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Sillages Critiques最新文献

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Dystopia, surveillance and the spaces of social control in Jenni Fagan’s The Panopticon (2012) 詹尼·费根《圆形监狱》(2012)中的反乌托邦、监视和社会控制空间
Pub Date : 2022-11-30 DOI: 10.4000/sillagescritiques.13152
Claire Wrobel
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引用次数: 0
Intercultural and Intertextual Crossings in Sarah Howe’s Loop of Jade (2015) 莎拉·豪的《玉之环》(2015)中的跨文化和互文交叉
Pub Date : 2022-11-30 DOI: 10.4000/sillagescritiques.13242
Yasna Bozhkova
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引用次数: 0
La retraduction shakespearienne : espace d’accomplissement ou captation contemporaine ? 莎士比亚的重新翻译:成就的空间还是当代的捕捉?
Pub Date : 2021-12-29 DOI: 10.4000/sillagescritiques.12659
Julie Vatain-Corfdir
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引用次数: 0
Osama the Hero (2004) de Dennis Kelly ou pourquoi le théâtre politique n’est pas une « foutue perte de temps » 丹尼斯·凯利的《英雄奥萨马》(2004),或者为什么政治戏剧不是“该死的浪费时间”
Pub Date : 2021-12-29 DOI: 10.4000/sillagescritiques.12379
Aloysia Rousseau
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引用次数: 0
Politique tragique vs. politique comique ? Richard III de Shakespeare et A Game at Chess de Middleton 悲剧政治与喜剧政治?理查德三世·德·莎士比亚与米德尔顿象棋比赛
Pub Date : 2021-12-29 DOI: 10.4000/sillagescritiques.11632
Clotilde Thouret
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引用次数: 0
Frames of violence and recent history in Simon Stephens' Motortown 西蒙·斯蒂芬斯的《摩托城》中的暴力框架和近代史
Pub Date : 2021-12-29 DOI: 10.4000/sillagescritiques.12440
Marie-Amélie Coste
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引用次数: 0
« Parlez-vous franglais ? » La galimafrée des langues dans Henry V  “你会说法语吗?»亨利五世的语言加利马弗雷
Pub Date : 2021-12-29 DOI: 10.4000/sillagescritiques.12552
Jean-Michel Déprats
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引用次数: 0
« Tout est dedans ». Remarques sur la matrice shakespearienne à propos d’I, Shakespeare de Tim Crouch “一切都在里面。”关于莎士比亚矩阵的评论关于我,蒂姆·克劳奇的莎士比亚
Pub Date : 2021-12-29 DOI: 10.4000/sillagescritiques.12790
Virginie Yvernault
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引用次数: 0
L’Irrésistible Ascension d’Arturo Ui, une pièce « d’histoire immédiate » ? 阿图罗·乌伊(Arturo Ui)不可抗拒的崛起,一部“直接历史”剧?
Pub Date : 2021-12-29 DOI: 10.4000/sillagescritiques.12099
E. Hénin
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引用次数: 0
« The Fault is that she is my wife » : L’ambivalence des représentations d’Henriette-Marie (1625-1649) 《错在她是我的妻子》:亨利代表的矛盾心理(1625-1649)
Pub Date : 2021-10-05 DOI: 10.4000/sillagescritiques.11369
A. Leroy
Les representations de Charles Ier et de son regne ont fait l’objet de nombreuses etudes, tant pour leur qualite esthetique que pour le role qu’elles jouerent dans sa chute et dans la crise menant au regicide. En revanche, qu’en est-il des portraits de son epouse, Henriette Marie ? Princesse francaise et catholique, son image est associee a celles du roi et de la couronne des 1625, confortant Charles Ier dans son role de pere du peuple et rassurant la population quant au futur de la dynastie des Stuart. Pourtant, dans un contexte d’hostilite envers l’institution monarchique, l’analyse de sources visuelles et textuelles temoigne du caractere controverse qu’acquierent les portraits de la reine, qui sont repris par l’opposition durant les guerres civiles.
查理一世及其统治时期的代表一直是许多研究的主题,因为它们的审美品质以及它们在其垮台和导致种族灭绝的危机中所起的作用。然而,他的妻子亨丽埃特·玛丽的肖像呢?作为一位法国和天主教公主,她的形象与1625年国王和王冠的形象联系在一起,巩固了查理一世作为人民之父的角色,并向公众保证斯图亚特王朝的未来。然而,在对君主制制度的敌意背景下,对视觉和文本来源的分析表明,女王肖像画具有争议性,在内战期间被反对派接管。
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引用次数: 0
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Sillages Critiques
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