Dissertationen zum Thema „Femmes artistes de guerre“
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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 QuelleBsaibes, Darine. „Artistes et Artisanes : Points de vue croisés entre art féministe et arts populaires du Proche-Orient“. Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080058.
Der volle Inhalt der QuelleThe history of art reflects the dynamic forces at play between cultures and civilizations. Embroidery and weaving in the Near East are artistic skills passed down from and learned by generations of women. Today, in their countless numbers, these women are part of a community whose values are increasingly relevant to modern society: human relations, quality of expertise, bespoke products and sustainability. When looking at Near Eastern folk art and at the same time considering feminist art consciousness, a wide range of links between feminism and post-colonialism emerge. The feminist history of art and thoughts surrounding non-Western artistic productions, coupled with the Visual Culture Studies which places a great emphasis on the social history of art, compels us to examine the schism that has separated these two important categories. As a result, we are better able to conceptualize the functional inversion between art as a "production" and Fine Art. The complexity of this debate stems from problems specific to local pre-Islamic arts and the cultural hegemony that dominates non-Western societies. Societies of which the intellectuals and artists themselves stick to the « dominant way », where contemporary artworks locally-created remain inaccessible to the average lay person. The peculiarity of Near East folk art lies in the fact that it endorses different concomitant statutes: handmade production, utilitarian objects, objects requesting aesthetic perception, sustainability and objects of cultural heritage. The very act of borrowing elements from the past means that popular arts are no longer treated as wrong and reactionary, but rather as a way to escape from the authorship and intellectual property that permeate the avant-garde
Zhang, Naiyong. „Les femmes artistes d'origine miao, mongole et ouïgoure dans le champ artistique chinois 1950-2010“. Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA042.
Der volle Inhalt der QuelleThis thesis is devoted to studying the evolution of the place of female artists with Miao, Mongolian and Uygur origins in the Chinese artistic field 1950-2010. The central theme is to demonstrate how social changes have changed the place of women, and more specifically, how the place of women has been redefined in an identity discourse. If in the years 1960-1980, the art works dealing with the collectivist ideology and the representation of the ‘iron woman’ occupied a primordial place, in the years 1981-2000, the female artists describe the real situation of the women and put the focus on the question of the identity of modern women and the relations between women and men. They seek to master the different forms of ethnic artistic expression. Since 2001, in order to preserve ethnic cultures facing the globalization, the female artists are trying to interpret the depth of ethnic culture in their art works. It is towards traditions, such as historical memory, mythologies, songs and dances, that the female artists with ethnic minority origins are looking for their cultural roots. This research is based at the same time on the analysis of the socio-cultural situation of female artists with minority origins, the analysis of the construction of the feminine identity and the analysis of the particularities of the expression of female artists because of their ethnicity
Ben, Abda Nefissa. „Femmes et syndicats en Grande-Bretagne depuis la seconde guerre mondiale“. Paris 3, 1989. http://www.theses.fr/1990PA030012.
Der volle Inhalt der QuelleThis study examines women's trade union involvement in a post-industrial society. Women have been a major source of growth for trade unions in recent years, and are forming an ever-increasing proportion of trade union membership. Nevertheless, they are strongly under-represented at all levels of the union hierarchy. The reasons for their lack of participation can be ascribed to psychological and cultural barriers but they are also due to job- and union- related factors. Though factors. Though facts and figures as well as the points of view of female activists show that equality is still a goal to be achieved, there has been some progress. Most unions took measures aiming at the wider involvement of their female members. On the other hand, women are more and more playing an active part, and some of them are members of their unions' national executive committees. Under the influence of women, trade unions are more aware of the diversity of their affiliates and, more and more, they have come to accept that "women's issues" such as creches or sexual harassment are, similarly to bread and butter issues, trade union issues
Goldenstedt, Christiane. „Les femmes dans la Résistance“. Herbolzheim : Centaurus-Verl, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2842449&prov=M&dok_var=1&dok_ext=htm.
