Documents concernant le film "Il y a promesse de mariage", 1923
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Total Pages | : 6 |
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Total Pages | : 4 |
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Total Pages | : 8 |
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Author | : Gustave Cohen |
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Release | : 1949 |
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Author | : Serbin, Sylvia |
Publisher | : UNESCO Publishing |
Total Pages | : 132 |
Release | : 2015-11-09 |
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ISBN | : 9231001302 |
Author | : John Charles Dent |
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Total Pages | : 398 |
Release | : 1880 |
Genre | : Canada |
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Author | : Steven Tötösy de Zepetnek |
Publisher | : Konzeption Empirische Literaturwissenschaft |
Total Pages | : 222 |
Release | : 1993 |
Genre | : Language Arts & Disciplines |
ISBN | : 9783528073350 |
This work is a comparative study of nineteenth-century English-Canadian and French Canadian novel prefaces, a previously unexplored literary topic. As a study in Comparative Literature - with the application of a specific literary framework and methodology - the study conforms to theoretical and methodological postulates formulated in and prescribed by this framework when applied. This a priori postulate necessitates that the research on and the presentation of the Canadian novel preface be carried out in a specific manner, as follows. First, the study will establish the hypothesis that the preface to nineteenth-century English-Canadian and French-Canadian novels is a genre in its own right. This hypothesis will rest on the following: 1) a taxonomical survey of related terms meaning "preface"; 2) a survey of secondary Iiterature of works dealing with the preface; 3) a discussion of the theoretical framework and methodology of the Empirical Theory of Literature and its appropriateness for the study of the preface; and 4) a discussion of the process of the compilation of the corpus of nineteenth-century Canadian novel prefaces (Chapter one). In a second step, the theoretical postulate outlined in the hypothesis will be put into practice by the development and production of a preface typology (Chapter two). In a third step, further tenets of the Empirical Theory of Literature will be tested on the corpus of the prefaces (Chapter three). In a fourth step, the prefaces will be analysed following the tenets formulated in and prescribed by the systemic framework applied (Chapter four).
Author | : Liesbeth Rosen Jacobson |
Publisher | : Uitgeverij Verloren |
Total Pages | : 270 |
Release | : 2018 |
Genre | : History |
ISBN | : 9087047312 |
‘Within the borders of these isles shall remain a race one calls Indo. Neither white, nor brown.’ This ‘Indo’ was part of the Indo-Europeans, a group of mixed indigenous and European ancestry, from the former Dutch East Indies. In almost all other Asian colonies, including British India and French Indochina, which are also covered in this study, such a group of mixed ancestry came into being. The future of these Eurasians after decolonisation was quite insecure. The European rulers, on which their status was based, were gone. The new indigenous rulers perceived them suspiciously as colonial remnants and often even as traitors. In this chaotic situation, they were forced to make a choice, between staying in the former colony or leaving for the European mother country. Did they belong in the country of their European fathers or the former colony, the country of their Asian mothers?
Author | : John Charles Dent |
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Total Pages | : 504 |
Release | : 1881 |
Genre | : Act of Union, 1841 |
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Author | : Dominique Chateau |
Publisher | : Key Debates - Mutations and Appropriations in European Film Studies |
Total Pages | : 376 |
Release | : 2020-09-24 |
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ISBN | : 9789463727235 |
Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent this novation represents a unitary current or multiple ways. The book proposes to integrate the post-cinema question within the post-art question in order to study the new way of making filmic images in new conditions more or less remote from the dispositif of the theater and in closer relationship with contemporary art. The issue will be considered at three levels: the impression of post-art on "regular" films; the "relocation" (Cassetti) of the same films that can be seen using devices of all kinds, in conditions more or less remote from the dispositif of the theater; parallel to the integration of contemporary art in "regular" cinema, the integration of cinema into contemporary art in all kinds of forms of creation and exhibition.