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Wyświetlanie 1-2 z 2
Tytuł:
La Caricature littéraire : L’Éducation sentimentale de Flaubert
Literary Caricature: L’Éducation sentimentale by Flaubert
Autorzy:
Guinand, Cécile
Powiązania:
https://bibliotekanauki.pl/articles/483689.pdf
Data publikacji:
2015
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Wydawnictwo Werset
Tematy:
Flaubert
L’Éducation sentimentale
caricature
poetics
satire
polyphony
Opis:
In the fictional universe of L’Éducation sentimentale, caricature is practiced in several ways by some characters who design caricatural portraits, play the role of famous caricatural characters and perform literary caricature in their press releases. Present and produced in the fictional universe, Flaubert also integrates it in the narration. He builds a literary caricature on the basis of graphical caricature. Based on the principle of distance, he highlights the gap between the pretensions of the characters and the paltry result of their efforts. He restores the device of the framework of lithography, in which the figures move like puppets, on the model of ball scenes by Gavarni. He then adds a caption that emphasises their comical scope. Finally, he skillfully practices caricatural portrait on the model of Daumier through the accentuation and reduction of traits. Characters and narrator thus fashion and allow a satirical view of society through the use of caricature. However, Flaubert’s "romanesque" poetics aims not to conclude. As such, the sharp judgment specific to caricature is not satisfactory to him. The author will redirect the intention in the wake of Daumier in order to mitigate its satirical scope and develop its ludic aspect. He will thereby superimpose the different voices of the characters to preserve the narrative’s polyphony. Flaubert as well as Daumier take some distance in order to avoid any definitive moral conclusion.
Źródło:
Quêtes littéraires; 2015, 5; 65-77
2084-8099
2657-487X
Pojawia się w:
Quêtes littéraires
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Caricature textuelle et visuelle française du XIXe siècle. Enjeux sémiologiques d’une analyse icono-textuelle
French visual and textual caricature of the 19th century. Semiological issues in an icono-textual analysis
Autorzy:
Guinand, Cécile
Powiązania:
https://bibliotekanauki.pl/articles/1038061.pdf
Data publikacji:
2020-12-30
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Wydawnictwo Werset
Tematy:
caricature
sémiologie
rhétorique de l'image
textuel
visuel
idéologie
semiology
image rhetoric
textual
visual
ideology
Opis:
Cet article considère la caricature en tant que dispositif icono-verbal qui mobilise des codes culturels partagés. Il montre qu’au XIXe siècle, la caricature visuelle (ici Daumier et Gavarni) comme la caricature textuelle (ici Balzac, Baudelaire, Stendhal, Musset, Flaubert, Huysmans) sont pensées sur le modèle de la scène théâtrale qui joue des riches possibilités offertes par la combinatoire du texte et de l'image au cœur des mécanismes comiques. En effet, invalidant le constat d'un primat de l’image sur le texte (position de Charles Baudelaire) ou inversement du texte sur l’image (position de Roland Barthes), cet article rappelle que le visuel et le textuel assument des rôles fluides et qu’ils se complètent. À ce titre, la consonance ou dissonance entre l'image et son titre/sa légende sont deux types de rapports qui concourent à la naissance du rire comme à la richesse sémantique de la caricature. Cette vision d’un rire procédant avant tout de mécanismes formels pourrait tendre à faire croire que l'évaluation des systèmes de valeur mobilisés est superflue. L'important serait de comprendre et d'analyser, pas de juger. Contre une telle prétention, cet article soutient la nécessité d’ajouter à l'analyse formelle d'une œuvre dans son contexte historique un positionnement éthique face à ses implications idéologiques explicites et implicites.
This article considers caricature as an icono-verbal tool that mobilizes shared cultural codes. It shows that in the 19th century, both visual (in this case, Daumier and Gavarni) and textual caricature (in this case, Balzac, Baudelaire, Stendhal, Musset, Flaubert, Huysmans) were designed based on the model of a theatrical scene which plays on the rich possibilities offered by the combination of text and image at the heart of comical mechanisms. Indeed, invalidating the observation of the primacy of image over text (Charles Baudelaire's stance) or vice versa: of text over image (represented by Roland Barthes), this article posits that the visual and the textual take on fluid roles and complement each other. As such, the consonance or dissonance between the image and its title/legend are two types of relationships that contribute to the birth of laughter as well as to the semantic richness of a caricature. This vision of laughter proceeding above all from formal mechanisms could lead one to believe that the evaluation of the adopted value systems is superfluous. The important thing would be to understand and analyze, not to judge. Against such a claim, this article supports the need to add to the formal analysis of a work in its historical context, its ethical positioning in the face of its explicit and implicit ideological implications.
Źródło:
Quêtes littéraires; 2020, 10; 145-158
2084-8099
2657-487X
Pojawia się w:
Quêtes littéraires
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-2 z 2

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