Der volle Inhalt der QuelleFalquet, J. France. „Femmes, projet révolutionnaire, guerre et démocratisation : l'apparition du mouvement de femmes et du féminisme au Salvador (1970-1994)“. Paris 3, 1997. http://www.theses.fr/1997PA030168.
Der volle Inhalt der QuelleThe emergence of a salvadorian women's and feminist movement is the result of a series of factors. First of all, it has its roots in a long history of political participation by salvadorian women. Primarily encouraged by the theology of liberation in the 1960s, they fought by 1970 alongside de marxist-leninist guerilla of the fmln and later in th civil war between 1981 and 1992. What they have gained is however ambiguous as war destroyed families -so far their main field of reference- whereas the fmln subordinated their participation to its own aim, i. E. A military victory. Only the new context of peace and preelectoral democratization between 1992 and 1994 allowed the development of a genuine women's movement : in a process of growing autonomy, women soon claimed salvadorian feminism as theirs while the movement flourished dramatically. Led by former female revolutionaries, the movement is also the result of a strategy of unity around two main projects : the organization of the 6th continental feminist meeting, due to take place in el salvador in 1993, which permitted fruitful connections with the continental feminist movement; and the drawing up of a women's charter for the elections of 1994, in view of which groups as a whole gathered around a series of common demands. Finally, the women's and feminist movement in el salvador shows some features of the neoliberal era. As they become autonomous from left winged parties and become more institutionalized, women's groups turn toward international organizations from which they depend more and more on a financial level. In a period of crises of ideology and crises within political parties, salvadorian women are looking for a new alternative, seeking to be engaged politically "in different ways" and to create a new form of power, with a social movement also anchored in women's daily and "private" concerns
Bsaibes, Darine. „Artistes et Artisanes : Points de vue croisés entre art féministe et arts populaires du Proche-Orient“. Electronic Thesis or Diss., Paris 8, 2014. http://www.theses.fr/2014PA080058.
Der volle Inhalt der QuelleThe history of art reflects the dynamic forces at play between cultures and civilizations. Embroidery and weaving in the Near East are artistic skills passed down from and learned by generations of women. Today, in their countless numbers, these women are part of a community whose values are increasingly relevant to modern society: human relations, quality of expertise, bespoke products and sustainability. When looking at Near Eastern folk art and at the same time considering feminist art consciousness, a wide range of links between feminism and post-colonialism emerge. The feminist history of art and thoughts surrounding non-Western artistic productions, coupled with the Visual Culture Studies which places a great emphasis on the social history of art, compels us to examine the schism that has separated these two important categories. As a result, we are better able to conceptualize the functional inversion between art as a "production" and Fine Art. The complexity of this debate stems from problems specific to local pre-Islamic arts and the cultural hegemony that dominates non-Western societies. Societies of which the intellectuals and artists themselves stick to the « dominant way », where contemporary artworks locally-created remain inaccessible to the average lay person. The peculiarity of Near East folk art lies in the fact that it endorses different concomitant statutes: handmade production, utilitarian objects, objects requesting aesthetic perception, sustainability and objects of cultural heritage. The very act of borrowing elements from the past means that popular arts are no longer treated as wrong and reactionary, but rather as a way to escape from the authorship and intellectual property that permeate the avant-garde
Kim, Van Chien. „Le devenir des jeunes femmes engagées volontaires dans la guerre du Vietnam“. Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100085.
