{"id":532,"date":"2017-09-11T14:50:25","date_gmt":"2017-09-11T11:50:25","guid":{"rendered":"http:\/\/literaturacomparata.ro\/aic\/?page_id=532"},"modified":"2017-09-11T16:41:00","modified_gmt":"2017-09-11T13:41:00","slug":"92011-masques","status":"publish","type":"page","link":"http:\/\/literaturacomparata.ro\/aic\/?page_id=532&lang=fr","title":{"rendered":"9\/2011, MASQUES"},"content":{"rendered":"

ACTA IASSYENSIA COMPARATIONIS, 9\/2011
\nMASQUES<\/h3>\n
\n

Contenu<\/strong><\/h4>\n

SIMONA ANTOFI<\/a>
\nPersonajele feminine caragialiene \u00eentre caruselul m\u0103\u015ftilor comice \u015fi autoritatea discursului critic<\/span><\/p>\n

C\u0102LIN-HORIA B\u00c2RLEANU<\/a>
\nUrmele subcon\u015ftientului dostoievskian<\/span><\/p>\n

SARA B\u00c9DARD-GOULET<\/a>
\nMots-masques : Sarraute et la psychose<\/span><\/p>\n

RENATA BIZEK-TATARA<\/a>
\nLe masque carnavalesque dans Sortil\u00e8ges<\/em> de Michel de Ghelderode<\/span><\/p>\n

KATARZYNA BLAZEJEWSKA<\/a>
\nLa Cour de France et ses masques dans les Dames illustres<\/em> de Brant\u00f4me<\/span><\/p>\n

MATHILDE BRANTHOMME<\/a>
\nClarice Lispector : le don du masque<\/span><\/p>\n

MIHAELA CERN\u0102U\u0162I-GORODE\u0162CHI<\/a>
\nMeyerhold \u015fi teatrul m\u0103\u015ftii mereu schimb\u0103toare<\/span><\/p>\n

KARINE CHEVALIER<\/a>
\nNadja d\u00e9masqu\u00e9e\u00a0ou le personnage f\u00e9minin d\u2019Andr\u00e9 Breton \u00e0 Daniel Maximin<\/span><\/p>\n

C\u0102T\u0102LIN CONSTANTINESCU<\/a>
\nConfesiunea unei m\u0103\u015fti<\/em> \u2013 discurs identitar \u015fi manifest estetic<\/span><\/p>\n

ALINA CRIHAN\u0102<\/a>
\nAvatars de la f\u00e9minit\u00e9 et r\u00e9\u00e9criture des mythes chez Carlos Fuentes\u00a0: L\u2019instinct d\u2019Inez<\/em><\/span><\/p>\n

IRINA GHIORGHIASA<\/a>
\nJocul m\u0103\u015ftilor \u00een construirea identit\u0103\u0163ii unui personaj. Imaginea evreului r\u0103t\u0103citor la Jean d\u2019Ormesson<\/span><\/p>\n

LAURENCE GOUAUX<\/a>
\nLe masque et la plume\u00a0: la r\u00e9\u00e9criture des identit\u00e9s chez Shashi Tharoor <\/span><\/p>\n

STEPHANIE LAINE HAMILTON<\/a>
\nMaking Roman Theatrical Masks: An Aspect of Ancient Performance Culture<\/span><\/p>\n

LAURE HENNEQUIN-LECOMTE<\/a>
\nMascarades d\u2019hym\u00e9n\u00e9e en plein c\u0153ur de la R\u00e9volution : le jeu de l\u2019amour des \u00e9lites rh\u00e9nanes<\/span><\/p>\n

LOUKOU FULBERT KOFFI<\/a>
\nProduction figurale et brouillage du sens\u00a0: une approche pragma-\u00e9nonciative du symbole dans les po\u00e8mes oralistes Petit homme de Kliyiri<\/em> et Pluie diluvienne<\/em><\/span><\/p>\n

KATARZYNA KOTOWSKA<\/a>
\n(D\u00e9) masquer par le langage \u2013 Nord perdu<\/em> de Nancy Huston<\/span><\/p>\n

IOAN LIHACIU<\/a>
\nDie Entwicklung der Musikszene in der Bukowina<\/span><\/p>\n

CECILIA MATICIUC<\/a>
\nM\u0103\u015fti ale puterii politice. Stalin v\u0103zut de Soljeni\u0163\u00een<\/span><\/p>\n

