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Showing 61 to 68 of 68 (0.021 seconds)Spelling suggestions: "subject:"twilight"" "subject:"wilight""
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Du western au crépusculaire : textualités et narrativités du genre pour une approche de l'image-finFrançois, Élodie 04 1900 (has links)
Notre étude porte le western crépusculaire et cherche plus précisément à extraire le « crépusculaire » du genre. L'épithète « crépusculaire », héritée du vocabulaire critique des années 1960 et 1970, définit généralement un nombre relativement restreint d'œuvres dont le récit met en scène des cowboys vieillissants dans un style qui privilégie un réalisme esthétique et psychologique, fréquemment associé à un révisionnisme historique, voire au « western pro-indien », mais qui se démarque par sa propension à filmer des protagonistes fatigués et dépassés par la marche de l'Histoire. Par un détour sur les formes littéraires ayant comme contexte diégétique l’Ouest américain (dime-novel et romans de la frontière), nous effectuons des allers et retours entre les formes épique et romanesque, entre l’Histoire et son mythe, entre le littéraire et le filmique pour mieux saisir la relation dyadique qu’entretient le western avec l’écriture, d’une part monumentale et d’autre part critique, de l’Histoire. Moins intéressée à l’esthétique des images qu’aux aspects narratologiques du film pris comme texte, notre approche tire profit des analyses littéraires pour remettre en cause les classifications étanches qui ont marqué l’évolution du western cinématographique. Nous étudions, à partir des intuitions d’André Bazin au sujet du sur-western, les modulations narratives du western ainsi que l’émergence d’une conscience critique à partir de ses héros mythologiques (notamment le cow-boy). Notre approche est à la fois épistémologique et transhistorique en ce qu’elle cherche à dégager du western crépusculaire un genre au-delà des genres, fondé sur une incitation à la narrativisation crépusculaire de la part du spectateur. Cette dernière, concentrée par une approche deleuzienne de l’image-cristal, renvoie non plus seulement à une conception existentialiste du personnage dans l’Histoire, mais aussi à une mise en relief pointue du hors-cadre du cinéma, moment de clairvoyance à la fois pragmatique et historicisant que nous définissons comme une image-fin, une image chronogénétique relevant de la contemporanéité de ses figures et de leurs auteurs. / Our study is centered on the “Twilight western” (western crépusculaire) and is more precisely concerned with the “Twilight” aspect of the genre. The "Twilight" epithet, inherited from the French critical vocabulary of the 1960s and 1970s, encompasses a relatively restrained number of works whose stories, often associated with revisionist discourses, or as “pro-indian westerns”, are dedicated to aging cowboys with a style where aesthetical and psychological realism is put forward in favor of showing how these tired protagonists feel outdated and outmarched by History. By a turn on the literary forms that have for their diegetic background the American West (dime-novels and novels more generally contextualized at the border), our research is structured by a back and forth between the epic and romantic forms of narration, between History and its myths, and moreover between the literary form and the filmic form for a better grasp of the dyadic relationship that the West entertain with its writing of History, both with its more monumental and critical approaches. Less interested towards the aesthetic of these “Twilight” images than the narratological aspects of the film considered as text, our approach is founded on literary analysis to better challenge the classifications which have marked the evolution of the Western film. Based on the intuitions of film critic André Bazin on the “sur-western” (high western), we study the narrative modulations of the genre as much as the emergence of a critical awareness from its mythological heroes (mostly the cowboy). Our approach is epistemological as it is transhistorical since it seeks to conceptualize “Twilight western” as a genre beyond genres, not established on a collection of semantical observations, but on the incitement of a twilight narrativization that emerges from the viewer. We concentrate this narrativization alongside the deleuzian crystal-image as not only an existentialist conception of the western genre in regards to History, but also as a highlighting of cinema’s “hors-cadre” (beyond-frame) perceived as an enlightenment that is both pragmatic and historicizing. We define this precise kind of historiographical image as an “image-fin” (end-image), a chronogenetic image axed on the contemporaneity of theses mythological figures and their authors.
