Direkt zur Hauptnavigation springen Direkt zum Inhalt springen

Suchen in GiNDok

Recherchieren Sie hier in allen Dokumenten, die auf GiNDok publiziert wurden.

Letzte Suchanfragen

Ergebnisse für *

Es wurden 36 Ergebnisse gefunden.

Zeige Ergebnisse 11 bis 15 von 36.

Sortieren

  1. Musicality as a force shaping literary works : an aesthetic study
    Autor*in: Saganiak, Magdalena

    Le sujet de cet article est une théorie de l'acte créateur. Un commentaire sur la "Grande Improvisation" ['Wielka Improwizacja'], monologue dramatique tiré des "Aïeux" ['Dziady'] d'Adam Mickiewicz (1798-1855), fournira un exemple de l'expression de... mehr

     

    Le sujet de cet article est une théorie de l'acte créateur. Un commentaire sur la "Grande Improvisation" ['Wielka Improwizacja'], monologue dramatique tiré des "Aïeux" ['Dziady'] d'Adam Mickiewicz (1798-1855), fournira un exemple de l'expression de la force créatrice. Ces réflexions serviront à introduire la thèse suivante sur la nature herméneutique de l'acte de création poétique: au moment de la création poétique, la conscience se développe grâce au pouvoir formateur de l'imagination qui permet aux dimensions sémantique et musicale de l'oeuvre de se manifester conjointement. Pour mieux comprendre cette thèse, nous la situerons dans le contexte de la philosophie allemande et polonaise de la langue et de la poésie (Herder, Novalis, Wilhelm von Humboldt, Friedrich Schlegel, Schelling, Libelt). Nous rappellerons quelques concepts clés: la 'Besonnenheit' (circonspection) de Herder, la 'Selbstdurchdringung des Geistes' (auto-pénétration de l'esprit) de Novalis et l''Energeia' de Humboldt. Tous indiquent que l'âme peut accéder à la conscience grâce à ses propres actes langagiers créateurs et à la construction de formes musicales.

     
    Export in Literaturverwaltung
    Hinweise zum Inhalt: kostenfrei
    Quelle: GiNDok
    Sprache: Englisch
    Medientyp: Wissenschaftlicher Artikel
    Format: Online
    ISBN: 978-3-8498-1647-6; 978-3-8498-1391-8; 978-3-8498-1392-5
    DDC Klassifikation: Literatur und Rhetorik (800); 891.8
    Sammlung: Aisthesis Verlag
    Schlagworte: Romantik; Literaturproduktion; Schaffensprozess; Musik; Ästhetik; Mickiewicz, Adam; Dziady
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess
  2. L'instant musical : poésie et émotions
    Autor*in: Suter, Patrick

    In poetry, music is often mentioned to express emotions, but it also brings poetry back to its source. Through poems by Eichendorff, Droste-Hülshoff, Baudelaire, Verlaine, Lorca, Rilke and Mandelstam, this article examines a deepening of the... mehr

     

    In poetry, music is often mentioned to express emotions, but it also brings poetry back to its source. Through poems by Eichendorff, Droste-Hülshoff, Baudelaire, Verlaine, Lorca, Rilke and Mandelstam, this article examines a deepening of the relationship between poetry, music and emotion, through which poetry discovers itself by being attentive to what is within itself of the order of the musical or the song.

     
    Export in Literaturverwaltung
    Hinweise zum Inhalt: kostenfrei
    Quelle: GiNDok
    Sprache: fra
    Medientyp: Wissenschaftlicher Artikel
    Format: Online
    ISBN: 978-3-8498-1647-6; 978-3-8498-1391-8; 978-3-8498-1392-5
    DDC Klassifikation: Literatur und Rhetorik (800)
    Sammlung: Aisthesis Verlag
    Schlagworte: Lyrik; Musik <Motiv>; Gefühl
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess
  3. Affectivité et thérapeutique de la musique dans "Adriani" de George Sand
    Autor*in: Popic, Lara

