Auswahl der wissenschaftlichen Literatur zum Thema „Esthétique asiatique“
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Zeitschriftenartikel zum Thema "Esthétique asiatique"
Solmaz, Ilknur, und Monique Raberin. „Le facteur ethnique est-il un indicateur thérapeutique?“ L'Orthodontie Française 82, Nr. 4 (23.11.2011): 347–58. http://dx.doi.org/10.1051/orthodfr/2011143.
Der volle Inhalt der QuelleFariji, Anis. „Les figures multiples de l’hétérophonie dans la musique de Zad Moultaka“. Circuit 27, Nr. 3 (16.01.2018): 23–38. http://dx.doi.org/10.7202/1042836ar.
Der volle Inhalt der QuelleDe Launay, Laure, und Sarah Gebeile-Chauty. „Le sourire : un enjeu dans la décision thérapeutique des classes III“. L'Orthodontie Française 89, Nr. 1 (März 2018): 81–91. http://dx.doi.org/10.1051/orthodfr/2018002.
Der volle Inhalt der QuelleFouchécour, Charles-Henri de. „« Esthétique et lexique du corps humain dans la littérature classique iranienne » (1ère partie). Journal Asiatique, 291, 1&2 (2003), pp. 249-293.“ Abstracta Iranica, Volume 26 (15.05.2005). http://dx.doi.org/10.4000/abstractairanica.1986.
Der volle Inhalt der QuelleFeuillebois-Piérunek, Ève. „« Esthétique et lexique du corps humain dans la littérature classique iranienne (1-2-3) ». Journal Asiatique, 291, 1-2 (2003), pp. 249-293 ; 293, 1 (2005), pp. 245-356 ; 294, 2 (2006), pp. 409-486.“ Abstracta Iranica, Volume 29 (15.05.2008). http://dx.doi.org/10.4000/abstractairanica.31592.
Der volle Inhalt der QuelleDissertationen zum Thema "Esthétique asiatique"
Coppola, Antoine. „Esthétique du cinéma asiatique : Chine, Corée, Japon, Hong Kong, Taiwan“. Aix-Marseille 1, 2001. http://www.theses.fr/2001AIX10059.
Der volle Inhalt der QuelleLi, Min-Yuan. „Apports des traditions scéniques orientales dans les théories esthétiques et les pratiques du théâtre européen au XXe siècle“. Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20029/document.
Der volle Inhalt der QuelleIn the last decade of the 19th century, works of Lugné-Poe and Antoine experiment a new aesthetic representation and search the essence of the theatrical invention in the mise en scène. The director (metteur en scène) becomes the author; toa certain extent, sometimes, s/he takes the predominant role. Throughout the 20th century, the evolution of the directing (mise en scène) accelerates abruptly and it is so violent and sometimes it reaches to a state of anarchy. This is why the aesthetics of oriental scenic tradition, which goes through reproducible art forms, even stereotypical, could provide beacon and safeguards.Paul Claudel is the first person who acquires knowledge about the Orient due to his long stays in Asia. He incorporates the oriental traditions, cultures and philosophies in his playwriting, and proposes new epic and lyric forms in theater, likeone sees in The shoe of satin and Christophe Columbus. Proposing a symbolist theater, he had staged real poems which reflect his cosmology and his poetic vision. Claudel had achieved what Jean-Louis Barrault dreamed of -the "total theater."In the early 20th century, several colonial exhibitions introduced the East to the West. They gave Westerners an opportunity of directly absorbing the oriental scenic tradition. The formalists acting— sacred and aesthetics— in symbolic poetry attractsintellectuals and artists. Particularily, the representations of Sada Yacco and Mei Lan-fang were most enthusiastically received. The theoretical directors were passionate about the expressive and metaphorical acting of their robust,well-proportioned yet flexible bodies, about their moderate and discreet attitude, which were shaped by the ancient Eastern traditions. Although there were slight differences among various Asian theaters, they were grouped under the common name of "Oriental Theatre". In this sense, I would like to analyze the impacts caused by three major events of the western theater history in Europe: the successive visitings of troupe Sada Yacco in 1901, the Colonial Exhibition in 1931, and the arrival of Mei Lan-Fang in 1935. At the same time, we should trace the origins and common characteristics of Asian theaters.When the innovative artists discovered the eastern theater, they were overcame by the authenticity of its theatricality and they mirror the Western theater in opposition to the Eastern theater, in which they denounce the shortcomings of Westerntheatrical convention. The oriental scenic tradition shows them the paradoxical aesthetic: (1) unornamented decoration yet enriching in the metaphorical layout; (2) stylized artificial acting but realistic-details revealing; (3) short performance butrequiring long-term training; (4) creations constrained by tradition but set free by the talent of artist; (5) one theatrical art integrating various arts.Referring