ISSN: 2310-2799
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546,196 artículos
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Año:
2020
ISSN:
1699-4949, 1699-4949
Enríquez Aranda, María Mercedes
Asociación de Francesistas de la Universidad Española
Resumen
Reading Notes do not require an abstract
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Año:
2020
ISSN:
1699-4949, 1699-4949
Fernández Sarasola, Ignacio
Asociación de Francesistas de la Universidad Española
Resumen
The French comic-books have a long tradition, but as they are mainly addressed to youth people, they are subjected to a State control. This control is in the hands of a Commission (Commission de surveillance et de contrôle des publications destinées à l'enfance et à l'adolescence) which checks those publications addressed to children and adolescents. Its finality is to protect the youth people from moral corruption. This Commission was created by the Act of 16th June 1949, which was passed in a situation of hostility to the foreign comic-books. This Act establishes important limitations to the Freedom of the Press.
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Año:
2020
ISSN:
1699-4949, 1699-4949
Belén Soto, Ana
Asociación de Francesistas de la Universidad Española
Resumen
As the result of a century profoundly influenced by migration flows, francophone literature is influenced by deterritorialization and a feeling of rootlessness. In this framework we must emphasize the work of writers, either immigrants or exiles, who have adopted French as their writing language, thereby promoting existential thinking on the essence of identity in a new intercultural model. Such is the case of Rouja Lazarova, Bulgarian-born writer who uses her adoption language to reveal the metamorphosis of identity that occurs in contact with the otherness.
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Año:
2020
ISSN:
1699-4949, 1699-4949
Tomé, Mario
Asociación de Francesistas de la Universidad Española
Resumen
Digital Notes do not requiere an abstract
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Año:
2020
ISSN:
1699-4949, 1699-4949
Meseguer Paños, Elena
Asociación de Francesistas de la Universidad Española
Resumen
During his time in North Africa, André Gide fell gravely ill. It was this very illness, this existential experience that would liberate him from determinism. We probably owe the origin of the soties to this experience. The term sotie is a gidean adaptation of the term sottie, which in the Middle Ages denoted a dramatical genre where the actors dressed as jesters criticised the vices of their society. In this sense, the soties are classic and modern works at the same time, because they bring back an old genre but are open to new techniques. Nevertheless, what makes Les Caves du Vatican an essentially modern work is in the new approach that Gide makes to logical reason, which is best illustrated when investigating the work of ideas and previous philosophies.
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Año:
2020
ISSN:
1699-4949, 1699-4949
Mendoza Ramos, María del Pilar
Asociación de Francesistas de la Universidad Española
Resumen
The comparison between the text and the miniatures that illustrate the manuscripts constitutes a constant source of information about the medieval reception of the work. This is the aim of our study, in which we will analyze the way Guillaume de Lorris's Roman de la Rose's episode of the encounter of the God of Love and Lover is illustrated in ten XVth-century manuscripts.
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Año:
2020
ISSN:
1699-4949, 1699-4949
Montecchio, Estefanía
Asociación de Francesistas de la Universidad Española
Resumen
In the dialogue cinema-literature the issue of cinematographic adaptations has been abundantly discussed. This controversy has attended specially to the recoding of the text into cinematographic language, neglecting, nevertheless, the own imprint that the intervention can impose to the work. Therefore, the case of the short film À feu by Mavounia-Kouka based on «Le loup-garou», story by Vian, becomes significant. This one works, in order to question them, with commonplaces also present in the cinematographic work, although re-signified here with the introduction of a Virgin that represents morality. Thus, the subversion of commonplaces becomes in the film a moral questioning
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Año:
2020
ISSN:
1699-4949, 1699-4949
Herrero Cecilia, Juan
Asociación de Francesistas de la Universidad Española
Resumen
The main aim of this study is to describe the different modes in which a myth can be rewritten or reformulated within the thematic universe of a given literary work. Myth is understood here as a model tale which displays a response to typically human problem or conflict, as well as an intertext which creates a framework of reference for the author to conceptualize the myth in his/her the fictional universe so that it better fits his/her personal sensitivity or the contemporary cultural context. In order to tackle the question of intertextuality, it is necessary to establish the differences between the following concepts: ancestral oral myth, literarisized myth, literary myth, explicit ant implicit myths, mythical themes in certain genres, etc. Finally, the analysis of myth rewriting is carried out a mythocritical and comparative literature perspective.
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Año:
2020
ISSN:
1699-4949, 1699-4949
Ibeas Altamira, Juan Manuel
Asociación de Francesistas de la Universidad Española
Resumen
The Marquis of Sade was a man of his time and he enjoyed collecting art pieces, erotic histories and anecdotes, those parts of history that should not be published. He knew how to class his experiences and knowledge in a very particular space with the perfect ambient, his particular museum, creating a literary masterpiece really diversified and unique in his kind.
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Año:
2020
ISSN:
1699-4949, 1699-4949
Domínguez González, Francisco
Asociación de Francesistas de la Universidad Española
Resumen
Pierre Reverdy has entered the literary history as the creator of «Literary Cubism», not only due to his close friendship to the painters cercle of Montmartre Bateau-Lavoir –especially Juan Gris–, but also because his innovating writing technique. Although, Reverdy's first works, composed when he just arrived to Paris, are not created following that method. His Poèmes en prose and La Lucarne ovale are a projection of his everyday experiences, as the others opuses L'Imperméable and, above all, Le Voleur de Talan. Reverdy practices an écriture du moi usually misconsidered by the critics –perhaps hidden behind the historical importance of the «cubist» Reverdy–, initially used in Les Ardoises du toit, work of 1918. It is important, so, to vindicate the value of these works not only from an aesthetic point of view, but also lyric: there took shelter the most sincere and sensitive Reverdy –the same who took shelter behind the cryptical landscape of cubist technique. This tents to realise a thematic analysis of the autobiographical weight of the mentionned works.
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