Der volle Inhalt der QuelleThirty five years have passed since the end of the Vietnam War, however, for the women who volunteered, the combat continues. A combat for a decent life. Upon their return, in order to integrate into a normal life, they had to go through many trials: firstly those related to their health conditions, then financial, social and family difficulties. Even though the Vietnamese State adopted measures in their favour, they turned out to be insufficient in improving their lives and compensating their suffering. They thus feel as though they have gone unrecognized. Scientific results of this Thesis have shown their altruist choice of committal to the war was made upon a "rational" basis. Despite certain cases of "forced" involvement, the majority of them were determined to leave out of personal interest: such as the vengeance of loved ones, to obey to the revolutionary family, the taste for a uniform role, fear of being outcast for not participating, a desire for independence, an escape from poverty, wanting to leave one man at home to take care of the ancestors and enrolling in his place, an interest for personnel, family, economic or revolutionary order. Rarely was their enrollment in the army pure patriotism. On the battle field, they not only helped the troops by transporting ammunition, people both well and wounded, they reconstructed the roads and fought beside the men weapons in hand. We have seen the importance of outside elements "exogenous", having contributed to their suffering, such as geographical placement, (mountainous and jungle regions and their contact with animals carrying decease; the climate change and intensified rain and dry seasons; the circumstances of war (chilling, chemical sprays, wounds, regular exposure to death) and the circumstances due to unstable living conditions such as constant movement (hunger, thirst, fatigue, physical exhaustion). Upon their return, these women went unrecognized. The traces left on their bodies by the war had seriously interfered with their reintegration into the society that they left. They returned disease-ridden to solitude, marriage problems and poor health. Their low level of education held them back from employment opportunities, leaving them to continue a new fight, one of a more personal level. The society, to this day, distinguishes them by six categories: those married, divorced, separated, and single, without children and those that are homeless. Thus it is the entire group of ex-volunteers that are seeking an identity along with certain rights as they have justly "fought for recognition" then participated in the creation of the Liaison Committee of ex-volunteers, which led to the succession of the Association ex-volunteers. This association constituted THE new motor force. It has played the role of a historic witness, forcing the Party and local authority's to value more appropriate social politics. However these politics haven't responded to any particular expectations. « The gift and return gift” are not equal, because this help has been largely insufficient and only reaches out to a restricted number of women, those who had kept their paperwork during the risky years of their engagement and those able to justify their wounds
Cicottini, Gwendoline. „Relations interdites, enfants oubliés ? : les relations entre femmes allemandes et prisonniers de guerre français pendant la Seconde Guerre mondiale“. Electronic Thesis or Diss., Aix-Marseille, 2020. http://www.theses.fr/2020AIXM0543.
Der volle Inhalt der QuelleThe term « forbidden relationships » refers to contacts between German civilians and French prisoners of war present on the territory of the Reich during the Second World War. Forbidden by the decree of Verbotener Umgang mit Kriegsgefangenen from November 1939 , such contacts were banned both for military security reasons and in the name of National Socialist racial ideology. Thanks to a substantial corpus of judicial files related to this crime, the thesis analyses the tens of thousands of relationships that have taken place. It shows the gap between “the norm” and reality during this period. It reflects the difficulty in controlling the civilian population during times of conflict and the agency of the actors. With the help of these different trajectories, and thanks to the contributions of micro history, this study contributes to approaching war in a different way, through a story of intimacy and love. It defends the hypothesis that forbidden relations contributed to the writing of a different history, one of Franco-German relations at the heart of the Second World War. In order for this to be understood requires a historical anthropological approach and the questioning of relationships to sexuality and the structures of kinship
Riquier, Anne-Sophie. „Les femmes du Liban face à la guerre : itinéraire et enjeux d'un parcours romanesque“. Paris 4, 2006. http://www.theses.fr/2006PA040102.