to these oriental characteristic forms, Craig seeks to find a "definite form", Meyerhold tends to establish a new convention of theatricality. As for Brecht, he goes further into developing theory, and his writing aims to produce the effect of"alienation." Artaud, on the other hand, wants to "terminate the masterpieces" and allow real stage language to speak for itself.After these pioneers who discovered sources from the Orient, directors who follow these doctrines such as Grotowski, Barba, Brook, and Ariane Mnouchkine turn their spiritual search and introspective towards the Orient, in hopes of generating their own aesthetics which could be realized in practice. Therefore, their creations reflect not merely Eastern traditions nor do they apply only Western conventions, but they are fertilized and born out of their appropriation to the Orient, mingled with these directors’ own personality, their "tribe" and their cultural preferences
Yun, Kusuk. „Etre exotique dans l'art contemporain : la scène internationale de l'art et trois pays d’Asie – Japon, Corée du Sud et Chine – dans la mondialisation : création et stratégies de diffusion“. Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080135/document.
Der volle Inhalt der QuelleEver since the era of globalization began, the Western world has been strongly engaged in the discovery of new cultures of the world, in the field of the visual arts. Indeed, it has become the norm to value diversity and cultural relativism because cultures perceived as authentic can develop considerable aesthetic and economic value from their unique and picturesque features. Even if we cannot really understand all the cultural characteristics of a far-off country, we are still able to sketch a pleasant and attractive image of this place in our imagination thanks to the mass media, which repeatedly presents these landscapes through "typical" images.As a result, artists from "peripheral" countries are trying to meet the Western world’s expectations in their work, hoping in this way to break into a global system where some countries are positioned as "leaders". These artists devise communication strategies to promote their works on the international art scene; they represent their cultural identity in their artwork in a stereotypical and easily recognizable way to the West. Postmodern pluralism considerably influenced these artists’ work, whilst focusing attention on everything that is typically “local” and “original”
Moreira, Macedo de Carvalho Ludmila. „The ambivalent identity of Wong Kar-wai's cinema“. Thèse, 2009. http://hdl.handle.net/1866/3244.
Der volle Inhalt der QuelleWith nine feature films released between 1988 and 2007, as well as several advertising campaigns, music videos, short films and collective projects, Wong Kar-wai is one of the most important contemporary filmmakers currently working. Hailing from Hong Kong’s highly commercial film industry, Wong has managed to attract the attention of the international film festival circuit with his visual style and fragmented narrative. Considered by many critics as the poet of Hong Kong’s quest for identity post 1997, his cinema defies every attempt of standardization. The main goal of this study is to provide an attentive and comprehensive study of his body of work, concentrating on the stylistics traits that make his films part of a coherent unity. These characteristics correspond to a certain way of telling stories, of composing situations and characters, of manipulating time and the use of technical resources so that his films offer a coherent identity. The objective is to analyze the different components of his images, to show how his films communicate with each other in order to create something unique. To achieve this objective, I put forward the hypothesis that Wong’s cinema is marked by a dualistic structure that allows his films to present opposite qualities at the same time. Most of my arguments are based on the thoughts of French philosopher Gilles Deleuze, whose own dualistic theory of cinema presented in his books Cinema 1: the movement-image and Cinema 2: the time-image, provides a valid framework upon which Wong’s films can be projected. While the research concentrates on the textual analysis of films, I will also benefit from comparative analysis and additional disciplines.
Bücher zum Thema "Esthétique asiatique"
La question de l'art en Asie orientale. Paris: PUPS, Presses de l'Université Paris-Sorbonne, 2008.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Esthétique asiatique"
Bardot, J., A. Fogli, T. Malet und J. Saboye. „L'œil asiatique“. In Chirurgies esthétiques des paupières, 111–19. Elsevier, 2008. http://dx.doi.org/10.1016/b978-2-8101-0054-5.50010-x.
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