Auswahl der wissenschaftlichen Literatur zum Thema „Femmes artistes de guerre“
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Zeitschriftenartikel zum Thema "Femmes artistes de guerre"
Bobrowska, Ewa. „L’indépendance politique et créatrice les artistes Polonaises à Paris s’affirment“. Acta Universitatis Lodziensis. Folia Sociologica, Nr. 80 (30.03.2022): 95–104. http://dx.doi.org/10.18778/0208-600x.80.07.
Der volle Inhalt der QuelleHayashi-Hibino, Yôko. „Ces femmes que rien n'arrête - Femmes-artistes japonaises avant et après la deuxième guerre mondiale : des années 1930 aux années 1950“. Ebisu 27, Nr. 1 (2001): 171–76. http://dx.doi.org/10.3406/ebisu.2001.1137.
Der volle Inhalt der QuelleReyns-Chikuma, C(h)ris, und Catel Muller. „Entretien avec Catel Muller“. ALTERNATIVE FRANCOPHONE 1, Nr. 7 (13.09.2014): 71–85. http://dx.doi.org/10.29173/af23057.
Der volle Inhalt der QuelleMayr, Brigitte, und Michael Omasta. „En transit — passage par l’exil cinématographique à Paris“. Austriaca 64, Nr. 1 (2007): 39–51. http://dx.doi.org/10.3406/austr.2007.4530.
Der volle Inhalt der QuelleTsagkari, Nikoleta. „Isabelle Waldberg, sculpteur (1911-1990) : une trajectoire émancipée“. Source(s) – Arts, Civilisation et Histoire de l’Europe, Nr. 8-9 (19.10.2022): 119–40. http://dx.doi.org/10.57086/sources.304.
Der volle Inhalt der QuelleDufief, Pierre. „Femmes artistes, femmes d’artistes“. Le Petit Chose. Bulletin de l'association des Amis d'Alphonse Daudet 101, Nr. 1 (2012): 89–102. http://dx.doi.org/10.3406/lepec.2012.1258.
Der volle Inhalt der QuelleSpettel, Elisabeth. „Les artistes femmes“. Articles 27, Nr. 1 (04.06.2014): 161–81. http://dx.doi.org/10.7202/1025463ar.
Der volle Inhalt der QuellePena López, Claudia. „Introduction : Femmes artistes“. HYBRIDA, Nr. 8 (26.06.2024): 11. http://dx.doi.org/10.7203/hybrida.8.29062.
Der volle Inhalt der QuelleVermeersch, Laure. „artistes en guerre ?“ Vacarme 37, Nr. 4 (2006): 14. http://dx.doi.org/10.3917/vaca.037.0014.
Der volle Inhalt der QuelleLaggoune-Aklouche, Nadira. „Femmes, artistes, en Algérie“. Africultures 85, Nr. 3 (2011): 20. http://dx.doi.org/10.3917/afcul.085.0020.
Der volle Inhalt der QuelleDissertationen zum Thema "Femmes artistes de guerre"
Toro, cardona Angelica. „Femmes de guerre et guerre de femmes“. Thesis, Rennes 2, 2020. http://www.theses.fr/2020REN20026.
