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Ce mémoire prend comme point de départ la préface des Rougon-Macquart d’Émile Zola, où l’auteur explique que la chute du Second Empire lui a fourni le « dénouement terrible et nécessaire de [s]on œuvre ». L’objectif est de voir dans quelle mesure une telle caractérisation peut s’appliquer à la fois à la représentation du contexte historique et au dénouement de l’intrigue romanesque dans les scènes finales de onze des vingt romans du cycle. La démonstration est divisée en trois parties : il s’agit d’abord de démontrer comment le contexte historique est mis en récit sous la forme du dénouement dans les romans, ce qui permet de relever leur caractère répétitif et anticipatif. Cette définition permet ensuite de qualifier l’aspect terrible des dénouements historiques et romanesques, …
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In the battle between Dreyfusards and anti-Dreyfusards, editorial milieus played a decisive role and influenced the terms of this polemical debate. Given that Dreyfus supporters were on the margins of the mainstream press and a minority in the realm of public opinion, they acquired independent publishing structures which provided them with full freedom of expression. These editorial structures allowed the Dreyfusards to oppose virulent anti-Dreyfusard caricatures and articles with books, essays in which they could deploy reasoned responses. Whereas Pierre-Victor Stock committed his publishing house wholeheartedly to the battle for the re-trial of Dreyfus, Peguy would, for his part, push to the extreme the political ideal that he defended throughout the Affair. His Cahiers de la Quinzaine, created according to a socialist ideal and without any concern for profitability, would enable him to continue to pursue his vision, his memory and his theory of Dreyfusism through to the end.
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A book trailer is an advertising tool designed on the model of the movie trailer: a short, recorded video aimed at introducing and promoting a book. Some teachers use the book trailers as a didactic device for the teaching of literature in order to achieve various educational and pedagogical goals. We propose to examine what becomes of the literary works in the book trailers. Our hypothesis is that the tool itself determines how learners represent the texts studied in class, due to the device's multimodal and digital nature, the result of an adaptation process, due also to its brevity and its original advertising function. The analysis of the data collected in two classes of French high school shows that the use of the book trailers results in a reconfiguration of the literary texts. This reconfiguration operates in terms of registers and genres and directs the appropriation by the readers of the literary works, and the expression of this appropriation, towards their spectacularization.
Keywords: bandes-annonces littéraires, didactique de la littérature, dispositif numérique, multimodalité, transposition intermédiatique, book trailers, literature didactics, digital device, multimodality, transposition
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AbstractBetween may 1856 and March 1858, a profusion of previously unpublished studies on Honoré de Balzac appears, which set themselves apart from the personal accounts and the biographical critiques—those of contemporaries who were acquaintances of the great man and who aggrandize themselves after his disappearance by saying that they knew him well. If we can affirm that a revolution occurred in August 1850 on Balzac's tomb that affects the appropriations of his works as much as it affects the global discourse on the genre of the novel and its ennoblement, we can also add that the plurality of discourses that apply to the author of La comédie humaine seven years later (while Flaubert and Baudelaire are charged for moral and religious offenses) allows us to rearticulate the tensions between romanticism, realism, and naturalism, between romanticism and modernity.
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ABSTRACTThis article deals with the presence of "fictitious screenplays" in the novels The Kiss of the Spider Woman by Manuel Puig (1979) and Une histoire de coeur by Jacques Savoie (1988). Writing is approached here in the sense of a visual text addressed at a reader/spectator, as are screenplays and film criticism. At stake is the matrix of visual texts and what produces them : a febrile activity, bifocal in character, simultaneously evincing suggestion and absence, fulfillment and replacement, a dynamic of traces and memories.