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Le dramaturge dissident. Le théâtre de Louis Lemercier entre Lumières et Romantisme (suivi de l’édition critique d’Agamemnon et Pinto, ou la journée d’une conspiration) / A dissident playwright between Enlightenment and Romanticism. The dramatic productions of Louis Lemercier. (followed by critical editions of Agamemnon and Pinto, ou la journée d’un conspiration) / Il drammaturgo dissidente. Il teatro di Louis Lemercier tra Illuminismo e Romanticismo (seguito dall’edizione critica di Agamemnon e Pinto, ou la journée d’une conspiration)De Santis, Vincenzo 04 March 2013 (has links)
La production dramatique de Jean-François-Louis-Népomucène Lemercier s’inscrit justement dans ce moment de transition entre ce que l’on a appelé Néoclassicisme et le Romantisme. Né en 1771 et mort en 1840, cet homme de lettres et académicien a assisté aux bouleversements qui ont caractérisé l’histoire de France du tournant des Lumières jusqu’à la Révolution de Juillet et même après. L’étendue de sa vie et surtout de son activité de dramaturge dépassent donc amplement ce « long dix-huitième siècle » que l’histoire littéraire tend à prolonger jusqu’en 1820. Ce travail s’intéresse donc à la production d’un dramaturge qui, dans son ambigüité intrinsèque, s’avère à plusieurs égards révélatrice d’une ambigüité caractérisant de manière plus générale l’ensemble de cette période de transition. Auteur de celle que l’on retient souvent comme la dernière tragédie classique – c’est le cas de son Agamemnon de 1797 – Lemercier est également considéré, déjà à partir du dix-neuvième siècle et notamment par Schlegel, comme l’un des premiers auteurs proprement romantiques, son Pinto de 1800 étant justement une protoforme de drame romantique. Ce travail se compose de deux grandes parties, la première consistant en une étude monographique sur l’ensemble de la production dramatique de Lemercier, la deuxième en une édition critique des œuvres majeures du dramaturge, son Agamemnon, qui représente un de plus grands succès tragiques de la période directoriale dont les reprises continuent jusqu’en 1826, et Pinto, une « comédie historique » qui fut en revanche un succès de scandale lors de sa création à la Comédie-Française et qui encourût par la suite la désapprobation de cinq régimes politiques. / The dramatic productions of Jean-François-Louis Népomucène Lemercier (1771-1840) reveal a transition between Neoclassicism, Preromanticism and Romanticism. This writer and academician witnessed the political and social upheavals that characterized France from the twilight of the Enlightenment until the July Revolution and thereafter. The span of his life and works amply exceeds the "long Eighteenth Century" that literary historians have extended to 1820 (Claude Pichois). This dissertation includes two main parts: a monographic study of Lemercier’s dramatic production and a critical edition of the playwright’s major works, Agamemnon (1797), one of the most successful tragedies during the “Directoire” and to 1826; and Pinto, a “historical comedy” composed between 1798 and 1800, and which was seen as a “romantic” triumph in 1834. Lemercier has often been regarded as the author of one of the last classical tragedies (Agamemnon i.e.); nevertheless, in spite of being, at times, one of Romanticism’s fiercest detractors, he emerges in Nineteenth century criticism – and above all in Schlegel’s writings – as one of the most influential pioneers of romantic drama. The intrinsic ambiguity of Lemercier’s dramatic production reveals the uncertainties of this transitional age. This ambiguity thus demands a holistic approach: the context of Lemercier’s literary works will be analyzed from an esthetic, historical and political point of view, emphasizing their intricate relationships with literary and political authorities and censorship issues throughout the period. / La produzione drammatica di Jean-François-Louis Népomucène Lemercier si inserisce in quel momento di transizione tra Neoclassicismo, Preromanticismo e Romanticismo che caratterizza gli ultimi anni del Diciottesimo e il primo trentennio del Diciannovesimo secolo. Nato nel 1771 e morto nel 1840, questo scrittore e accademico ha assistito agli sconvolgimenti che hanno caratterizzato la storia della Francia dal tournant des Lumières fino alla Rivoluzione di Luglio e anche oltre. La sua vita e la sua attività poetica oltrepassano ampiamente il “lungo Settecento” che la storia letteraria tende ad estendere sino al 1820 già a partire dalla periodizzazione proposta da Claude Pichois. Questo lavoro si concentra sulla produzione di un autore che, nella sua intrinseca ambiguità, è sotto molti aspetti indicativa di un’indeterminatezza che caratterizza più in generale questo periodo di transizione estetico-letteraria. Spesso considerato, in primis da Madame de Stael, come l’autore dell’ultima tragedia classica - è il caso di Agamemnon del 1797 - Lemercier è stato visto, già a partire dal XIX secolo e in particolare da Schlegel, come uno dei primi autori di drammi romantici, di cui Pinto, ou la journée d’une conspiration (1800) rappresenterebbe una protoforma. Il presente lavoro, che si focalizza sul macrotesto teatrale di Lemercier senza tuttavia negligere altri aspetti della sua variegata opera, consta essenzialmente di due sezioni, una dedicata allo studio del macrotesto teatrale dell’autore, con un’attenzione particolare al contesto-storico letterario e alla ricezione; l’altra all’edizione di due opere, Agamemnon e Pinto, che rappresentano per molti aspetti due degli esempi più significativi della sua produzione drammatica. Il rapporto conflittuale di Lemercier con l’autorità politica e con la nascente “scuola” romantica saranno inoltre oggetto di questa riflessione.
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Familj, moderskap och incest i Så länge vi båda andas : En queerteoretisk temastudie av Stephenie Meyers Så länge vi båda andasReventlid, Amanda January 2011 (has links)
This paper examines in what way the heterosexual matrix is challenged by Stephenie Meyer in Breaking dawn (Så länge vi båda andas). By doing a thematic study on the various family constellations appearing in the novel, I search for the queer elements in it. I discuss incest, family building and motherhood, and find that there are numerous queer elements associated with the themes I have chosen. I conclude that the Cullen family challenges the heterosexual matrix, despite not being typical queer vampire characters. I also find that building a successful family is not based on gender or constellation otherwise, but is instead dependant on democracy and equality. Bella has a desire to taste the blood of both her daughter and her father, interpreted as an incestuous desire. I find similarities between Bella’s extreme motherhood behaviors and how drag show artists parody gender. / Denna uppsats undersöker på vilka sätt Stephenie Meyer utmanar den heterosexuella matrisen i Så länge vi båda andas. Genom att göra en queerteoretisk temastudie utifrån temat familj undersöker jag de queera elementen i texten. Jag behandlar incest, familjebildning och moderskap och kommer fram till att det finns många queera inslag i mina valda teman. I min analys drar jag slutsatsen att familjen Cullen, trots att de inte är klassiska queera vampyrkaraktärer ändå utmanar den heterosexuella matrisen. Jag kommer även fram till att framgången i en familjebildning inte ligger i kön, eller konstruktion, utan i demokrati och jämställdhet. När Bella åtrår sin faders och dotterns blod tolkar jag detta i sin kontext som ett incestuöst begär. Jag jämför extremismen i Bellas moderskap med hur dragshowartisten parodierar genus.
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Life after Harry / Eine Gattungsdiskussion zeitgenössischer Kinder- und Jugendliteratur in der Post-Potter-Ära / Life After Harry / Contemporary Children’s Literature and Young Adult Fiction in the Post-Potter Era – a Discussion of Genre AspectsFitz, Victoria 03 March 2015 (has links)
No description available.
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Paranormální romance: pokus o vymezení subžánru v kontextu young adult literature / Paranormal romance: an attempt to define the subgenre in the context of young adult literatureDitrychová, Martina January 2016 (has links)
This diploma thesis thematically follows up one of subgenres of young adult popular literature - paranormal romance. Its main aim is to create a comprehensive definition of this subgenre on the basis of interpretation of representative sagas - Twilight by Stephenie Meyer (Twilight, New Moon, Eclipse, Breaking Dawn), Hush, Hush by Becca Fitzpatrick (Hush, Hush, Crescendo, Silence, Finale), Nightshade by Andrea R. Cremer (Nightshade, Wolfsbane, Bloodrose, Snakeroot), Wings by Aprilynne Pike (Wings, Spells, Illusions, Destined) and Anna Dressed in Blood by Kendare Blake (Anna Dressed in Blood, Girl of Nightmares). The thesis was divided into eight chapters. In the first chapter we have outlined the historical development of paranormal romance, in the second part we focused on its genre characteristic. In the third and fourth chapters we tried to create a prototype of heroine and hero of this subgenre. The fifth part is about the steady plot schemes in paranormal romances. In the sixth chapter we have tried to determine a model form of relationship main pair of lovers in the analyzed subgenre. In the seventh part we discussed conflict between everyday reality and the supernatural and the social hierarchy in the fiction world of paranormal romances and we introduced supernatural species and races that...