Der volle Inhalt der QuelleThe relationship between psychoanalysis and femininity has always been tormented : often blamed for its phallocentrism ; psychoanalysis, on the other hand, would blame women for not revealing their mystery. This thesis examines the relationship between the Freudian apparatus and femininity, and this with a specific goal, to highlight the active and even combative nature of women in Freudian thought ; but also the fact that psychoanalysis has never resigned from facing the incredible challenge represented by the meeting with the feminine soul. Aggressiveness being in the center of his becoming as a gendered being, the Freudian woman maintains a close relationship between death drive and acting out. This proximity as well as the women’s question in Lancanian theory helps us to establish our hypothesis in which acting out may constitute an expression of the woman’s being. What comes out of it is a clinical approach of the acting out in the feminine, involving two major issues for psychoanalysis : First femininity conceived as a style which is inscribed in the heart of the psychic structure, through more or less particular acting out ; secondly a study of the inner logic of the act, involving a distinction between the basic structure of the act and the clinical structure of the subject. That allows us to combine the question of the psychosexual position of the subject and the one of the psychic structures. In the third part of our thesis, we illustrate that point by clinical vignettes about women in the setting of Colombian armed conflict. The figure of warrior woman is thus expanded to feminine clinic as such
Winell-Garvén, Iréne. „Vägen till parnassen : en sociologisk studie av kvinnligt konstnärskap i Sverige 1864-1939 /“. Göteborg : Göteborg university, 2005. http://catalogue.bnf.fr/ark:/12148/cb39983315d.
Der volle Inhalt der QuelleCreusen, Alexia. „Femmes artistes en Belgique : XIXe et début XXe siècle /“. Paris : l'Harmattan, 2007. http://catalogue.bnf.fr/ark:/12148/cb41118507q.
Der volle Inhalt der QuelleMaingon, Claire. „Les Salons du rappel à l'ordre, Paris 1914-1925 : des artistes français aux artistes indépendants“. Paris 10, 2006. http://www.theses.fr/2006PA100135.
Der volle Inhalt der QuelleThis study of Art history focuses on the “Salons des Beaux-Arts” from 1914 to 1925. It gathers a corpus of several hundred works by painters and sculptors. The purpose is to demonstrate the resilience of the Culture of Great World War and the importance of the artistic national tradition. It uses unreleased archives, exhibitions books and documents found by the inheritors of the artists. The study shows the State deficiencies and the influence of art dealers and industry people in the art market. The iconographic work shows that the cultural demobilisation was a slow and painful process coming from the 1870’s warrior ideology. It points out the birth of a tradition of independent art, what we call the Third way, which opens the prism of the call to order and announces the menacing times of the 1930’s
Nahum-Adamsbaum, Edith. „L'art brut et les femmes“. Paris 1, 1999. http://www.theses.fr/1999PA010624.
Der volle Inhalt der QuelleChevillot, Anaïs. „Genre et création : construction d'identités genrées chez les femmes artistes“. Thesis, Université Grenoble Alpes (ComUE), 2017. http://www.theses.fr/2017GREAH001/document.
Der volle Inhalt der QuelleThis work is about the construction of identity for the women who work around an artistic activity. The will to do this study came from the statement that women are more represented than men in the artistic training. However the few that came “in the limelight”, are recognized as great artists, exhibited in museum and celebrated as mentors, are really rare.I based my work on the notion of intersectionality to enrich my analysis of the notion of identity. I was interested in the concept of male domination in order to see how the power relationship is built within art worlds. I have analyzed how the artist's role is socially constructed in order to understand the ways in which female artists build their professional identityThis research is about the path of women artists perceived by three different points of view. In the life story of my interviewees, I spotlighted the label from a female differential socialisation, the disruption of the gender identity and, finally, the average of gender stereotypes in the way that women artists saw their identity. I specified the elements of the primary socialisation that has allowed them to move towards an artistic career since their childhood.In a second time I analysed how, in their secondary socialisation, women built and developed an artistic career, whose role model gave inclination to create, whose training shaped professional aspiration and whose network was implemented in the field of creation. Viewing their academic career and the beginning of their work, I detailed the way of learning a profession and codes and standards that regulate them.Finally in a third time I studied how women artists may feel perceived today, how they find their place into art worlds and what roles are approved for them. In a working world still primarily masculine I examined how women are affected by the question of family, couple and maternity, how they manage the pre-existing patterns and how they navigate into professional networks, which often means masculine self-segregation.This research brings a vision of identity building for women artists today. It allows us to envisage how the survey participants find their place into a particular professional position, because of the small number of women in this work and because of the role that this activity plays in social relationships. This research is finally a way to assess, generally speaking, the manner that gender, class and professional identity can be combined
Provansal, Mathilde. „Artistes mais femmes : formation, carrière et réputation dans l'art contemporain“. Electronic Thesis or Diss., Paris 1, 2019. http://www.theses.fr/2019PA01E051.