Der volle Inhalt der QuelleOut of the conflict that tore their country apart between 1975 and 1991, Lebanese women have written up an astounding record of the Lebanese War. Through the re-appropriation of a hitherto masculine narrative voice, they renew the traditional structures of fiction in order to set down the record of the devastations in their novels. Their stories, fractured words born of the division, are an ode to the deceased and to a destroyed Lebanon. Yet transcending the pain of loss and the anger in the face of ruin, the creative process sublimates the memory of horror and turns it into a design, with the war-tale becoming a novel of apprenticeship in which the experience of violence is a guiding light in the all-encompassing quest for peace. Looking into the past in search of the origin of the social fracture, these novelists sound the Lebanese collective identity in an attempt to find the basis for unity. Through the rewriting of secular myths, they remind us of the fundamental oneness of the human condition while extolling tolerance and brotherhood. Refusing to stay within accepted boundaries, they unveil another struggle, the fight for sexual equality, and preach the emancipation of women within everyday life. By deliberately standing against the traditional image of women in Mediterranean countries, the Lebanese female war novelists erect a new founding couple, built on ideals of equality and sharing, which embodies the hope of a pacified humankind, just as it teaches the acceptance of otherness and the fertile wealth of diversity
Ben, Ghacham Houda. „Ecritures féminines de la guerre : un état des rapports de pouvoir entre les sexes“. Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080027/document.
Der volle Inhalt der QuelleWar is in essence a masculine activity. Women were not allowed to use weapons and to make war in early human communities. Historically speaking, women had never been required to take part in collective violence to defend their group interests. These historical and anthropological data have led us to raise the issue of the writing of women about extreme violence, with the Lebanon war as a case in point, through a corpus of three women's novels.By relating the late advent of the writing of women and the historical discrimination of women in the Arab world, we have been able to consider the writing of women within the power relationships opposing both sexes. This has allowed us to question the state of those power relationships in women's writing about an activity which is out of reach of women and at the same time concerns society as a whole.War in women's writing is considered, reported and staged according to common main lines: the all-importance of space as it has been reconstructed by the conflict as such, being fully in control by armed confrontations; time is subservient to divided up space; men/women relationships characterized by symptoms of discord, disunion and separation brought about by the civil war. The rejection of the armed conflict and the radical criticism of the resistance of authoritarian and unfair social structures to the modern dynamics of female and human emancipation bring together the works under study in spite of the different aesthetical choices opposing them. A new feminine self materializes, liberated from the sacrificial burden of the traditional social contract
Thormann, Ellen. „Tamara de Lempicka : Kunstkritik und Künstlerinnen in Paris /“. Berlin : Reimer, 1993. http://catalogue.bnf.fr/ark:/12148/cb375504788.
Der volle Inhalt der QuelleJauneau, Elodie. „La féminisation de l'armée française pendant les guerres, 1938-1962 : enjeux et réalités d'un processus irréversible“. Paris 7, 2011. http://www.theses.fr/2011PA070059.
Der volle Inhalt der QuelleFrom July 11th, 1938, date of the law Paul-Boncour which allows for the first time a legal and official mobilization of the women, to the end of the Algerian War, the feminine staffs of the army do not stop increasing. Between 1939 and 1962, France is in war ceaselessly. Present on all the fronts since 1939, the women obtain little by little servicemen's status by the prism of the wars which succeed one another in Europe, then in Indochina and in Algeria. Defying the laws of the gender which forbade them the bearing of the military uniform, the women anticipate the legislative texts and so, force institutions to promulgate laws allowing them to reach the military career. However, this considerable overhang remains overhang in halftone because, in the term of three wars, the women stay outside the Army which limits their professional opportunities. In spite of the status of October 15th, 1951 which guarantees them career prospects on the long term, the cultural obstacles remain still numerous and the women soldiers are far from making the unanimity in the collective unconscious. The image of these women exercising a male profession in the traditionally male virtues of virility, courage and strength, sends back them constantly to the obsession of the denaturation of their biological sex. The weight of the traditions and the gendered assignments limit considerably their acceptance in the fighting memory. However, by choosing the army to serve France from the Second World War to the Algerian War, these pioneers opened the way to the feminization of the army which has never slowed down since
Boudet-Brugal, Alexandra. „Les femmes américaines et la guerre du Vietnam : quels présence, rôle et visibilité sur le front intérieur ?“ Paris 4, 2005. http://www.theses.fr/2005PA040068.