MIHAELA MOCANU & OANA PANAITE<\/a>
\nM\u0103\u015fti ale gazetarului \u00een publicistica eminescian\u0103<\/span><\/p>\n

SORIN MOCANU<\/a>
\nThe Masks of Collectivization. Dramatization of Income Distribution<\/span><\/p>\n

KOUADIO GERMAIN N\u2019GUESSAN<\/a>
\nGender Hierarchy and the Social Construction of Femininity: The Imposed Mask<\/span><\/p>\n

DRAGO\u015e-SILVIU P\u0102DURARU<\/a>
\nO pedagogie a m\u0103\u015ftilor. (Re)citindu-i pe Witold Gombrowicz \u015fi Elfriede Jelinek<\/span><\/p>\n

ECATERINA P\u0102TRA\u015eCU<\/a>
\nFlaubert\u2019s Parrot<\/em> and the Masks of Identity: Between Postmodernism and the \u201cNew Humanism\u201d<\/span><\/p>\n

SIMONA POLLICINO<\/a>
\nOltre la maschera. Philippe Jaccottet e la traduzione trasparente<\/span><\/p>\n

MONIKA REIF-HUELSER<\/a>
\nReading V.S. Naipaul\u2019s New Travelogue The Masque of Africa<\/em>: Tradition, Religion, and Stereotypes<\/span><\/p>\n

BIANCA ROMANIUC-BOULARAND<\/a>
\nLes masques \u00e9nonciatifs de la majuscule<\/span><\/p>\n

DENIS SAINT-AMAND<\/a>
\nCarnavals fin de si\u00e8cle\u00a0: figurations et d\u00e9figurations<\/span><\/p>\n

ADAMA SAMAKE<\/a>
\nRoman africain et ideologie\u00a0: le masque de l\u2019alienation culturelle dans le roman africain de langue fran\u00e7aise<\/span><\/p>\n

SYLVIE SIBRA<\/a>
\nLe cach\u00e9 et le non cach\u00e9\u00a0: le maschere felliniane<\/em><\/span><\/p>\n

ALICJA SLUSARSKA<\/a>
\nLa diversit\u00e9 et l\u2019importance des masques dans La D\u00e9chirure<\/em> d\u2019Henry Bauchau<\/span><\/p>\n

PETRU\u0162A SP\u00c2NU<\/a>
\nM\u0103\u015ftile Nepotului lui Rameau<\/em><\/span><\/p>\n

IOLANDA STERPU<\/a>
\nLe soliloque \u2013 un dialogue \u00ab\u00a0d\u00e9guis\u00e9\u00a0\u00bb dans le th\u00e9\u00e2tre de I. L. Caragiale<\/span><\/p>\n

ANA-MARIA \u015eTEFAN<\/a>
\nMasks and the Romantic Historical Closet Drama: Lorenzaccio<\/em> and Marino Faliero<\/em><\/span><\/p>\n

DIANA \u015eTIULIUC<\/a>
\nMasks of Identity in Chicano Autobiography: The Case of Richard Rodriguez<\/span><\/p>\n

CLAUDIA T\u0102RN\u0102UCEANU<\/a>
\nTradi\u0163ie \u015fi inova\u0163ie \u00een fabula lui Phaedrus. C\u00e2teva considera\u0163ii pe marginea unei fabula Aesopia<\/em><\/span><\/p>\n

FRAN\u00c7OIS BRUNO TRAORE<\/a>
\nLe masque, enjeu de la dissimulation dans le roman fran\u00e7ais<\/span><\/p>\n

ANA-MARIA \u0162IPEL<\/a>
\nIncursiune \u00een avatarurile hlebnikoviene: Ra-Razin-Logos <\/span><\/p>\n

YAGU\u00c9 VAHI<\/a>
\nChant pour Manou<\/em> ou la repr\u00e9sentation po\u00e9tique de la femme dans un imaginaire \u00ab carc\u00e9ral \u00bb mouvant\u00a0: productivit\u00e9 et signifiance d\u2019une conversion<\/span><\/p>\n

AUR\u00c9LIE VAN DE WIELE<\/a>
\nLes Pr\u00e9cieuses<\/em> d\u00e9masqu\u00e9es\u00a0: La pi\u00e8ce de Moli\u00e8re comme illusion comique<\/span><\/p>\n

NIKOLA VANGELI<\/a>
\nM\u0103\u015ftile umanit\u0103\u0163ii \u00een Everyman: An Immorality Play<\/em> de Goran Stefanovski<\/span><\/p>\n

RALUCA V\u00c2RLAN<\/a>
\nLe masque\u00a0: objet et instrument ekphrastique<\/span><\/p>\n

R\u0102ZVAN VENTURA<\/a>
\nTextul ca masc\u0103 \u2013 Corbul<\/em> de Edgar Allan Poe \u015fi o filozofie a compozi\u0163iei<\/span><\/p>\n

FR\u00c9D\u00c9RIC VINCENT<\/a>
\nLa construction mythologique de la r\u00e9alit\u00e9. Les fans d\u2019Harry Potter<\/span><\/p>\n

MANUSCRIPTUM<\/strong> <\/span><\/h5>\n

IOAN CONSTANTINESCU (1938-2003)<\/a>
\nDie Revolution als Puppenspiel in Tiecks Theaterst\u00fccken<\/span><\/p>\n

TRADUCTIONS<\/strong> <\/span><\/h5>\n

IVO ANDRIC, Circul<\/em> \u2013 fragmente (Nikola Vangeli<\/a>)<\/span><\/p>\n

BABITS MIH\u00c1LY, M\u0103\u015ftile de gaze<\/em> (Gy\u00f6rfi-De\u00e1k Gy\u00f6rgy<\/a>)<\/span><\/p>\n

EDWARD GORDON CRAIG, Not\u0103 despre m\u0103\u015fti<\/em> (Mihaela Cern\u0103u\u0163i-Gorode\u0163chi<\/a>)<\/span><\/p>\n

PELHAM GRENVILLE WODEHOUSE, Pur-ceee-lu-u-u-le!<\/em> (Petru\u0163a Sp\u00e2nu<\/a>)<\/span><\/p>\n

PR\u00c9SENTATIONS DE LIVRES <\/strong><\/a><\/span><\/h5>\n

Apolinicul Apollinaire: ADELA HAGIU, L\u2019\u00e9criture des \u00ab\u00a0Calligrammes \u00bb<\/em> (Livia Iacob)<\/span><\/p>\n

Le th\u00e8me de la famille et le roman qu\u00e9b\u00e9cois du XXe si\u00e8cle: YUHO CHANG, Famille et identit\u00e9 dans le roman qu\u00e9b\u00e9cois du XXe si\u00e8cle<\/em> (Tatiana Munteanu)<\/span><\/p>\n

Dialogues francophones : \u00ab\u00a0Les francophonies au f\u00e9minin\u00a0\u00bb<\/em> (Tatiana Munteanu)<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

ACTA IASSYENSIA COMPARATIONIS, 9\/2011 MASQUES Contenu SIMONA ANTOFI Personajele feminine caragialiene \u00eentre caruselul m\u0103\u015ftilor comice \u015fi autoritatea discursului critic C\u0102LIN-HORIA B\u00c2RLEANU Urmele subcon\u015ftientului dostoievskian SARA B\u00c9DARD-GOULET Mots-masques : Sarraute et la psychose RENATA BIZEK-TATARA Le masque carnavalesque dans Sortil\u00e8ges de Michel de Ghelderode KATARZYNA BLAZEJEWSKA La Cour de France et ses masques dans les Dames … Continue reading 9\/2011, MASQUES<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":296,"menu_order":109,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-532","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/literaturacomparata.ro\/aic\/index.php?rest_route=\/wp\/v2\/pages\/532","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/literaturacomparata.ro\/aic\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/literaturacomparata.ro\/aic\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/literaturacomparata.ro\/aic\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/literaturacomparata.ro\/aic\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=532"}],"version-history":[{"count":1,"href":"http:\/\/literaturacomparata.ro\/aic\/index.php?rest_route=\/wp\/v2\/pages\/532\/revisions"}],"predecessor-version":[{"id":533,"href":"http:\/\/literaturacomparata.ro\/aic\/index.php?rest_route=\/wp\/v2\/pages\/532\/revisions\/533"}],"up":[{"embeddable":true,"href":"http:\/\/literaturacomparata.ro\/aic\/index.php?rest_route=\/wp\/v2\/pages\/296"}],"wp:attachment":[{"href":"http:\/\/literaturacomparata.ro\/aic\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=532"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}