Der volle Inhalt der QuelleWomen artists are underrepresented at the highest levels of artistic, symbolic and economic reputation, although they make up the majority of art school students as well as artists. Drawing on sociology of work, gender, art and education, this PhD dissertation explains this paradox. It analyses the making of gender inequalities within a very prestigious French art school and how these affect the entrance into an artistic career, survival in the profession and access to reputation of its graduates in contemporary art. The joint analysis of quantitative data from an artist ranking (ArtFacts), biographical interviews and ethnographic observations sheds light on the gendered construction of artistic careers. Whether it is during the recruitment by the art school, the selection in a studio, student jobs, the invitation to exhibit one’s work or being represented by a gallery, women’s gradual disappearance plays out in co-optation processes. At different stages in the career, the stigma of motherhood restricts their employability and their heterosexualization limits opportunities for self-promotion. Access to the conventions of the contemporary art world and integration into professional networks, particularly in the art market, are sexually differentiated. Nevertheless, different social, economic, educational or institutional resources allow some women to bypass the constraints weighing on women’s artistic careers, and to gain reputation
Gossmann, Marlène. „Artistes femmes à Paris dans les années vingt et trente du XXe siècle“. Dijon, 2006. http://www.theses.fr/2006DIJOL012.
Der volle Inhalt der QuelleLafforgue, Laetitia. „La condition des artistes féminines contemporaines autochtones au sein du paysage culturel québécois“. Mémoire, Université de Sherbrooke, 2018. http://hdl.handle.net/11143/11913.
Der volle Inhalt der QuelleMarquié, Hélène. „Métaphores surréalistes dans des imaginaires féminins : quêtes, seuils et suspensions : souffles du surréel au travers d'espaces picturaux et chorégraphiques : parcours dans les oeuvres de Leonora Carrington, Leonor Fini, Dorothea Tanning, Martha Graham, Doris Humphrey et Carolyn Carlson“. Paris 8, 2000. http://www.theses.fr/2000PA081713.
Der volle Inhalt der QuelleBücher zum Thema "Femmes artistes de guerre"
1920-2014, Bobak Molly Lamb, und Art Canada Institute, Hrsg. Molly Lamb Bobak: Life & work. Toronto, ON: Art Canada Institute, 2019.
Den vollen Inhalt der Quelle findenE, Lebovici, Hrsg. Femmes artistes/artistes femmes: Paris, de 1880 à nos jours. Paris: Hazan, 2007.
Den vollen Inhalt der Quelle findenauthor, Viéville Camille, Hrsg. Les femmes artistes sont dangereuses. Paris: Flammarion, 2018.
Den vollen Inhalt der Quelle findenAlkema, Hanna, und Mathilde de Croix. L'autre continent: Artistes, femmes, africaines. Paris]: MkF éditions, 2016.
Den vollen Inhalt der Quelle findenGodard, Jocelyne. Guerre et femmes. Paris: Sémaphore, 2011.
Den vollen Inhalt der Quelle findenHistorial de la Vendée (Museum), Hrsg. 1914-1918, 1939-1945: Artistes en guerre. Gent: Snoeck Ducaju & Zoon, 2015.
Den vollen Inhalt der Quelle findenBougdal, Lahsen. Femmes artistes marocaines contemporaines: Nouveaux entretiens. Paris: L'Harmattan, 2018.
Den vollen Inhalt der Quelle findenJean-Marc, Michaud, Delouche Denise und Musée du Faouët, Hrsg. Femmes artistes en Bretagne: 1850-1950. Le Faouët: Liv'éditions, 2013.
