Littérature scientifique sur le sujet « Paralittérature »
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Articles de revues sur le sujet "Paralittérature":
Capitanio, Sarah. « Paralittérature ». Modern & ; Contemporary France 2, no 1 (janvier 1994) : 42–67. http://dx.doi.org/10.1080/09639489408456158.
Andrès, Bernard. « Édition, mouvements littéraires et paralittérature ». Voix et Images 20, no 1 (1994) : 237. http://dx.doi.org/10.7202/201156ar.
Spehner, Norbert. « Paralittératures. Les indispensables (une bibliothèque de référence) ». Outils 30, no 1 (12 avril 2005) : 119–30. http://dx.doi.org/10.7202/501193ar.
Yoka, Lye M. « La Littérature Musicale Congolaise : La Fête Des Mots ». Afrika Focus 31, no 2 (26 février 2018) : 165–71. http://dx.doi.org/10.1163/2031356x-03102012.
Bleton, Paul. « Un modèle pour la lecture sérielle ». Le récit de fiction et son lecteur en culture médiatique 30, no 1 (12 avril 2005) : 45–55. http://dx.doi.org/10.7202/501187ar.
Bleton, Paul. « Services secrets québécois. Les espions de la paralittérature des années 1940-1960 ». Études 18, no 1 (30 août 2006) : 118–41. http://dx.doi.org/10.7202/201004ar.
Pons, Christian-Marie. « L’illitérature en images ». Études littéraires 30, no 1 (12 avril 2005) : 97–104. http://dx.doi.org/10.7202/501191ar.
Boyer, Alain-Michel. « « Monsieur Poirot, qu'attendez-vous pour abattre vos cartes ? ». Les fondements ludiques de la paralittérature ». Littérature 68, no 4 (1987) : 3–25. http://dx.doi.org/10.3406/litt.1987.1438.
Chazal, Serge. « Meurtre et sérialité : l’émergence du serial killer dans la culture médiatique américaine ». Thèmes, types et écriture dans la culture médiatique américaine 30, no 1 (12 avril 2005) : 71–79. http://dx.doi.org/10.7202/501189ar.
Gonon, Laetitia, Vannina Goossens, Olivier Kraif, Iva Novakova et Julie Sorba. « Motifs textuels spécifiques au genre policier et à la littérature « blanche » ». SHS Web of Conferences 46 (2018) : 06007. http://dx.doi.org/10.1051/shsconf/20184606007.
Thèses sur le sujet "Paralittérature":
Tremblay, Danielle. « Un cas québécois de paralittérature : Aurore l'enfant martyre (1921-1936) ». Mémoire, Université de Sherbrooke, 1987. http://hdl.handle.net/11143/10003.
Pastureau, Jean. « La société française à travers la paralittérature de 1945 à 1968 ». Paris 3, 2005. http://www.theses.fr/2005PA030134.
This monumental thesis sets up the portrait of French society, from thousands of detective, spy or science fiction novels, romances, songs, comic - the whole french paraliterature in its golden age - between two pregnant dates of economical and cultural mutations. The first part collects the differents components (work classes, landscapes, institutions, family, economy, history) which settle and show this society ; the second part analyses the rites, mythes, dreams and fears which are a projection of it. Denying resolutely any critical or ideological intention, and chiefly any comparison with the true country, the author lets paraliterature only - stories, men and words sprung out of the works - paint and judge that France of that time
Rojas, Juan Sebastian. « Littérature mineure et paralittérature chez Cortázar, Eco, Tchak, Volodine, Bolaño, Mussa et Fforde ». Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100041/document.
Some works of Roberto Bolaño, Antoine Volodine, Sami Tchak, Umberto Eco, Alberto Mussa, Jasper Fforde and Julio Cortázar are founded on the mixture between scholar literature and paraliterature. This reunion between those two genres reveal a particular way to approach the minor literature. We consider the expressions of the minor as spaces of experimentation and of commentary about literature. Well-known paraliterature experts, the authors of the corpus take over its codes to immediately transgress them and add into them elements of commentary about the literature, that they found in the paraliterature a territory of expansion perfectly free. Because this mixture is a set up game between the well-known, figured by the codes of the paraliterature, and the unknown, that reside in the side of the commentary about the literature. Thus, these writers deal with gaps and absences of literary history, of which this one doesn't recognize or ignore, as much as it rejects. This thesis is dedicated to the study of those authors opening to a new way of Minor Literature
Legros, Sarah. « Entre "littérature" et "paralittérature" : lecture d'une polémique autour de deux romancières mexicaines, Ángeles Mastretta et Laura Esquivel ». Tours, 2004. http://www.theses.fr/2004TOUR2016.
