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Sa karakter san limit i senboliz konpleksite larsipel ek zil koman sours limaziner : bann zimaz i pa inikman naratif ou mimetik. Lapoezi, koman form lenkarnasyon, lenskripsyon ek reprezantasyon realite konseptyel e imateryel11 i prodwi apartir bann eleman liniver lenspirasyon, apartir bann zimaz ki fer opere transfer ant sfer lemonn fizik avek bann konpozan poetik.

A contrapelo

Louvertir ek fermetir lanmer Bato ek avyon Avyon i redwir e efas spesifisite En zil pou ganny plis letan. Sa latitid oto-refleksiv ek kritik i revel langazman entelektyel e spirityel pour zil ek larsipel san eksklir problematizasyon ek refleksyon analitik. Lobze santral tou ekritik. Sa lapros i met an diskontinite, an per opozisyonel14 avek limaziner ilwa dan ki lensistans i lo lalit pour lendepandans i. Striktir profon diskour poetik i fokaliz lo larises, pliralite, karakter miltiform, milti-kolor e siperpoz limaziner insiler ek arsipelik. Zil i figir dan poenm koman eleman zenerik ki asim fonksyon striktirater responsab larsitektir ineran limaziner konpleks an rezo lenter-konektivite bann lemonn arsipelik.

Zil i en lespas, en sem ki asir sirfas pour prosesis fenomenalizasyon, lenskripsyon, transfer antite sembolik apartir liniver konseptyel dan liniver tanzib, aparet fenomenal Zil, dan son nwayo, i konport limenm koman lenstriman diferansyasyon, koman en konpleks esansyel, konteni santral tou deplwayman, an ofran en lasenn pour lafirmasyon e formasyon sans miltip. Zil i en landrwa realizasyon potansyel e posib, endeterminan ek kontenzan16 ki i pe konsevwar dan mouvman zenez kontini.

Konseptyalizasyon leritaz ek fitir i enfliyanse par en tel lapros, par leksperyans lapartaz lekspresyon sibzektif leritaz, par libridite bann veki kiltirel, istorik, par louvertir ek relasyonnalite bann sistenm lapanse Latitid prezante par loter i oriyante ver fitir : Nou pa pou pler later nou zanset Nou pou plito dekor miray nou fitir. Diferan parti lekor in mansyonnen pour souliny laspe olistik teks. Se osi en transgresyon silans, en traverse mityel e partaze dan lekspresyon oral.

Tou sa ki ti refoule i aksed lib kour lekspresyon, pran realite sonor dan lanmizik ek lesanz. Konny sa lapo pli for pti frer Li osi i oule kas baro mon silans Ou, ou a rann tou sa ki dan ou gozye Koze! Sa lapel dan dernyen laliny i ensit pour depasman delimitasyon par rekontekstyalizasyon partikilye, lokal, endividyel e personel dan liniversel, lalterite e komen.

Se en moman dyalektik, re aparisyon partikilarite, siperpozisyon bann sengilyarite, veki e antite mantal Lenterpretasyon ki i donnen par loter konsevwar lapoezi koman latitid aktif e kreatif enterpretan lavi ki i osi en lafors transformasyon konstan : bann lenpilsyon i reenterprete e entegre dan konsyans transformativ tou an konservan konteni irediktib Bann enterpretasyon endividyel ek leksperyans sengilye i diferansye apartir konpleks noematik.

Lapoezi, dan son realite tanzib osi byen ki dan tou son sans imateryel, i en antite e sours poli-referansyel, en lesanz ontolzik ki i lorizin formasyon sans miltip, eleman fizik ek mantal, en rezervwar fenomenolozik filozofik an zeneral. Apartir sa santye fokal i oper e pran laform : santye sinifikasyon leksistans i enterprete dan dimansyon antant, miz an relasyon, kontak reflesi e tranzitivite.


