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AFRIQUE --- GEOGRAPHIE --- POESIE --- AFRIQUE DU SUD --- AFRIQUE DU SUD --- LITTERATURE --- CAPE TOWN --- AFRIQUE --- GEOGRAPHIE --- POESIE --- AFRIQUE DU SUD --- AFRIQUE DU SUD --- LITTERATURE --- CAPE TOWN
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American poetry --- Poets, American --- History and criticism
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Complete poems are bulky and too heavy to carry around. Collected poems pretend to be complete, but usually are not. Selected poems are altogether unpretentious and reader-friendly. But they can be problematic. Who decides what poems are important for inclusion in a volume of selected poems? When the selection occurs during the author's lifetime, may one assume that the author was involved? What motivates the choice of one poem over another? How do readers' preferences influence this choice?...
Poetry, Modern. --- Poetry. --- Modern poetry --- Poetry
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Graphics industry --- anno 1910-1919 --- anno 1900-1909 --- anno 1930-1939 --- anno 1920-1929 --- Art, Modern --- Modernism (Art) --- Literature, Modern --- Modernism (Literature) --- Periodicals --- History.
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Que voit-on dans le miroir aux sorcières ? Quelles sont les images insoupçonnées qui s’y discernent par-delà le cadre conventionnel d’une perspective normée ? Dans la courbure du miroir, on est tenté de repérer les formes connues et d’en restaurer la géométrie familière. Plus complexe est la démarche, commune aux textes de ce recueil, qui consiste à traquer le supplément de connaissance et de vision que le poème au miroir convexe permet d’inclure – ce hors-cadre poétique qui ne doit pas rester relégué dans le non-vu, le non-dit, le non-lu. La tentation révélatoire donne lieu, chez John Ashbery, à une poésie dont la difficulté tient à sa volonté d’embrassement total d’un réel contre-intuitif. Ses poèmes se donnent tous à lire au miroir convexe, tangentiel et déviant, dans la courbure d’un espace-temps qui est autant celui de la science que celui, océanique, des « dangereux rêves de la mer ».
Poetry --- Literature (General) --- poésie --- poème --- analyse littéraire --- étude littéraire --- ouvrage collectif --- autoportrait dans un miroir convexe --- Self-portrait in a Convex Mirror --- embrassement du réel --- réel contre-intuitif
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The first meaning of the word "cliché" is "positive": in typography a cliché is a metal plate upon which an image is reproduced in relief. In photography, however, cliché is a "negative" and, indeed, its most current acceptation is that of commonplace, banality, cultural stereotype, repetition. It makes reproduction possible and authorizes it. Bearing the positive and negative poles in mind, together with the dynamic of their potential inversion, one arrives at the core of the concept of cliché. The aim of the conference was to look at the various forms of manifestation of the cliché as well as the roles played by the cliché in discourse and text, while attending to the relations of the commonplace with banality and violence. As such, it was a logical follow up on our previous reflexion on cultural, historical and textual breaking points ("Usure et rupture").
Humanities, Multidisciplinary --- Literature (General) --- cliché --- stylistique --- stéréotype --- psychologie --- littérature de langue anglaise
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