Exploiter un corpus de données textuelles sans post-traitement : l’écriture burlesque de la Fronde by Karine Abiven, Jean-Baptiste Tanguy, Gaël Lejeune

“…We thus show the specificity, in the burlesque writing of the Fronde, of some literary motifs or rhymes. …”
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Les passeuses de parole. Une position féminine dans le théâtre burlesque de l’alliance (Andes) by Camille Riverti

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Du burlesque chez Correas ou quand la grossièreté de la sagesse populaire devient un procédé humoristique by Sonia Fournet-Pérot

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Costumed doubles and avatars in Janieta Eyre’s photographic self-portraits by Valérie MORISSON

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Auden and MacNeice: Their Last Will and Testament – Thirties Classic or Existential Pause? by Sara R. GREAVES

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The Myth of Don Juan Onstage up to and through Victorian Times by Rocío G. Sumillera

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Perception urbaine, distraction et stratification chez Benjamin, Eisenstein et Vertov by Pascal Rousse

“…La ville à l’écran est le substrat imaginaire et historique du cinéma. Mais le cinéma, burlesque et soviétique, transforme ce contexte tout en constituant sa mémoire. …”
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Genre, couple et violence dans Love me tender de Jean-Hugues Mirédin by Karine Bénac-Giroux

“…If virility becomes burlesque here, the link remains strong between the eroticization of the female body and the violence of sexual desire, while the couple finally appears as a pure game of signifiers.…”
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Las figuras cómicas del mono y de los portadores de pintura corporal negra entre los nahuas prehispánicos y su transformación en la época colonial by Agnieszka Brylak

“…The article aims to study the phenomena of humor and laughter in pre-Hispanic Nahua culture, focusing on two burlesque figures: the monkey and the beings with black body painting. …”
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Lejos de Chile, lejos de Francia: los exiliados chilenos en Diálogos de exiliados de Raúl Ruiz by Michèle Arrué

“…This shifted portrayal generates highly burlesque situations as the country they mentally continue to live in is Popular Unity Chile (1970-73). …”
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Los microrrelatos cómicos y picarescos en la novela barroca: Céspedes y Meneses, Castillo Solórzano y Castelblanco by Christine Marguet

“…This article examines the presence of comical and/or picaresque micro-structures in spanish baroque novels with aristocratic protagonism –the novelistic equivalent of «courtship» short novels–. Elements such as burlesque poems and farces as interludes, comical or picaresque elements incorporated in the (auto)biography of characters, are embbedded in a continuum of more serious tone, inherited from noble novelistic genres, even if the novel aims to entertain. …”
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Le timbre de la complainte de Fualdès : « l’air de toutes les complaintes » by Sophie-Anne Leterrier

“…With the Complaint of Fualdès, a funeral and military air (the air of the Marshal of Saxony), charged with political meaning by its uses during the Revolution, becomes successively suitable to carry the account of other criminal cases, then turns to burlesque, as the Case enters into legend.…”
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Une vie de saint Benoît à la mode toulousaine : Le Dret cami del Cél (1659) de Bernard Grimaud by Jean-François Courouau

“…The biographical account contains vast scenes of a very baroque aesthetic that today might be described as burlesque. Stylistically, Grimaud is following the Toulouse poet Pierre Godolin (1580-1649), to whom he implicitly pays tribute. …”
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La Tentation de saint Antoine de Flaubert et Uspud d’Erik Satie : affinités secrètes et résonances en filigrane by Bruna Donatelli

“…Among the audacious artists who experimented new forms of hybrid art (magic shows, shadow plays, pantomimes, burlesque) in these cabarets, we count also Erik Satie, a great admirer of Flaubert and his works. …”
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Polariser l'écart : la mise en scène du décalage dans Fram de Tony Harrison by Catherine Lanone

“…The mixture of tones and genres, of grand visual special effects, of burlesque, deliberately badly written verse attributed to Murray and of poignant, tragic moments (such as the speech about starvation in Russia) may well be problematic, but the play may be better understood when placed in the context of the myth of Polar exploration haunting Victorian Britain. …”
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The Lion’s Share of Laughter: A French Angle on the Dramaturgy of Pyramus and Thisbe by Richard Hillman

“…Cet article explore la relation entre la « tragédie » de Pyrame et Thisbé mise sur scène, de manière burlesque, par les Artisans dans Le songe d’une nuit d’été et certains analogues français, dont deux particulièrement intéressants : un long poème de jeunesse par Antoine De Baïf (1572-73) reprenant le récit d’Ovide, ainsi qu’une courte pièce anonyme, basée sur l’Ovide moralisé, qui a été éditée (vers 1535) sous le titre de Moralité nouuelle, recreatifue, & profitable, a quatre personnaiges, pièce certainement destinée à la scène. …”
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Ideea de bine comun și criza sistemelor simbolice de interpretare a lumii în Țiganiada lui Ioan Budai-Deleanu by Mianda Cioba

“…Central to this argument is the idea that the authorial intention is responsible for the work’s unity and semantic coherence, illustrated by the subordination of the first part of the poem, a panoramic view of epic-heroic genres treated in the burlesque key, to the second (chants X–XII) containing an objective debate on the values of civil life and optimal methods of governance. …”
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Reading “Guillelme l’Amïable”: Hypertextuality and La Prise d’Orange by Lucas Wood

“…In Genettian terms, the Prise’s dominant hypertextual operation is travesty, which burlesques a prestigious text or story by recasting its characters and action in a ridiculously incongruous style—here, the narrative and rhetorical style associated with courtly discourse. …”
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Le motif de la sorcière : des usages de l’anachronisme dans le Premier Faust de Goethe by Françoise Knopper

“…Elles ont aussi une dimension ludique car les manigances des sorcières sont burlesques et les allusions aux contemporains de Goethe qui font irruption ici renforcent le comique. …”
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