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Sa poenm i ilistre en leta psisik konpreansyon ek louvertir atraver prizm lekritir oubyen konesans enkonplet e deplway limenm dan lapoezi ki vin konsep distribyan pour tou realizasyon lenterpretasyon lo sengilyarite konstityan size poetik e filozofik, lo lobzektivite, lobzektite ek lobzektivasyon, lo bann konsepsyon konesans e lekzistans metafizik, ontolozik e lot Lapoezi i asir proksimite avek lemonn, artikil leksperyans lekritir koman lespas enter-sibzektif, koman pran konsyans bann kondisyon eksistansyel, deziny tou spektr konsyans ek limaziner redimansyonnen e dinamiz par pratik lekritir.

De dernyen laliny i formil zimaz en poezi ki i prezan koman kondisyon konstan referans, inifikater bann son ek lavwa polifonik ki re-artikil bann mod e modalite lenterpretasyon leksistans : Menm labib i fer konpran ki dan nou lavi san lapoezi nou en nwa en lemonn perdi Lank pou kontinyen ekrir Pour lemonn kapab riye e menm plere avek lapoezi. Sa poezi in reekri aksyon larsitektonik, sitye limenm dan liniver lenterkominikasyon enteryorizasyon e eksteryorizasyon, konfigirasyon bann mwayen formasyon sans Lapoezi ek lekritir servi sans akt ek aksyon eksteryorize lenkarnasyon : bann ankadreman spasyo-tanporel e ontolozik antre dan relasyon dinamizasyon e reenterpretasyon.

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Lalang Kreol seselwa i kapab fer vwar prezans swa en lot an asiman rol transgredyan, fer resorti miltiplisite posibilite stati sibzektivite, transandans swa dan rapor avek lot tou an pa sesan fonksyonn koman akt estetik. Bann formasyon sans i desantralize ; tandans transgresiv e pozisyon koman trwazyenm lespas ideik e lengwistiko-ontolozik lalang kreol permet renouvelman konpozisyonalite e listwar sibzektivite ek lalterite. See More. Young Woman Ameerah Arjanee p.

Mer des Indes Khal Torabully p. A New Beginning Venida Marcel p. Suzanne Dracius p. Anne Bihan p. Joachim Tchinouh Fofe p. Commencement Crabes Ben Eyenga Kamanda p. Les Tesselles du jour extraits France Burghelle Rey p. La Forteresse Patricia Laranco p. Toussaint Yves Romel p. Let us start at the point from where the Pacific determined on its depth. It met with a grammatical accident and collapsed. I started writing a poem about my dreams. Sleepy words slipped into dictionaries compleletly oblivious of meanings. Finally, I started writing a poem about myself; Finished it with a full stop, ready to burst into commas, colons, semicolons.

Il le faut sans doute. En 1 2 Chocolat en nahuatl. The twin beaches set on the land on the other side — Nyambo Titi — where the genesis of Mayotte is at your fingers' reach.


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  • The semi moons, the half craters where the ocean splashes and white horses come like sheers. Behind this ageless place the full crater Dziani Zaha — Lake Dziani — where the browns of the land mingle with various shades of blues and greens up the sky down left the stagnant water down right the ocean and the horizon ochre soil all around.

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    Where — at last — anyone can find solace and dream this island is safe. Ti ricerco ancora in questa notte di maggio, magica rosa: sei la vita e la morte. The Decameron , the short story collection by the Italian author Boccaccio — with its frame tale of nobles fleeing the plague and telling each other stories — had an enormous impact on French writers.

    The sister of Francis I , Marguerite of Navarre — who was the center of a progressive literary circle — undertook her own version "the Heptameron " which — although incomplete — is one of the masterpieces of the century. As the century progressed, the use of oral discourse, multiple voices and table talk led to a dialogued form which often seems revolutionary and chaotic to modern ears. For the first decades of the century, public theater remained largely tied to its long medieval heritage of mystery plays , morality plays , farces , and soties , although the miracle play was no longer in vogue.