Der volle Inhalt der QuelleThough the Vietnam war is a central element of American history, war is usually seen as a masculine sphere, implying a division of experiences according to gender. That is the reason why we here see the term “gender” as a historical ingredient of History, to tell what has been left unsaid in the context of the war in Vietnam. A double folded relation has been constructed between this conflict and the American women. On the one hand, some have lived with it and through it in private, in a so-called traditional way in that they were placed in secondary roles, that of supporters and caretakers; they were wives, mothers, and nurses. On the other hand, as they were taking part in the opposition, they were drawn into the waring sphere; they were students, celebrities, writers, members of women's groups, pacific mothers, etc. They became visible as acting individuals at the same time as they were perceiving themselves as such. One example of that is the development of second wave feminism at that time. From the private to the public sphere, American women have taken place in the history of the war on the homefront, by means of action and writing, integrating their actions and voices to those of men. To some extent, it seems that this new space, generated by the specific context of the Vietnam war, have allowed a redefinition of the American women's presences and roles in their history and a change in their historic identity. However, even though a lot of them feel that they rightfully belong in this history, the image cast may be different. The purpose of this study is thus to examine their roles and presences in this conflict, between reality, representations and expectations
Ben, Ameur-Darmoni Kaouthar Bonn Charles. „L'univers féminin et la drôle de guerre des sexes dans quelques films tunisiens“. [S.l.] : [s.n.], 2000. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2000/ben-ameur_k.
Der volle Inhalt der QuelleAmrane, Djamila. „Les femmes algériennes et la guerre de libération nationale en Algérie, 1954-1962“. Reims, 1988. http://www.theses.fr/1988REIML001.
Der volle Inhalt der QuelleThe purpose of this thesis is to make out the militant women's participation in algerian struggle for national independence (1954-1962). According to the fact that french and algerian archives with respect to these events are not yet available for researchers, it was necessary to rely on other sources. This work is mainly founded on two sources as far unexploited : the file of the algerian ministry of the war veterans (moudjahidine), and the oral testimonies of militant women. On the other side, the newspapers of the period have been systematically looked through. Data supplied by 10 949 attestations to militancy concerning women registered as war veterans, have made it possible, thanks to a computer treatment, to obtain reliable statistics and draw some conclusions concerning the number of militant women, their age, geographic location, date of enrolment, sorts of activities, eventual detention and mortality owing to the war. 88 interviews of militant women have been done, recorded, deciphered, then verified by cross-checks and researches. These live witnesses, by their authenticity, have made up for the human dimension lacking in the statistics. With a view to replace in a historical context the women's participation in the war, the first part of this work consists in a statement of algerian women's situation in 1954. Then, after an analysis of statistical results, the social and cultural background has been studied,. .
Amrane, Djamila. „Les Femmes algériennes et la guerre de libération nationale en Algérie, 1954-1962“. Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376113370.
Der volle Inhalt der QuelleGoudal, Émilie. „La France face à son histoire : les artistes plasticiens et la guerre d’Algérie, de 1954 a nos jours“. Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100011.
Der volle Inhalt der QuelleFrom 1954 to 1962, the Independence War or Algerian War — depending on whether the story is narrated from the perspective of the victors or the defeated — touched many generations of international artist, while also penetrating and pushing aesthetic questions about representations of the unspeakable. By tracing the scar of this break between France and Algeria through the prism of art, this thesis reveals the importance of a crucial historical moment, hitherto unexamined by art history, which continues to bear upon contemporary politics in France. Offering exploratory themes not only to a generation of budding artists who affirmed their social and artistic commitments during the events of Mai 68, but also to artists from postcolonial world who proclaimed a modernity without hierarchy and the writing of unsaid histories, the Algerian War produced some of the fundamental issues underpinning the contemporary French and Algerian art worlds. With the historic prescription of a fifty years’ deferral now being over, the conflicted memories of the French defeat continue to trouble the undisturbed writing and exhibition of this sequence of historical events, formative key to construction of contemporary France. Consequently, this study proposes a critical examination of the representation of this “non history” in the French museum. In so doing, it estimates the impact of a “non-consensual” history on contemporary artistic practice touched by issues of memory and politics, and which interrogate notions of identity(ies)
Brumwell, Rafaela. „Expression féminine : des romancières espagnoles de l'après-guerre (1939-1961)“. Aix-Marseille 1, 1995. http://www.theses.fr/1995AIX10039.