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Riskscapes of floodingFrick-Trzebitzky, Fanny 12 June 2018 (has links)
Diese Arbeit zeigt die Reproduktion ungleicher Risikolandschaften von Überschwemmungen auf. Die fortschreitende Urbanisierung in den Küstenregionen der Welt ist mit zahlreichen unterschiedlichen Risiken verbunden, denen sozio-ökonomisch benachteiligte Gruppen in besonderem Grad ausgesetzt sind. Dennoch ist Wissen über soziale Dynamiken, die solch ungleichen Risikolandschaften zugrunde liegen, gegenwärtig begrenzt. Das Densu Delta, ein dynamisch urbanisierendes Feuchtgebiet westlich von Accra, dient hier als Fallstudie, die anhand von qualitativen Daten mit Methoden der Humangeographie untersucht wird. Die übergeordnete Forschungsfrage lautet: Was sind die Beziehungen und Dynamiken, die die Verteilung von Überschwemmungsrisiken gestalten, und wie verfestigen sich diese in den gegenwärtig stark ungleichen Mustern von Überschwemmungsrisiken rund um das Densu Delta? Das Konzept ‚Risikolandschaften‘ (‚riskscape‘) wird hier mit Sichtweisen des kritischen Institutionalismus und der Argumentation verbunden, um Prozesse zu analysieren, die eine ungleiche Verteilung von Vulnerabilität und Anpassungskapazität bedingen. Die Ergebnisse zeigen erstens, dass institutionelle und bio-physische Dynamiken eine vielfältige Landschaft von Vulnerabilität erzeugen. Zweitens wird Anpassungskapazität von dynamischen Autoritätsverhältnissen geprägt. Drittens erweitern Unterschiede in Policy-Argumenten auf verschiedenen Ebenen und in unterschiedlichen Sektoren die Implementierungslücke in der Anpassung an Überschwemmungen. Die Arbeit leistet einen Beitrag zur bestehenden Forschung, indem die Rollen von Schlüsselakteuren und von unsichtbaren Praktiken und Institutionen in der (Re-) Produktion von ungleichen Risikolandschaften betont werden. Diese werden hier am Beispiel von Überschwemmungen im Densu Delta in Accra aufgezeigt. Skalenübergreifende Interaktionen in Risikolandschaften und deren praktische Implikationen für die Minimierung von Überschwemmungsrisiken bedürfen der weiteren Forschung. / The thesis shows how uneven landscapes of urban flood risk are (re)produced. Coastal urbanisation comes with multiple risks, to which the poor are particularly exposed. Social dynamics underlying uneven riskscapes are however poorly understood. The Densu delta in Accra, a dynamically urbanising wetland, is analysed as a case based on qualitative data with methods from human geography. The overall research question is: What are the relations and dynamics that shape the distribution of flood risks, and how are they materialised in the currently highly uneven patterns of flood risk around the Densu delta? The concept of ‘riskscape’ is applied through lenses of critical institutionalism and argumentation to analyse the processes behind uneven distribution of vulnerability and adaptive capacity. Findings are that firstly, institutional and bio-physical dynamics produce a diverse landscape of vulnerability. Secondly, dynamics of authority shape adaptive capacity. Thirdly, disparities in policy arguments widen implementation gaps in adaptation to flooding. The research contributes to the existing literature in highlighting the role of actors and underlying practices and institutions in shaping multiple uneven riskscapes. In the present research the reproduction of uneven riskscapes of flooding is shown for the Densu delta case. Further research ought to look at cross-scale interactions between riskscapes and their practical implications for flood risk reduction.
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...And Reconcile Us With Evil : A Critical Investigation of the Imagery of Good and Evil in Western Religion, Film and PoliticsGellrich, Arne L January 2016 (has links)
With an eye on the current social and political situation in Europe, and with regards to the so-termed refugee crisis, this study aims to map the discourse on assumed good and evil shared among Western cultures, as represented by Sweden, Germany and the United States. The thesis takes its point of departure from essayistic reflections of the philosophical tradition and theological and religious analytical positions respectively. These are then followed by two investigative main chapters, designed along the lines of Norman Fairclough’s approach to critical discourse analysis (CDA). The first of these chapters studies the narratives of good and evil employed in the mainstream cinema of the past ten years in the mentioned countries. The second analysis is made up of three case studies, in turn looking at similar narratives in the campaigns of the two main competitors in the 2016 presidential race, a German protest movement against free trade agreements, and the everyday political communication of Swedish Facebook users. In a final chapter, findings from all four preceding chapters are brought together in an attempt to sketch an image of the congruences and discrepancies of narratives on good and evil in the overall discursive field. The thesis finds that the discursive field shared by the three investigated societies is largely homogenous, with certain imagery permeating all analysed orders of discourse. Many of the reoccurring images are however likely rooted in the human psyche and therefore less dependent on discourse practice. Furthermore, certain principles are agreed upon in theory while not reproduced in social practice. Themes assigned to either good or evil often seem to take on secondary functions next to assumed fixed identities of in- and out-groups. Being a qualitative study, this thesis aims at giving an overview and delivering a base for further investigations rather than providing definitive answers.
