Search results for "Apollinaire"

showing 7 items of 7 documents

De la performance musicale dans la Guyane traditionnelle : expression cognitive singulière d?une musique-verbe

2021

Guianese culture and traditional music, here evoked, are various. It is more a transcultural process that, along centuries, gave an original result born in the Americas, in Guiana in this case. It is a form of refoundation, of recreation of cultures and new human beings generally called Creoles. The musical performance, that I study here, is the echo of social and cultural space of this reformulation of thought, life, and conception of the world. It is, as well, a mean of transposition and transformation of the values issued of diverse sources and categories. It is in no way a second-rate cultural practice, as it is the place where were born philosophies and actions for common life as well …

as it is the place where were born philosophies and actions for common life as well as for individual life. This organization of the musical experience requires several levels of readings to better understand the underlying performance that is the issue discussed here. What is then the subject of the musical performance in French Guianese traditional society? What are the implementation techniques and the intrinsic forms of knowledge? What is the creation process and for what goal? Without a doubtlifeUNESCO::CIENCIAS DE LAS ARTES Y LAS LETRASand conception of the world. It isrevista de investigación musical: territorios para el arte 590908 2021 7 8182062 De la performance musicale dans la Guyane traditionnelle : expression cognitive singulière d?une musique-verbe Anakesa Kululukaalong centuriesin Guiana in this case. It is a form of refoundationis the echo of social and cultural space of this reformulation of thoughtquestions arising from this issue are still numerous and varied. And the answers one can give are just as numerous. The few basic questions mentioned above are a theme for the reflection conducted here by the author on traditional music of French Guiana. 105 1442386-8260 13268 Itamara mean of transposition and transformation of the values issued of diverse sources and categories. It is in no way a second-rate cultural practicehere evokedof recreation of cultures and new human beings generally called Creoles. The musical performancegave an original result born in the Americasterritorios para el arte 590908 2021 7 8182062 De la performance musicale dans la Guyane traditionnelle : expression cognitive singulière d?une musique-verbe Anakesa Kululuka [revista de investigación musical]Apollinaire Guianese culture and traditional musicas well:CIENCIAS DE LAS ARTES Y LAS LETRAS [UNESCO]that I study hereare various. It is more a transcultural process that
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Mätänevän velhon taidejulistus : intertekstuaalisen ja -figuraalisen aineiston asema Apollinairen L'enchanteur pourrissant teoksen tematiikassa ja sy…

2008

Ranskalainen modernisti Guillaume Apollinaire (1880-1918) marssittaa esikoisteoksessaan L’Enchanteur pourrissant (1909) kuolemattoman velhon haudalle vanhentuneen Troijan Helenan. Rapistuneen kaunottaren ohella mädäntyvän tietäjän lihaa saapuvat haistelemaan mm. viehkeytensä menettäneet juoruileviksi naisiksi muuttuneet haltijattaret, höperöityneet antiikin filosofit ja Raamatun kuolemattomat pyhimykset, jotka ovat unohtaneet uskonsa merkityksen. Apollinairen luomassa groteskissa maailmassa vanha myyttinen perintö kuolee ja mätänee samalla kun maailma vajoaa dekadenttiseen rappioonsa. Riikka Mahlamäki-Kaistisen tutkima Apollinaire on yksi tärkeimmistä 1900-luvun alun ranskalaisista kirjaili…

Apollinaire GuillaumemodernismimyytitintertekstuaalisuussymboliikkaparodiaL'enchanteur pourrissantrunotteemat
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Guillaume Apollinaire, hymyilevä varas : intertekstuaalisuuden muodot L'Enchanteur pourrissant -teoksessa

2001

Apollinaire Guillaumetransformaatioteoriahypotekstiintertekstuaalisuusuudelleen käytetyt hahmothyperteksti
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Les métaphores dans L'Enchanteur pourrissant de Guillaume Apollinaire

2001

Apollinaire GuillaumeFontanier Pierremetaforaretoriikkapersonifikaatio
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Du verbe instrumental dans la musique subsaharienne

2021

Sub-Saharan music results from the spoken language/instrumental language relation, directed by an oral culture. In this culture, these languages transmit ? beyond their singularities ? messages thanks to either a coded signal known by the linguistic community or previously defined among a group of individuals, or is used as a true meta-language copied on the articulated and usual language used every day. Here, an instrumental musical speech can then imitate and reproduce the tonal inflexions of the language to make its matter understandable. This fact is the natural result of a strong interaction and interrelation between the spoken language and the music as well as the conception that the …

UNESCO::CIENCIAS DE LAS ARTES Y LAS LETRASan instrumental musical speech can then imitate and reproduce the tonal inflexions of the language to make its matter understandable. This fact is the natural result of a strong interaction and interrelation between the spoken language and the music as well as the conception that the Africans of South Sahara have of it. This concept underlying the very tight link between the musical fact and the Worddetermine and contribute to the distinctive goals of the speech? These are some of the major questions to which I the author try to bring elements of answers to clear up this subject. 145 1642386-8260 13268 ItamarApollinaire Sub-Saharan music results from the spoken language/instrumental language relation:CIENCIAS DE LAS ARTES Y LAS LETRAS [UNESCO]territorios para el arte 590908 2021 7 8182063 Du verbe instrumental dans la musique subsaharienne Anakesa Kululuka [revista de investigación musical]these languages transmit ? beyond their singularities ? messages thanks to either a coded signal known by the linguistic community or previously defined among a group of individualsdirected by an oral culture. In this culturecontextual and expressive parameters that underliethe musical act then carries a communicative importance equal to the one in a spoken language. What concept rules such a language? What treatment is language subjected to in the affectation of its components in the musical discourse of to the instrumental Word and vice versa? What are the technicalor is used as a true meta-language copied on the articulated and usual language used every day. Hererevista de investigación musical: territorios para el arte 590908 2021 7 8182063 Du verbe instrumental dans la musique subsaharienne Anakesa Kululuka
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Los espacios públicos de la cotidianeidad / 3

2006

BeauvoirClientelaCulturaVidal-Beneyto JoséSOCIALIZACIÓNTabouApollinaireSt. Germain-des-PrèsSurrealistasBarrioIntercambiosPublicaciones: Obra periodística: Columnas y artículos de opiniónESPACIO PÚBLICOLemaireCAFÉSJuventudGloria literariaEspacios públicosCafé de FloreCharlasSartreBurguesesLenguales Deux MargotsParísCotidianeidad
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Rimbaud e Apollinaire nas recreacións poéticas bielorrusas: particularidades do tratamento fraseoestilístico / Rimbaud and Apollinaire in Belarusian …

2021

Certas peculiaridades da linguaxe dos textos artísticos son difíciles de transmitir na tradución, aínda que se trate das características dominantes do estilo dun poeta. Isto é especialmente certo cando nos enfrontamos a estilos tan innovadores dende o punto de vista lingüístico como os de Rimbaud ou Apollinaire. Ao traducir os seus textos ao idioma bielorruso, o tradutor leva a cabo simultaneamente dúas tarefas: a de tradución propiamente dita e a de afirmar e actualizar o seu propio idioma. Neste artigo, ofrecemos unha análise comparativa dalgunhas características da combinatoria léxica da poesía de Rimbaud e de Apollinaire e as súas traducións ao bielorruso. Como metodoloxía de análise li…

lingua bielorrusaapollinaireanomalía lingüísticadeslexicalizaciónPC1-5498rimbaudbelarusian languagelinguistic anomalydefrozenessRomanic languagesCadernos de Fraseoloxía Galega
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