Der volle Inhalt der QuelleFoucher, Charlotte. „Un symbolisme enfoui : les femmes artistes dans les milieux symbolistes en France au passage du siècle (XIXe-XXe)“. Paris 1, 2012. http://www.theses.fr/2012PA010707.
Der volle Inhalt der QuelleBiruka, Innocent. „La protection de la femme et de l'enfant dans les conflits armés en Afrique /“. Paris ; Budapest ; Kinshasa [etc.] : l'Harmattan, 2006. http://catalogue.bnf.fr/ark:/12148/cb40966219p.
Der volle Inhalt der QuelleGauthier, Julie. „Esthétique du féminin et art féministe : la question du genre dans l'art contemporain (en Europe et aux Etats-Unis, de 1960 à nos jours)“. Paris 1, 2003. http://www.theses.fr/2003PA010612.
Der volle Inhalt der QuelleDoual, Tassoum L. „Les mutations socio-économiques et la situation des femmes au Tchad pendant la guerre civile“. Paris 7, 1993. http://www.theses.fr/1993PA070072.
Der volle Inhalt der QuelleThe aim of this thesis is to study the social economical mutation and the situation of the women of chad during the civil war. The first part of the work is focus on the precolonial economical system. This analyse makes it possible to emphasize on the role of the family basic united of production, to show complementary to between men and women end more to show the important, the role of women in statuts in this society. The taking in to accounted in the second part of the theis of the historical, economical, and the political context premetted to show the mal adjustment of the administration end the economy which generated dumbnesses the handling of these desatisfaction by political men entailed civil war. The end of the second part is the description of women situation after the independance, the general social statuts : dowry, wedding, poligamy, divorce, widowing, and their resistance in an environment in complete mutation. At last, the third part of the work approaches upheaveals occured during the civil war and especially crime and bloody repressions under the hissen habre government. It analyses also the consequences of the civil war : spontaniose, destructuration and restauration. It shoose
Virgili, Fabrice. „Les tontes des femmes accusées de collaboration en France, 1943-1946“. Paris, EHESS, 1999. http://www.theses.fr/1999EHES0062.
Der volle Inhalt der QuelleZemanová, Etavard Marcela. „Le tabou féminin dans l'art contemporain : contexte social et artistique de la féminité dans l'oeuvre des femmes artistes contemporaines“. Paris 1, 2012. http://www.theses.fr/2012PA010595.
Der volle Inhalt der QuelleHerold-Marme, Amanda. „L'identité artistique à l'épreuve : les artistes espagnols à Paris et l'engagement à partir de la Guerre civile (1936-1956)“. Thesis, Paris, Institut d'études politiques, 2017. http://www.theses.fr/2017IEPP0017.
Der volle Inhalt der QuelleNourished with new information, this study aims to examine the impact of the Spanish Civil War on the community of Spanish artists settled in Paris. We will consider artists with longstanding ties to the French capital when the war breaks out, as well as those whose arrival in France is precipitated by the conflict. Our objective is to situate the specificities of individual trajectories in a global history, by considering the political engagement of these previously apolitical creators for both sides of the Spanish conflict through the prism of their artistic identity which is both Spanish and Parisian. Defined by the ties to modernity or tradition that each artist claims in his work or his social practices, this artistic identity becomes permeated with ideological connotations at the beginning of the Spanish Civil War. Our aim is to shed light on and put into perspective the complexity, the paradoxes and the contradictions of this politicized activity undertaken by Spanish artists in Paris over the course of these tumultuous years, especially during the Nazi Occupation of Paris. The renewal of normalized relations with Francoist Spain in the 1950s marks the end of our study. The massive and ostentatious political engagement of a considerable number of Spanish artists residing in or with strong ties to the French capital will allow us to clarify the point to which these Spaniards in Paris, in spite of their artistic ambitions, find themselves at the point of convergence of art and politics throughout these troubled years of the XXth century
Thomas, Mansour Émilie. „Les femmes dans Beyrouth en guerre (1975-1990). Une approche géocritique des "Beirut Decentrists"“. Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA015.