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Im Zwielicht | Großstadt, Kino, SchützengrabenSimon, Anna 06 April 2022 (has links)
Thema dieser Dissertation ist die Frage, wie sich Licht und Sehen im Zuge der Elektrifizierung veränderten, und zwar aus Sicht literarischer Erzähltexte, die zwischen 1900 und 1933 publiziert wurden. Ausgangslage der Untersuchung ist erstens die These, dass durch den Einsatz des elektrischen Lichts eine Reihe neuer Wahrnehmungsdispositive entstanden, wo trotz der Lichtstärke elektrischer Leuchtmittel zwielichtige Licht- und prekäre Sichtverhältnisse herrschten. An drei besonders markanten Zwielichtszenarien der ästhetisch-technischen Moderne – Großstadt, Kino und Schützengraben – werden anhand einer breiten Quellenbasis aus Literatur, Technik, Wissenschaft, Philosophie und Ästhetik aufgezeigt, wie die Ausdifferenzierung der lichttechnischen Infrastruktur neue Blickregime und ästhetische Weltanschauungen produzierte, die ihrerseits veränderte Techniken des Sehens evozierten. Eine weitere zentrale These lautet, dass sich angesichts der prekären Licht- und Sichtverhältnisse auch die kulturelle Semantik des Lichts veränderte: die Art und Weise, wie Licht, und damit ebenso die Vorstellungen von Wahrnehmung, Wahrheit und Wirklichkeit, vor- und dargestellt wurden. Die neuen Lichtphänomene erforderten neben aisthetischen (die sinnliche Wahrnehmung betreffende) Anpassungsleistungen auch ästhetische Bewältigungsstrategien: neue Darstellungsweisen und symbolisch-metaphorische Zuschreibungen, die das zeitgenössische Wissen über Licht und Sehen gehörig in Bewegung brachte. Es entstanden virulente neue Korrelationen ‚moderner Wahrnehmung‘ zwischen technisch erzeugtem Zwielicht, epistemischer Irritation und narrativ erzeugter Visualität. Ich hoffe, mit meiner Arbeit neue Perspektiven auf die nach wie vor relevante Frage ‚moderner Wahrnehmung‘ zu werfen, die sich seit der ‚elektrischen Moderne‘ sukzessive als immer ausgeklügelteres Zusammenspiel von (Licht-)technik, aisthesis und Ästhetik neuformiert. / This dissertation focuses on how light(ing) and seeing/ perception changed in the course of electrification, from the perspective of German literature, published between 1900 and 1933. My first claim is, that the use of electric light created a series of new perceptual dispositifs, where dubious light and precarious visual conditions prevailed despite the luminous intensity of electric lighting. Three particularly striking twilight scenarios, that play a significant role in technology and aesthetics in the early 20th century, – namely the City, the Cinema, and the Trenches of WWI – are gripping settings to demonstrate, how disruptive lighting infrastructure produced new scopic regimes and innovative aesthetic perspectives (Weltanschauungen) that changed the techniques of visual perception. Drawing from a broad base of sources from literature, technology, science, philosophy, and aesthetics, I argue that the disruptive lighting technologies did not only change light phenomena, visual conditions and perception, but also transformed the cultural semantics of light substantially. Closely tied to concepts of truth, perception and reality, the rhetoric of light and lighting are dense metaphors and symbols, deeply interconnected with the history of knowledge. The new light phenomena required aisthetic (sensory perception-related) adaptations, as well as aesthetic coping strategies, like new modes of representation and symbolic-metaphorical attributions that troubled contemporary knowledge about light and visuality. My research zooms in on the visual dispositifs of ‘electric modernity’ and thus on the new correlations between technically generated twilight, epistemic irritation, and narrative visuality. By analysing the interplay of lighting and visual technology, aisthesis, and literary aesthetics in early 20th century, I hope to shed new light on the intriguing question of ‘modern perception’ that remains relevant from the beginning of the electric age until now.
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