    This article explores the relations between affects and music in George Sand's novel "Adriani" (1853). It examines how the figuration of music highlights the importance of emotions, as they shift from aesthetic (admiration) to moral (compassion), in... mehr

     

    This article explores the relations between affects and music in George Sand's novel "Adriani" (1853). It examines how the figuration of music highlights the importance of emotions, as they shift from aesthetic (admiration) to moral (compassion), in her protagonists' moral transformations. However, Sand's transposition of an imaginary musical world in the novel is part and parcel of a much more ambitious project, that of social transformations, notably of relations between the sexes. It is through their dialogue in and via music that her heroes discover each other and themselves, while their intimate trajectories enable the reader to imagine interpersonal relations among equals founded on emotional, intellectual and social reciprocity.

     
    Export in Literaturverwaltung
    Hinweise zum Inhalt: kostenfrei
    Quelle: GiNDok
    Sprache: fra
    Medientyp: Wissenschaftlicher Artikel
    Format: Online
    ISBN: 978-3-8498-1647-6; 978-3-8498-1391-8; 978-3-8498-1392-5
    DDC Klassifikation: Literatur und Rhetorik (800); Literaturen romanischer Sprachen; Französische Literatur (840)
    Sammlung: Aisthesis Verlag
    Schlagworte: Sand, George; Musik <Motiv>; Liebe <Motiv>; Künstler <Motiv>
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess
  4. "A Shape That Matters" : Éluard dans le texte beckettien
    Autor*in: Posse, Bernard-Olivier

    This paper aims to demonstrate the hidden place of the surrealist poet, Paul Éluard, in Samuel Beckett's writing process. It will show that Beckett not only read and translated Paul Éluard, as is known, but also quoted him extensively. Moving from... mehr

     

    This paper aims to demonstrate the hidden place of the surrealist poet, Paul Éluard, in Samuel Beckett's writing process. It will show that Beckett not only read and translated Paul Éluard, as is known, but also quoted him extensively. Moving from Beethoven to the short story "Lessness", the place of quotation as a trace of emotion will be examined.

     
    Export in Literaturverwaltung
    Hinweise zum Inhalt: kostenfrei
  5. Quand l'émotion poético-musicale devient arme de guerre : l'amollissement d'Hannibal dans les "Punica" de Silius Italicus
    Autor*in: Follin, Didier

    If the poet's song is a 'topos' of Greek and Roman epic literature, the poet Silius Italicus renews it by describing the emotional reaction of his audience in depth and by placing it in a transitional moment of his narrative dedicated to the second... mehr

     

    If the poet's song is a 'topos' of Greek and Roman epic literature, the poet Silius Italicus renews it by describing the emotional reaction of his audience in depth and by placing it in a transitional moment of his narrative dedicated to the second Punic war. Tradition from antique historiography relates that Hannibal and his men became "soft" in Capua where feasting, pleasure, inebriation and indolence were common. Yet, Silius Italicus blames Teuthras' two songs for this weakening. This article examines Teuthras' second performance which hides beneath its soft melody a further meaning unintelligible to the audience who cannot escape their emotion. The aim is to reveal how poetical and musical emotion - 'admiratio' - and the weakening of the Carthaginians are structured in term of diegetic, and in the sub- and meta-discourse of Teuthras' second song.

     
    Export in Literaturverwaltung
    Hinweise zum Inhalt: kostenfrei
    Quelle: GiNDok
    Sprache: fra
    Medientyp: Wissenschaftlicher Artikel
    Format: Online
    ISBN: 978-3-8498-1647-6; 978-3-8498-1391-8; 978-3-8498-1392-5
    DDC Klassifikation: Literatur und Rhetorik (800); Italische Literaturen; Lateinische Literatur (870)
    Sammlung: Aisthesis Verlag
    Schlagworte: Silius Italicus, Tiberius Catius Asconius; Punica; Lyrik <Motiv>
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess