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The Global ETD Search service is a free service for researchers
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Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 31 to 34 of 34 (0.027 seconds)| 31 |
Du récit fictif au journal personnel : l'itinéraire de Jacques de Bourbon Busset : étude de deux cahiers inédits / From fictional account to private diary : the route taken by Jacques de Bourbon Busset : study of two unpublished cahiers (notebooks)Charmet, Bernadette 05 July 2017 (has links)
S’il est devenu aujourd’hui assez courant de s’intéresser à la genèse d’écrits littéraires divers, il est un genre qui ne semble guère se prêter à ce genre d’approche : le journal personnel. Écriture au jour le jour, écriture a priori spontanée semblant exclure tout brouillon, toute préparation autre que mentale, on ne voit pas bien comment on pourrait en suivre la genèse. Or les Cahiers de Jacques de Bourbon Busset que nous publions ici apportent un démenti éclatant à de tels préjugés : pendant six ans et demi, d’août 1958 à décembre 1964, l’écrivain, qui a déjà publié plusieurs récits, va s’interroger très longuement sur ce que doit être son œuvre essentielle, qu’il estime ne pas avoir encore écrite. Et ces Cahiers montrent en particulier comment, peu à peu, il évolue, abandonnant l’idée d’écrire un grand roman, puis un livre d’essais, puis un grand récit autobiographique, pour accepter finalement l’idée que l’œuvre essentielle qu’il doit écrire est son Journal, Journal qu’il publiera effectivement pendant vingt ans. Comment arriver à accepter cette idée quand on déteste l’anecdotique, la complaisance, le narcissisme et quand on refuse de prendre soi-même la parole dans ses livres ? / Although it has now become quite common to study the origins of various literary works there is one genre which would not appear to be suited to this type of approach: the personal diary. Entries are written day to day, the writing is, in principle, spontaneous, and would appear to exclude any kind of rough draft, any kind of preparation other than mental. It is difficult to see, therefore, how its origin can be tracked. And yet the Cahiers written by Jacques de Bourbon Busset that we are publishing here refute such prejudices completely: for six and a half years, from August 1958 to December 1964, the author, who had already published several books, was to ask himself at great length what his essential work was to be, work that he believed he had not yet written. And these Cahiers demonstrate specifically how he gradually evolved, abandoning ideas of writing a great novel, then a book of essays and then a major autobiographical account, before finally accepting the idea that the essential work he had to write was his Journal or private diary, a Journal that he actually published over a period of twenty years. How did he come to accept this idea when he hated all things anecdotal, self-indulgent or narcissistic and when he refused to speak in the first person in his books?
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Postglazialer Anstieg des Meeresspiegels, Paläoklima und Hydrographie, aufgezeichnet in Sedimenten der Bermuda inshore waters / Postglacial rise of sea level, palaeoclimate and hydrography, recorded in sediments of the Bermuda inshore watersVollbrecht, Rüdiger Dr. 13 January 1997 (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)
Submitted by admin tede (tede@pucgoias.edu.br) on 2016-12-12T17:45:59Z
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IVONETE FERREIRA DA COSTA.pdf: 1144206 bytes, checksum: 112aea88b52fbaed3f56007447beaf47 (MD5) / Made available in DSpace on 2016-12-12T17:46:00Z (GMT). No. of bitstreams: 1
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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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Městské lázně / The Municipal BathsAdamsonová, Kristína January 2010 (has links)
ARCHITECTURE The centre and entrance point for atrection a relx is terace with pool, with corridor to cafe and skylights that leads to reception. Around this atrium, there is a ramp, rising up. Pools are not see n ko the screens are individual attractions, atmosphere. The height change of each pool, sauna and whether this involves physical effort is rewarded with open views to the surroundings and relax themselves. Entering the building through a covered, but bright bay, passage is a continuation of the street fishing. Thus the very end of the reception side. Thus eliminate the problem of a parcel which is like a scene out of town. Layout In the passages suggest leaving the car park, Kafe-bar with a simple menu and fresh multifunctional workshop, creative playground. It is known fact, that in the old spa locations to find valuable pieces of pottery, small painting and sculpture and other artifacts that speak of links with the vivacious work, relax, relax with a manual and spiritual. This room will also serve as a nursery for parents resting in the spa, in the specified date and time. Upon entering the spa itself, the reception with high ceilings and skylights from the terrace, the visitor to the issue of changing rooms with bathroom facilities. Consequently, the choice whether to receive the attractions, or go down to the fitness center or gym. Another option is to move the spa itself. In the direction from the top down it is pliable dough, the blood will get the opposite route, in which the visitor shall issue a physical effort. 2np In addition to coffee for guests only and exit to the terrace, and massage booths are located. Much of the area occupied by the technical room, spa bath as well as administration. On the next floor guest vystkytne a larger foyer, drinking KURO room and swimming and first aid. Glass facades can be glanced only in forests of the Riviera, but the atrium, with an outdoor terrace and heated swimming pool at all times. Foyer is the actual beginning of the journey. The first ramp is rising just from my father. All the dark hallway, followed by a bright and translucent glass facades. The key is just a wall bordering the ramps and a few additional columns for the perimeter of the building. About half a meter above (and always rises only about 500 mm, the gradient of 1:16 to 8 meters length), the visitor gets to the first pool. Sunny southern facade is designed as a double, at this point is the greenhouse, it is no wonder that the first two pools are linked to breathing, inhalation, nature herbs. The hall (+7400) is glass mat glass sanitary unit consisting of two toilets, toilets for disabled people and installation bay. On one front wall of the shower. This element is repeated, the cabin is only 2.6 meters high (sv room is 3.65 meters), it was acting to hinder lightweight and transparent. On the left side counterclockwise overcomes next ramp stages. Pools are right to counter a výrivý. In this part of the facade facing the street catchment area, the intersection of fishing and of 8 m of pools have already seen the two interface Brno: Petrov and Špilberk. There is also a visitor gets to escape-connecting staircase. Possibility of shortening the path to the sauna is right here. The following pool of options in turn draws the double facade. Studenúuvodu make cold, shielded, north-facing environment. Hot pool at a height level of hygiene cab ...
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