Documents found
-
242.
-
245.More information
Ce mémoire est une étude de la notion de poéticité dans la chanson. Nos recherches abordent le poétique d'un point de vue rhétorique afin de montrer les effets produits par le poétique dans l'ensemble de ce qui compose l'univers d'une chanson. Pour ce faire, notre analyse prend en considération tous les éléments de la partition musicale qui entrent en relation avec des éléments linguistiques. Ce mémoire fait l'analyse de chansons tirées du corpus francophone québécois et dont les textes ont pénétré la mémoire collective. La proposition sur laquelle se base l'analyse des ces chansons est que les éléments poétiques d'une chanson se mettent au service d'un processus rhétorique comprenant tous les éléments qui composent l'univers d'une chanson, c'est-à-dire le texte et la musique, mais également …
-
248.More information
A rereading of the Roman de la rose or Guillaume de Dole (1212-1214) reveals that contrary to what is commonly advanced, this lyrical poetic narrative achieves objectives that far exceed a compilation of songs embroidering a storyline. Instead, a methodical examination of this epic laisse and the 46 lyrical fragments inserted therein shows a forceful counterpoint of invention vying with the conservation and monumentalization generally associated with an “anthology.” Indeed, several exemplary pieces stand out from the pack and inspire a closer look at the medieval frontiers of different imitative practices. In the absence of any other manuscript, the thematic, stylistic and formal analyses of the song which the author attributes to “Gautier de Saguies” and the laisse that he claims is borrowed from Gerbert de Metz tend however to suggest that the romancier has succumbed to the temptation of pastiche.
-
249.More information
During the Congolese transition towards democracy, there has been a rebirth of song as a mirror of current events. Whether traditional, religious, worldly, or popular, songs are omnipresent at political gatherings of ail sorts. As a kind of enacted rite of passage, they allow political battles to be ritualized. The social religious song has taken up a considerable amount of space in this renewal. Its use of politics has, surprisingly, made it even more popular than the modem Congolese song. Collective tasks at hand, the poverty of the nation, changes in ethics and mores, political confrontation, demands for human rights and democratic values are all themes that songs of the transition period have broadly covered. Analysis of the songs shows that the language used is often metaphorical. What cannot be said outright is signified indirectly, and the technique of retrogression occurs frequently. This use of song shows that those who work in the industry have become aware of the social role that is incumbent upon them. The repertoire and its utilization allow the people and the artistes to appropriate a new framework for understanding society in the past and organizing society in the future.
-
250.