    Public performances were tightly controlled by a guild system. Another guild, the "Enfants Sans-Souci" were in charge of farces and soties, as too the "Clercs de la Basoche" who also performed morality plays. In , they abandoned this privilege.

    APAR status

    As early as however, original language versions of Sophocles , Seneca , Euripides , Aristophanes , Terence and Plautus were all available in Europe and the next forty years would see humanists and poets both translating these classics and adapting them. From on, one finds humanist theater written in French. The influence of Seneca was particularly strong in humanist tragedy. His plays — which were essentially chamber plays meant to be read for their lyrical passages and rhetorical oratory — brought to many humanist tragedies a concentration on rhetoric and language over dramatic action.

    Along with their work as translators and adaptors of plays, the humanists also investigated classical theories of dramatic structure, plot, and characterization. Horace was translated in the s, but had been available throughout the Middle Ages. A complete version of Aristotle 's Poetics appeared later first in in an Italian version , but his ideas had circulated in an extremely truncated form as early as the 13th century in Hermann the German's Latin translation of Averroes ' Arabic gloss, and other translations of the Poetics had appeared in the first half of the 16th century; also of importance were the commentaries on Aristotle's poetics by Julius Caesar Scaliger which appeared in the s.

    The fourth century grammarians Diomedes and Aelius Donatus were also a source of classical theory. The 16th-century Italians played a central role in the publishing and interpretation of classical dramatic theory, and their works had a major effect on French theater.

    Albert Russo

    Lodovico Castelvetro 's Aristote-based Art of Poetry was one of the first enunciations of the three unities ; this work would inform Jean de la Taille 's Art de la tragedie Italian theater like the tragedy of Gian Giorgio Trissino and debates on decorum like those provoked by Sperone Speroni 's play Canace and Giovanni Battista Giraldi 's play Orbecche would also influence the French tradition. Of greater difficulty for the theorists was the incorporation of Aristotle's notion of " catharsis " or the purgation of emotions with Renaissance theater, which remained profoundly attached to both pleasing the audience and to the rhetorical aim of showing moral examples exemplum.

    Mellin de Saint-Gelais 's translation of Gian Giorgio Trissino 's La Sophonisbe — the first modern regular tragedy based on ancient models which tells the story of the noble Sophonisba 's suicide rather than be taken as captive by Rome — was an enormous success at the court when performed in Alongside tragedy, European humanists also adapted the ancient comedic tradition and as early as the 15th century, Renaissance Italy had developed a form of humanist Latin comedy. Although the ancients had been less theoretical about the comedic form, the humanists used the precepts of Aelius Donatus 4th century A.

    Although some French authors kept close to the ancient models Pierre de Ronsard translated a part of Aristophanes 's "Plutus" at college , on the whole the French comedic tradition shows a great deal of borrowing from all sources: medieval farce which continued to be immensely popular throughout the century , the short story, Italian humanist comedies and "La Celestina" by Fernando de Rojas. In the last decades of the century, four other theatrical modes from Italy — which did not follow the rigid rules of classical theater — flooded the French stage:.


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    • By the end of the century, the most influential French playwright — by the range of his styles and by his mastery of the new forms — would be Robert Garnier. All of these eclectic traditions would continue to evolve in the "baroque" theater of the early 17th century, before French "classicism" would finally impose itself. The French Renaissance was rich in a whole body of moral, literary, philological and philosophical writing. Michel de Montaigne was the first essayist of modern times The Essays and a remarkable writer on the human condition.

      Jean Bodin wrote a number of important works on political science. Henri Estienne and his son Robert Estienne were among the most important printers in France in the 16th century, and Robert Estienne's edition of the Bible was the first to use chapter and verse divisions. From Wikipedia, the free encyclopedia. For more information on historical developments in this period see: Renaissance , History of France , and Early Modern France.

      For information on French art and music of the period, see French Renaissance. This article includes a list of references , but its sources remain unclear because it has insufficient inline citations.

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