Den vollen Inhalt der Quelle findenAlexandre, Dumas. La guerre des femmes. Paris: Phébus, 2007.
Den vollen Inhalt der Quelle findenZaidman, Sylvie. Femmes photographes de guerre. Paris]: Musée de la Libération de Paris-Musée du général Leclerc-Musée Jean Moulin, 2022.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Femmes artistes de guerre"
Baloup, Daniel. „Femmes en guerre“. In L'homme armé, 93–122. Casa de Velázquez, 2022. http://dx.doi.org/10.4000/books.cvz.32661.
Der volle Inhalt der QuelleGarrigues, Véronique. „Les « femmes viriles »“. In Guerre et transgressions, 51–68. Presses universitaires de Grenoble, 2018. http://dx.doi.org/10.3917/pug.douzo.2018.01.0051.
Der volle Inhalt der QuelleHandfield, Nicolas, Julie Le Gac und Chloé Poitras-Raymond. „Femmes en guerre de l’époque médiévale à nos jours. Introduction“. In Femmes en guerre, 9–18. Presses universitaires du Septentrion, 2022. http://dx.doi.org/10.4000/books.septentrion.134896.
Der volle Inhalt der QuellePinet, Guillaume. „Où sont les femmes dans les mémoires militaires français du xvie siècle ?“ In Femmes en guerre, 41–70. Presses universitaires du Septentrion, 2022. http://dx.doi.org/10.4000/books.septentrion.134931.
Der volle Inhalt der QuelleGoupil-Travert, Maria. „« Héroïne », « braves », « misérables » : 1790-1890 : un siècle de reconnaissance et de représentation des anciennes combattantes de la Révolution et de l’Empire“. In Femmes en guerre, 201–20. Presses universitaires du Septentrion, 2022. http://dx.doi.org/10.4000/books.septentrion.135011.
Der volle Inhalt der QuelleTsrimova, Lina. „Les chants des femmes chahidates : des récits alternatifs des guerres caucasiennes du xixe siècle“. In Femmes en guerre, 221–42. Presses universitaires du Septentrion, 2022. http://dx.doi.org/10.4000/books.septentrion.135021.
Der volle Inhalt der Quelle„Bibliographie“. In Femmes en guerre, 247–50. Presses universitaires du Septentrion, 2022. http://dx.doi.org/10.4000/books.septentrion.135036.
Der volle Inhalt der QuelleHandfield, Nicolas, Julie Le Gac und Chloé Poitras-Raymond. „Conclusion“. In Femmes en guerre, 243–46. Presses universitaires du Septentrion, 2022. http://dx.doi.org/10.4000/books.septentrion.135031.
Der volle Inhalt der QuelleLostec, Fabien. „S’engager radicalement dans la collaboration : des femmes en guerre en France sous l’Occupation (1940-1944)“. In Femmes en guerre, 139–60. Presses universitaires du Septentrion, 2022. http://dx.doi.org/10.4000/books.septentrion.134976.
Der volle Inhalt der Quelle„Remerciements“. In Femmes en guerre, 257–58. Presses universitaires du Septentrion, 2022. http://dx.doi.org/10.4000/books.septentrion.135041.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Femmes artistes de guerre"
Cottegnies, Line. „« Importunate and Rapacious Vultures ». Harcèlement et guerre des sexes dans la pensée de Mary Astell“. In Webinaire AVISA (Historiciser le harcèlement sexuel). MSH Paris-Saclay Éditions, Université Paris-Saclay, 2023. http://dx.doi.org/10.52983/qfsr3144.
Der volle Inhalt der QuelleSiqueira, Marina. „O Femmes Artistes Modernes, o rappel à l’ordre e a obra de Suzanne Valadon“. In Encontro da História da Arte. Universidade Estadual de Campinas, 2018. http://dx.doi.org/10.20396/eha.13.2018.4585.
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