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Le « Corps asiatique » De Yang Seog-il, Fils du Japon post-colonial : questions sur la subjectivité et le parricide dans la littérature zainichi contemporaine et intertexte avec la littérature maghrébine d’expression française / A son of post-colonial Japan, Yang Seog-il’s “Asiatic body” : questioning subjectivity and parricide tendancy in the contemporary Zainichi literature with an intertext of the French literature of North African immigrantsHosoi, Ayame 09 December 2011 (has links)
Cette thèse, située dans le contexte post-Colonial au Japon, s’articule autour d’un concept crée par Yang Seog-Il, écrivain contemporain zainichi : le « corps asiatique ». Après avoir circonscrit le champ d’analyse couvert par ce terme, notre étude formule la problématique suivante : par quels moyens ce « corps asiatique » s’affronte, dans la littérature de Yang -Dite zainichi-, au dépassement de l’ère coloniale et post-Coloniale au Japon ? Au cours de cette étude, nous recourrons à l’intertexte de la littérature maghrébine d’expression française (de Azouz Begag en particulier) lu comme dans un miroir. La première partie cartographie les contextes socio-Historiques de ces deux populations diasporiques, formées de décolonisés -Zainichi au Japon et Français issus de l’immigration maghrébine en France- apparues au siècle dernier, ainsi que le processus de formation des catégories littéraires associées à ces populations. Ensuite, nous entrons dans la profondeur du corpus, en abordant la manifestation de la subjectivité des (ex-) colonisés en tant que corps asiatique, à l’aide de l’épistémologie de Mikhaïl Bakhtine. La troisième partie enfin, est consacrée à une nouvelle lecture de ces œuvres, en établissant un lien entre le thème littéraire du parricide et le « corps asiatique ». Fils du Japon post-Colonial, Yang Seog-Il désire éliminer et dépasser un père tant filial que symbolique. Cependant, sa tentative de dépassement qui se veut passer par la féminisation de ce « corps asiatique » nous invite à effectuer une ultime lecture sous l’angle de la critique féministe post-Coloniale, pour en dévoiler les restes de rapports de domination. / In the context of post-Colonial Japan this dissertation attaches itself to explore the concept of a contemporary writer, a so-Called Zainichi: Yang Seog-Il’s “Asiatic body”. Having defined the field of interpretations covered by this term, our central question will be: in Yang Seog-Il’s literature how is the “Asiatic body” engaged in a process of overcoming this colonial and post-Colonial era? While reading Yang’s works, we shall use as an intertext and a mirror, some literary cases of contemporary francophone North African descendant writers (especially Azouz Begag’s texts). The first part shall map the socio-Historical context of these two diasporic populations (the Decolonized Zainichi in Japan and the Descendant from North African immigrants in France), that appeared in the last century, and in the same time, the birth of their so-Called post-Colonial literature. In the second part, we intend to make an in-Depth interpretation of our corpus, in taking up the manifestation of subjectivity of the (ex) colonized as the “Asiatic body”, using the Mikhaïl Bakhtine’s epistemology. The third part at last is devoted to a new reading of the literary works we are interested in: by establishing a link between the parricide as a literary theme and the “Asiatic body”, the wish of the son of post-Colonial Japan, Yang Seog-Il, to eliminate the father appears to renegotiate symbolical aspects that must be analysed. Hence, the feminization of the “Asiatic body” undertaken by Yang has to be read under the light of a feminist post-Colonial criticism that might uncover new themes of domination.
