{"id":1051,"date":"2022-12-29T04:59:52","date_gmt":"2022-12-29T03:59:52","guid":{"rendered":"https:\/\/carnet-critique.com\/?page_id=1051"},"modified":"2023-12-05T17:30:03","modified_gmt":"2023-12-05T16:30:03","slug":"1051-2","status":"publish","type":"page","link":"https:\/\/carnet-critique.com\/index.php\/1051-2\/","title":{"rendered":""},"content":{"rendered":"\n
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Stacy Jarvis<\/a> <\/span><\/strong>: THE CONCEPT OF DEATH IN TCHAIKOVSKY\u2019S OPERA MAZEPPA : A semiotic analysis.<\/span><\/p>\n

Lorele\u00ef Dup\u00e9<\/a> <\/strong><\/span>:<\/span> LES PERSONNAGES DE MORT.E.S DANS LE TH\u00c9\u00c2TRE DE PATRICK KERMANN.<\/span><\/p>\n

Axel Richard EBA<\/a><\/strong><\/span> : LA MORT DANS LES NOUVELLES ORIENTALES DE MARGUERITE YOURCENAR.<\/span><\/p>\n\n\n\n

Isabela Gusm\u00e3o Duarte<\/a><\/strong><\/span> : REPRESENTATIONS DE LA MORT DANS LES SURSITAIRES<\/em> D\u2019ELIAS CANETTI : Conna\u00eetre son \u00ab instant fatal \u00bb : source d\u2019apaisement ou d\u2019angoisse ?<\/a><\/span><\/p>\n\n\n\n

Claire Sourp <\/a><\/strong><\/span>: REPRES\u00c9NTATIONS DE LA MORT : Images d\u2019une vie nouvelle dans Avril rouge<\/em> de Santiago Roncagliolo.<\/span><\/span><\/p>\n

Benjamin Flores<\/a> <\/strong><\/span>: L\u2019INFILM\u00c9 DE LA MORT DANS LES S\u00c9RIES T\u00c9L\u00c9VIS\u00c9ES.<\/span><\/p>\n

Sara Shirvan<\/a><\/strong><\/span> : REPR\u00c9SENTATION PATHOLOGIQUE D\u2019UNE MORT PROGRESSIVE : La trilogie du sida d\u2019Herv\u00e9 Guibert.<\/span><\/p>\n

Besma Nacer<\/span> <\/strong><\/span>: LA MORT DU H\u00c9ROS DANS LES SOCI\u00c9T\u00c9S INITIATIQUES : Le cas de Consuelo<\/em> (George Sand).<\/a><\/span><\/p>\n

Maria Elisa Perez Pagan<\/a><\/strong> <\/span>: LA TENTATIVE DE SUICIDE DE BOUVARD ET P\u00c9CUCHET : Entre le comique et le s\u00e9rieux.<\/span><\/p>\n

Mohamed Naouar<\/a> <\/strong><\/span>: L\u2019\u00c9CRITURE DE LA SURVIVANCE CHEZ HERV\u00c9 GUIBERT.<\/span><\/p>\n

Marine Deregnoncourt<\/a><\/strong><\/span> : LE \u00ab CANTIQUE DE MESA \u00bb DANS PARTAGE DE MIDI<\/em> DE PAUL CLAUDEL : Le cas probl\u00e9matique du corps de Mesa mourant.<\/span><\/p>\n

L\u00e9thicia Obono Ngou-Milama<\/a><\/strong><\/span> : NIAYE ET LA NOIRE DE\u2026, OU L’<\/span>ART DE MOURIR AU F\u00c9MININ<\/span>.<\/a><\/p>\n

Benjamin L<\/a>a<\/a>mbert<\/a><\/span><\/strong>: L\u2019H\u00c9RITAGE DES DANSES MACABRES DANS LES ARTS : Transmission et oubli des origines hispaniques du th\u00e8me.
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\u00a0<\/p>\n<\/div><\/div>\n\n\n\n

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Alina Kornienko <\/strong><\/span><\/a><\/span> : <\/span>LA PLACE DE L\u2019AUTRE DANS LE TH\u00c9\u00c2TRE DE JEAN-LUC LAGARCE : l\u2019Autre fantomatique.<\/span><\/a><\/span><\/p>\n\n\n\n

Lucien Dethurens<\/a><\/strong><\/span> : NA\u00ceTRE ET NE PAS \u00caTRE : Entre multiplicit\u00e9 des identit\u00e9s et non-appartenance.<\/a><\/span>
<\/span><\/p>\n\n\n\n

Maurice Mbah<\/a><\/span><\/strong><\/span> :<\/span> L\u2019AFRICAINE DE FRANCESCA MARCIANO : de la qu\u00eate de l\u2019Autre \u00e0 la (re)construction de soi.<\/a><\/span><\/p>\n\n\n\n

Am\u00e9lie Ducharme<\/a><\/strong><\/span> : \u00ab LA SILHOUETTE SANS NOM NI PAREILLE \u00bb : <\/a>Mall\u00e9abilit\u00e9 et disparition de l\u2019\u00e9trang\u00e8re dans En famille de Marie NDiaye.<\/a><\/span><\/p>\n\n\n\n

Fatima Seddaoui<\/a><\/strong><\/span> :<\/strong> <\/span>VAL\u00c9RIE MANGIN ET LA FIGURE DE L’\u00c9TRANGER.<\/a><\/span><\/p>\n\n\n\n

Emmanuelle Eymard-Traor\u00e9<\/a><\/span><\/strong><\/span> : QUAND L’AUTRE REGARDE. <\/span><\/a><\/p>\n\n\n\n

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Stacy Jarvis : THE CONCEPT OF DEATH IN TCHAIKOVSKY\u2019S OPERA MAZEPPA : A semiotic analysis. Lorele\u00ef Dup\u00e9 : […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"content-type":"","om_disable_all_campaigns":false,"footnotes":""},"class_list":["post-1051","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/carnet-critique.com\/index.php\/wp-json\/wp\/v2\/pages\/1051","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/carnet-critique.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/carnet-critique.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/carnet-critique.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/carnet-critique.com\/index.php\/wp-json\/wp\/v2\/comments?post=1051"}],"version-history":[{"count":34,"href":"https:\/\/carnet-critique.com\/index.php\/wp-json\/wp\/v2\/pages\/1051\/revisions"}],"predecessor-version":[{"id":1757,"href":"https:\/\/carnet-critique.com\/index.php\/wp-json\/wp\/v2\/pages\/1051\/revisions\/1757"}],"wp:attachment":[{"href":"https:\/\/carnet-critique.com\/index.php\/wp-json\/wp\/v2\/media?parent=1051"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}