La maison où « voir, c’est pis que toucher »
Approaching Eugénie Grandet through the “special props” (a theatrical term) which are its decor and its furniture allows us to detect a temporality other than that suggested by the development of the action. Under the loving gaze of the daughter of the house, the fustiness of the past, which imbues...
Gardado en:
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| Formato: | Article ou chapitre numérique |
| Idioma: | Français |
| Publicado: |
2024
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| Acceso en liña: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |