hur det diaboliska materialet och andra teman ur ”Dantesonaten” kan tolkas. / In this study, the extensive piano piece "The Dante Sonata" composed by Franz Liszt is analyzed in order to find out what musical and technical elements he has used to express the devil, hell and other diabolical phenomena in his music. Thus, an in-depth analysis of the narrative poem The Divine Comedy written by Dante Alighieri will be made, as Liszt bases his composition on this work. The study investigates Liszt's interest in The Divine Comedyand Dante as a poet and why he chose to base his sonata on this subject. The results indicate that Liszt used dissonant intervals such as tritones, diminished chords, whole-tone scales, chromatic passages and tremolo technique, etc. to all in combination form a clear representation of the diabolical. Most of the results consist of own interpretations but also other renderings taken from various literary sources and online-resources. It was difficult to find concrete signs of what the composer's own reflections in the music may have been. However, this work can still be a good starting point for a pianist who plans to study thismusic and want to get ideas on how the diabolical material and other themes from "The Dante Sonata" can be interpreted. / <p>F. Liszt - Après une Lecture du Dante (Fantasia quasi Sonata) från Années de pèlerinage II, Deuxième année: Italie, S. 161, Nr. 7, "Dantesonaten"</p> Franz Liszt Diabolical Dante Sonata Dante Alighieri Piano The Devil Lucifer Marie d'Agoult The Divine Comedy Inferno Purgatory Paradise Hell Heaven Rendering Interpretation Theme Motif Franz Liszt Diabolisk Dantesonaten Dante Alighieri Piano Djävulen Lucifer Marie d´Agoult Den Gudomliga komedin Inferno Skärselden Paradiset Helvetet Himmelen Tolkning Interpretation Tema Motiv Music Musik

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