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Wyświetlanie 1-4 z 4
Tytuł:
Conflits et tension dramatique dans le roman d’amour L’exemple d’Orgueil et préjugé de Jane Austen
Autorzy:
Filteau, Claude
Powiązania:
https://bibliotekanauki.pl/articles/701190.pdf
Data publikacji:
2012
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Opis:
Since Jane Austen’s Pride and Prejudice, a conflict between protagonists appears to be the main event in a love novel. A crisis that such conflict results in is a source of narrative tension. Because the reader cannot anticipate the outcome of the crisis, it creates considerable suspense. The polemical confrontation, however, is mainly a dialogical component of the narrative. What Penelope Brown and Stephen Levinson call “face threatening acts” can explain the verbal strategies and emotional reactions of the heroes during their confrontation. Nonetheless, the conflict also shows that emotions rely on a particular experience of space that generates anger or fear. Depending on the context, the expression of gratitude as a polite gesture or as a way of recognizing the merit of others seems the only ethical strategy capable of ending the conflict in Jane Austen’s novel. Key words: Narrative conflict, face threatening acts, narrative tension, love novel, Jane Austen.
Źródło:
Romanica Silesiana; 2012, 7
1898-2433
2353-9887
Pojawia się w:
Romanica Silesiana
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Le crime du comte Neville d’Amélie Nothomb ou le roman familial d’une névrosée
Autorzy:
Hastings, Valerie
Powiązania:
https://bibliotekanauki.pl/articles/700489.pdf
Data publikacji:
2017
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
patricide
infanticide
autofiction
origins
novel
Opis:
The Crime of Count Neville is primarily a story of a complex father–daughter relationship, culminating in the attempted murder of the count’s daughter by her own father. Infanticide is inevitable for Sérieuse, which parallels the mythological story of Iphigenia. But Nothomb also develops on an extra-diegetic level, as the meta-narrative of the genesis of the Freudian Family Romance or the Novel itself. Between the concepts of “bastard” and “foundling,” this novel contains many autobiographical elements and borrows from other literary works, most noticeably from Oscar Wilde’s collection Lord Arthur Savile’s Crime.
Źródło:
Romanica Silesiana; 2017, 12
1898-2433
2353-9887
Pojawia się w:
Romanica Silesiana
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
« Adieu, les résolutions! » — ou plutôt au revoir et à bientôt La fascination ambiguë de la transgression itérative dans le roman La coscienza di Zeno d’Italo Svevo
Autorzy:
Kauß, Anja
Powiązania:
https://bibliotekanauki.pl/articles/700611.pdf
Data publikacji:
2010
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Opis:
The article investigates into the conflict of virtue and ‘pleasure principle’ in Italo Svevo’s novel La coscienza di Zeno (1923). Throughout his life, the main character of this novel, Zeno Cosini, sees himself confronted with the demand of leading a virtuous life corresponding to the definition given by his social environment. Engaging himself into this project with resolutions which are equally categorical, firm and ready to be turned round to their opposite, more pleasant side, Zeno Cosini denies his inevitable progression on the slippery slope, his resolutions providing the promising basic condition for his various forbidden pleasures, which at the same time allow him to fathom out the borders and limits of good and evil. The more he digresses from his aim, the more he insists on increasingly exacerbated resolutions, for his emphatic obstinacy concerning his project of being “actively virtuous” allows him to indulge more and more in iteratively “last” deviations from his project which is obviously far beyond his possibilites. Nevertheless, Zeno Cosini manages to wash his hands off by making a virtue out of necessity. Thus, strokes of fate (for instance being diagnosed as having a mortal disease) appear to him as a relief or a blessing, and, looking back, he uses his entire life failure as a shelter from further demands of “reason”. In order to justify (also to himself) his recidivous existence, Zeno Cosini pleads the apparent powerlessness of the modern individual in the face of life which appears to him as per se contingent, ambivalent and full of imponderabilities. He thus delegates the moral responsibility to life itself which he judges to be “original”. From this point of view adapted cynically to his needs, Zeno Cosini realizes that what can be conceived as an “illness” is by no means his vice, his recidivism or his bad conscience, but life itself - which can be catered for with a great deal of good will, analyzed and fathomed out conscientiously via transgression - according to him, is nothing but a manifestation of illness - moreover, an incurable and mortal one - for which there is no remedy, but which can at least be truffled with transgressions. Key words: Transgression, contingency, ambivalence, irony.
Źródło:
Romanica Silesiana; 2010, 5
1898-2433
2353-9887
Pojawia się w:
Romanica Silesiana
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
L’esthétique de la lettre dans le roman et dans la peinture du XVIIIe siècle ou la représentation de la scène de lecture et d’écriture
Autorzy:
Rabsztyn, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/701045.pdf
Data publikacji:
2008
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Opis:
One cannot question the fact that a motif of a letter occupies a very significant position in the eighteenth century French paintings and literature. Although the motif of a woman reading a letter was used much earlier by the Dutch painters such as Vermeer, there are also many eighteenth century French painters (Raoux, Fragonard, Chardin or Pierre), who show women devoted to this particular activity. Thus, the popularity of letters in literature and art results from an important role correspondence played at that time. This paper emphasizes the description of a process of writing letters by a protagonist and its further influence on the receiver’s emotional and physical state of mind and body. Letters comprise a source of pleasure for both - a writer and a reader. In painting, a letter serves as the key to the interpretation of a painting, though its content is neither revealed nor comprehensible. The way of presenting characters and space, and a central position of a letter in the considered paintings may determine the interpretation - it can be treated as a signal of a relationship between lovers or its reminiscence. Considering the intimacy of the presented scene and a confidential character of a love letter, the canvas can differently predispose the receivers and make them think about sentimental intrigues. Key words: Epistolary esthetics, reading scene, writing scene, Enlightenment’s paintings, Enlightenment’s novels.
Źródło:
Romanica Silesiana; 2008, 3
1898-2433
2353-9887
Pojawia się w:
Romanica Silesiana
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-4 z 4

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