At the end of the 80s and the beginning of the 90s, two young Mexicans -Ángeles Mastretta and Laura Esquivel- found themselves, with their respective novels (Arráncame la vida and Coma agua para chocolate), in the midst of a controversy in their country. The debate, which turned around the traditional opposition between "literature" and "paraliterature", was much written about but it is interesting to note that although the two works were the subject of some studies, none dealt with the controversy itself. Yet, as Hans Robert Jauss points out in his work "Pour une esthétique de la reception", "the historic effect of works", the history of their public reception -particularly that of works that cause a stir-can be very revealing. . . . So, it is the works' reception, and the controversy they gave rise to, that concerns us here, not forgetting the lessons given to us by Roger Chartier and D. F. McKenzie, those bookmen who taught us that a text never comes to its reader alone, and that the reader never reads a completely unknown piece
Vary, Véronique. « Interactions entre les romans américains et français et la culture de masse (1929-1981) : un thème commun la grande ville, deux champs d'exploitation Paris, New York ». Paris 3, 2004. http://www.theses.fr/2004PA030101.
Since the nineteenth century, mass cultural production has, together with so-called « recognized » literature, made up a dual system. Variously called popular fiction, leisure and escapist literature or mass-produced literature, it is defined as « the Other ». Yet, what basically characterizes mass cultural production is its being at the centre of a whole, the two elements of which are interdependent. In the post-modern era it questions the very essence of fiction and the concept of literary art. A fact was established and led to the demonstration : mass-culture is linked to the development of « la grande ville ». The latter is made obvious through texts of varied nature and origins : police/detective thrillers (by G. Simenon, L. Malet, J. -P. Manchette, D. Hammett, C. Himes and J. Charyn, six French-writing and American authors chosen as representing the diversity of the genre), and a wide-range of other texts (« serious » or « recognized » novels, films, comic strips, etc. ) - all of them offering an insight into Paris and New York (two examples of the « modern city ») within the years 1930 - 1980. Then it became possible, using a theme-based method, to bring out the similarities and the contrasts between those texts. That is achieved first by means of a « structural » analysis of the rhetorical effects of spaces in a genre the narrative arrangements of which follow strict rules. We can then apply a sociocritical approach, as well as mythocritical focus and psychoanalytical study to examine the ideological polarisation and the reader’s identifying himself to the characters found in texts representative of mass culture
Benhaïmouda, Miloud Pierre. « Formation du roman policier algérien : 1962-2002 ». Cergy-Pontoise, 2005. http://biblioweb.u-cergy.fr/theses/05CERG0229.pdf.
. . . After a presentation used to determine the various patterns of detective novels (whodunit, thriller, shocker, inverted novel, police procedural novel, spy novel, etc. . . ) and to describe the subdivisions of the detective gender, the method and the hypothesis, our study consists of three parts :The first part titled “ Background and rise of the Algerian detective novel “ tackles in two chapters, the social, historical environment _in which this particular writing develops. The second part, “The spy and detective novel”, methodically examines Algerian detective tales stricto sensu and explores the attractive junction between war novels and thrillers. The third and last part, titled “The hard-boiled novel”, ( the most extended, nearly three hundred pages ), searches the most valuable works of crime literature by famous writers as: Yasmina Khadra, Catherine Simon, Abdelkader Djemai, Azouz Begag, Francis Zamponi, Didier Daeninckx, Francois Muratet, Lakhdar Belaid, Boualem Sansal, Rahima Karim, Charaf Abdessemed. The analysis of this literary fiction is not only elaborated for itself, unnecessary , but in reference with the meanings it shows concerning Algerian and French societies, their common histories and memories. All along our study, we have been led to consider the political control (official or hidden), the reader's stimulus (almost absent in Algeria), and the edition and press's influence. More than a simple compilation, our work can be seen as an insightful reflection on the link between literature and society
Argod, Pascale. « Le carnet de voyage : approches historique et sémiologique ». Bordeaux 3, 2009. https://hal.science/tel-04218581v1.