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La perception de la Nature dans Le Roman de Tristan et Iseut : Étude écocritique comparative entre la composition de Joseph Bédier et ses sources médiévalesHedenmalm, Li January 2019 (has links)
Ce mémoire est une analyse comparative écocritique entre Le Roman de Tristan et Iseut, composé par Joseph Bédier en 1900, et ses sources médiévales principales : les poèmes du XIIIe siècle de Béroul, de Thomas d’Angleterre, d’Eilhart d’Oberg et de Gottfried de Strasbourg. L’objectif principal de notre étude est de chercher à savoir si la perception de la Nature dans le roman de Bédier diffère de celle des textes médiévaux. Pour atteindre ce but, nous dirigeons notre attention sur les descriptions des paysages sauvages et sur les épisodes où les forces de la Nature semblent influencer le déroulement des évènements du récit. Nous analysons ces passages, et nous les comparons avec les descriptions correspondantes tirées des sources de Bédier. Nos résultats montrent que, même si la représentation de la Nature est chez Bédier loin d’être unilatérale, elle témoigne généralement d’une vue plus positive de la nature sauvage par rapport aux textes médiévaux. De ce fait, le roman de Bédier s’éloigne de la tradition médiévale, qui consiste à voir les environnements sauvages comme étant inhospitaliers et périlleux, et s’approche plutôt de la tradition romantique qui célèbre les merveilles de la Nature. / This essay is a comparative ecocritical analysis of The Romance of Tristan and Iseult, composed by Joseph Bédier in 1900, and its principal medieval sources: the thirteenth-century poems of Béroul, Thomas of Britain, Eilhart von Oberge and Gottfried von Strassburg. The overall aim of the study is to investigate how the perception of Nature in Bédier’s work differs from that in the medieval texts. To meet this aim, we turn to the textual descriptions of wild landscapes and the episodes where the forces of Nature seem to have a powerful influence on the unfolding of the events in the story. These passages are analysed and compared with the corresponding descriptions in Bédier’s sources. Our results show that, while Bédier’s portrayal of Nature is by no means one-sided, it generally displays a more positive view of Nature and wilderness than the medieval texts. In this regard, Bédier’s novel moves away from the medieval tradition of imagining wild environments as inhospitable and perilous and approaches the romantic tradition of celebrating the wonders of Nature.
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"Infinite Earths": Crossmedia Adaptation and the Development of Continuity in the DC Animated UniverseNader, Alexander C. 25 February 2015 (has links)
No description available.
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INTERTEXTUALIZAÇÃO NA OBRA DE MARINA COLASANTI: O TEAR E O TECIDOCosta, Ivonete Ferreira da 23 March 2016 (has links)
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Previous issue date: 2016-03-23 / The text brings the analysis of aspects of the literary discourse as the processes of
construction of the scenes and the magical universe, in which the narratives of
Marina Colasanti are realized, having as it shows the tales of the works Doze reis e a
moca no labirinto do vento (2006): "The woman ramada", Uma ideia toda azul
(2006): "Beyond the frame", "Between the leaves of green ó" and "Yarn after yarn".
The general and specific objectives are to highlight and distinguish the
encompassing and generic scenes present in the narratives, to identify the nature of
the verbal sign in its relation to the nonverbal sign, and to analyze intertext
resources, paratext, among others, as an artistic procedure. The narrative plans are
approached, in which the characters are realized mimically, starting from the initial
assumption formulated by Dominique Maingueneau. Non-verbal language is an
invitation to read verbal language and vice versa. Both are associated with the signs
that are constructed through the textual writing: loom and fabric. They can be seen
now either explicitly or implicitly, and put in the service of a power that is realized by
the act of reading. Thus, in the narrative text, there are traces of a speech in which
the text is staged. / O texto traz a análise de aspectos do discurso literário como os processos de
construção das cenas e o universo mágico, em que se realizam as narrativas de
Marina Colasanti, tendo como mostra os contos das obras Doze reis e a moca no
labirinto do vento (2006): “A mulher ramada”, Uma ideia toda azul (2006): “Além do
bastidor”, “Entre as folhas do verde ó” e “Fio após fio”. Os objetivos geral e
específicos são destacar e distinguir as cenas englobante e genérica presentes nas
narrativas, identificar a natureza do signo verbal na sua relação com o signo não
verbal e analisar recursos de intertexto, paratexto, entre outros, como procedimento
artístico. Abordam-se os planos narrativos, nos quais se dá a realização dos
personagens mimeticamente, partindo do pressuposto inicial formulado por
Dominique Maingueneau. A linguagem não verbal é um convite à leitura da
linguagem verbal e vice-versa. Ambas se associam aos signos que se constroem
por meio da escritura textual: tear e tecido. Elas podem ser vistas ora de modo
explícito, ora implícito, e se colocam a serviço de um poder que se realiza pelo ato
de leitura. Assim, no texto narrativo, há rastros de um discurso em que o texto é
encenado.
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