An attempt to define the hybrid genre “travel sketchbook” between a documentary and a artist book from an overview of the current edition (800 titles in the corpus) and from an semiotic and historical research influenced by the arts and humanities originated from a mixture of genres. The history of painting, as literacy works and cultural studies central to graphic arts and anthropology can best be articulated as a minor artistic genre in the media and editorial and media sectors related to the development of watercolour and educational travel experiences, increasing enthusiasm for tourism and exotic illustrations and covering comic strips most recently an interest in blogging and audio-visual documentaries. The graphic reports, or life drawings, lie between an ethnographic perspective and an exotic look, between an objective and a subjective view, between a documentary and a work of art. This is a mixture of genres, collage crossing of fine arts, mixed-media and the meeting of two cultures studied by the semiotics. The search for a typology that has been published reveals the limitations and generic features as indefinite; it is the subject of hybridisation, artistic movement and media influence. This is conductive to communicative and educational development, around the concepts of intercultural mediation and vision of others across geopoetics. Through this educational tool, visual and plastic arts serve education and personal creative expression to promote education to intercultural and citizenship
Duvezin-Caubet, Caroline. « Dragons à vapeur : vers une poétique de la fantasy néo-victorienne contemporaine ». Thesis, Université Côte d'Azur (ComUE), 2017. http://www.theses.fr/2017AZUR2023/document.
Fantasy became an official genre of speculative fiction with J.R.R. Tolkien’s work, while the neo-Victorian novel emerged in the 1960s as a contemporary rewriting of the historical and literary canon of the nineteenth century: where the two meet, the steam dragons of neo-Victorian fantasy take flight. At the crossroads of several genres and sub-genres, it is a literature of paradoxes, caught between progress and regret, speculation and nostalgia. The Victorian era was the setting of fantasy’s first birth in the 1890s, and it also witnessed the appearance of several types of genre fiction and speculative fiction (the detective novel, the fantastic, horror and science-fiction) which grew out of the eighteenth-century Gothic novel. The family tree of speculative fiction needs to be laid out if one is to understand hybrid contemporary genres like urban fantasy and steampunk, which comprise most of neo-Victorian fantasy. The taxonomy itself serves to explore the poetical and political dimension: we strive to define the precise meaning of the prefix neo- and distinguish the moments when the neo-Victorian becomes neo-Conservative. What kind of commitment does neo-Victorian fantasy enact, as a type of literature anchored in the present, which interrogates and transforms the Victorian past? From travels on dragonback to the inheritance of the British Empire, from the depths of London to the parallel worlds of alternative history, from zombies to fanfictions, the search for a poetics leads us question the impact that fiction has on our worldview
Torres, Anita. « Promoteurs et écrivains d'un genre littéraire : la science-fiction française ». Paris 8, 1994. http://www.theses.fr/1994PA080973.
French science-fiction is composed of readers, fans, writers who defend differents definitions in relation to this literature. Rival definitions and aesthetic choices are perceivable through magazines, prizes, publishing houses and polemics which organize the circle's life. Writers's aesthetic choices are bent on social and cultural characteristics
Defoix, Benoît. « L'œuvre de Jaime Bayly depuis "No se lo digas a nadie" jusqu'à "Morirás mañana, 2. El misterio de Alma Rossi" : paralittérature ou mise en oeuvre d'un processus de construction personnelle et littéraire par l'écriture ? » Lorient, 2012. http://www.theses.fr/2012LORIL260.
The most frequent reproach opposed to Jaime Bayly's books (Lima, 1965) is that they lack typical literary characteristics, which explains why they are often classified as paraliterature. Yet, the objective of this thesis is to show that this classification can be challenged and must be qualified After shedding light on such terms as « literature » and « paraliterature », the first part of this thesis aims to remind the reader of the literary context in which Jaime Bayly wrote his first books. The study of works by Peruvian authors such as Mario Vargas Llosa and Alfredo Bryce Echenique raises the question of the influence of these writers on Jaime Bayly, as well as how it appears in his books: Is this influence exploited without any distance, or is it also appropriated by Bayly in such varied areas as the political and historical reality of Peru, the presentation of Lima, of its society (in particular with regards to ethnic and sexual minorities)? The influence of two major North-American writers must also be put forward : Brett Easton Ellis and David Leavitt; mostly as concerns the way they deal with homosexuality, drug-addiction, and the characters' idleness. The fact that Bayly's works obviously echo fragments of specific works, if not the entire work, leads us to raise the issue of Jaime Bayly's lack of inspiration. Finally, Bayly's works should not be disconnected from those of other Latino-American writers – not just Peruvians – of the same age. Studying some of their works reveals a certain number of common characteristics and concerns. In this respect, Jaime Bayly's books can boast qualities of which paraliterature is usually deprived. The second part of our thesis will focus on the recurring themes to be found in Bayly's production, as they are usually put forward as excluding Bayly's works from the literary sphere. This intertextuality takes on several forms: anecdotes may be re-used either in a very condensed way, or on the contrary with large developments (the role played by the first three novels is determining). We will underline to what extent the novels may, or may not complete each other; similarly we will study the shortcomings of this technique, which eventually betray the limits of Bayly's creative spirit. The occurrence of biographical elements in Bayly's books leads us to classify the latter not just as fiction, but as autobiographical or personal works. This classification will then allow us to study and give a more comprehensive picture of the tight links that the writer establishes between his personal situation and the act of writing. It is specifically this special relationship which confers a therapeutical, cathartic and balancing effect to Bayly's act of writing. Yet, this dimension should not be over-estimated : non-literary and non-psychological objectives must be mentioned when it comes to justifying the repetition of the same themes. This is when the notion of paraliterature intervenes. From a formal point of view, can any progression be noticed in Bayly's works or are they just attempts which fail to reach a real construction? Some specificities appear (so that these works may be compared to paraliterature); they sometimes expand to such diverse areas as the treatment of the time line, linguistic games, tones (emotion, humor and cynicism mostly), the limited use of description, the treatment of titles and illustrations, but they often expose a lack of originality and inspiration. His works just look homogenous, as will be made clear in the study of the techniques used to identify the characters, as well as the study of some elements of the presentation of the books, of the various literary genres, of the types of narration, of direct and indirect speeches. We will nevertheless expose a certain tendency towards simplicity as regards the structure of the books, the treatment of characters, the narrative rhythm. Moreover, what used to distinguish Bayly's narrative prose – the varied forms of “improvised” narrations – tends to disappear. This evolution downgrades Bayly's works to paraliterature. The study that was carried out will conclude that it is not esasy to define Bayly's works : in some aspects, they may be categorized as paraliterature, and in others, they can only be excluded from this category (it is all the more difficult to make up one's mind as the borderline between literature and paraliterature in very porous) ; in the end Bayly's works are of great interest
Livres sur le sujet "Paralittérature":
Boyer, Alain-Michel. La Paralittérature. Paris : Presses universitaires de France, 1992.
Fondanèche, Daniel. Paralittératures. Paris : Vuibert, 2005.
Trismégiste, Johannès. L' art d'expliquer les songes et les visions noctures ou Dictionnaire des mystères du sommeil : Expliqués par des exemples, tirés des prophètes, des mages, de l'histoire et des oracles les plus célèbres de l'Orient. [Québec ? : s.n.], 1986.
Gorgievski, Sandra. Le mythe d'Arthur : De l'imaginaire médiéval à la culture de masse : paralittérature, bande desinée, cinéma, beaux-arts. Liège : Editions du CEFAL, 2002.
Gorgievski, Sandra. Le mythe d'Arthur : De l'imaginaire médiéval à la culture de masse : paralittérature, bande desinée, cinéma, beaux-arts. Liège : Editions du CEFAL, 2004.
Barbosa, Zé. As bravuras de Roldão e a mala do defunto. São Paulo, SP : Editora Luzeiro Ltda., 2010.
Li, Yiqing. Mu duo : Mu duo. 8e éd. Beijing : Zuo jia chu ban she, 2011.
Kang, Ŭn-mo. Yi Pyŏng-ju sosŏl ŭi taejung mihak. 8e éd. Kyŏnggi-do P'aju-si : Pogosa, 2019.
Colloque international des paralittératures de Chaudfontaine (1st 1987). Actes du 1er colloque des paralittératures de Chaudfontaine, 1987. Liège : Editions du C.L.P.C.F., 1989.
Emeljanow, Victor. Victorian popular dramatists. Boston : Twayne Publishers, 1987.
Chapitres de livres sur le sujet "Paralittérature":
Lapeyre-Desmaison, Chantal. « Rhétorique, fiction et paralittérature (à propos d’Anne Rice) ». Dans L’art et question de la valeur, 195–210. Presses Universitaires de Bordeaux, 2007. http://dx.doi.org/10.4000/books.pub.2612.
Boutin, Jean-François. « DE LA PARALITTÉRATURE À LA LITTÉRATIE MÉDIATIQUE MULTIMODALE ». Dans La littératie médiatique multimodale, 33–44. Presses de l'Université du Québec, 2012. http://dx.doi.org/10.2307/j.ctv18pgvfz.7.