Der volle Inhalt der QuelleWhen the Lebanese war broke out in 1975, many women scattered in Beirut started writing about their feeling of being decentered. Miriam Cooke called them the "Beirut Decentrists". Their texts about the war in Beirut experiment with a variety of literary genres and devices such as hybridity and polyphony, yet all intersect around one interrogation: urban space as a protagonist and the woman writer’s role in this ever-changing landscape. This research inspired by geocriticism explores the spaces wandered by these women during the war. What can we learn about the war-torn city? Moreover, is it possible for new Beirut(s) to emerge from a fifteen-year militia-lead organized urbicide? Our corpus covers the entire war along with texts written during the postwar years. The latter giving us precious indications of how war still influences the conflict’s aftermath. What contribution can the "Beirut Decentrists" unique perspective bring to the construction of a collective memory in a country where amnesia and an excess of memory still coexist? Urban landscape, writing and poetic experimentation intersect and blend in these traveled and transgressed territories, thus allowing us to challenge the notion of border and binary narratives of center and periphery. Through a geographical reading of the Beirut Decentrists’ texts, we wish to renew the perspective on the war, on women in war, as well as the perception of the city and the ways to deal with memory
Hazzaz, May. „Étude du processus d'empowerment dans un contexte de guerre : cas de femmes libanaises issues des milieux défavorisés“. Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24187/24187.pdf.
Der volle Inhalt der QuellePalé, Titi Eri Aramatou. „Une anthropologie sociale des victimes de la guerre civile ivoirienne (2002-2012) : témoignages, accompagnement et initiatives des femmes déplacées“. Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080003.
Der volle Inhalt der QuelleIn this PhD dissertation, displaced women victims of the Cote d’Ivoire civil war (2002-2011) are observed in the social anthropology prism. The ethnographic perspective is here adopted: the points in the heart of this dissertation are biography and victims history narrated by themselves. The first part describes the context, the framework, the aim of the research (chapter 1), the fieldwork and main lines characterizations of the case study (chapter 2). In chapter 3, we examines the agricultural dependency of economy, describing the long-time construction/disaggregation of social order, from French colonization (XIXst century) to the eruption of civil war (2002). The second part presents and evaluates the institutional management of displaced women, victims of civil war. In chapter 4, we analyse what the concept of displaced victim is, describing public statistics, civil society approach, methods and limits. Specifically, the case of displaced women is observed (chapter 5). Focusing on public and civil society help, we evaluate these care systems. The third part is the ethnography of displaced women victims of the civil war and self-reconstruction. Based on data from fieldwork interviews, chapter 6 related victims’ narrations on their trajectories, and war time life. Chapter 7 proposes an anthropology of social dismisses and self-reconstruction of women victims or fall, out of state views
Ben, Ameur-Darmoni Kaouthar. „L'univers féminin et la drôle de guerre des sexes dans quelques films tunisiens“. Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/ben-ameur_k.
Der volle Inhalt der QuelleBellec, Audrey. „Les Parisiennes en 1939-1940, de l'évacuation à l'exode : un quotidien inédit“. Paris 7, 2008. http://www.theses.fr/2008PA070055.
Der volle Inhalt der QuelleThe May-June 1940 exodus represents the major popular event of the Second World War in France. Its existence has long been left in the dark as it is considered to be the symbol of defeat. The main aim of this study is to provide a social reading of events which have so far mostly been analysed from a military or politico-historical point of view. This study adds a gender dimension to the problem, showing that women were in fact the main actor of that event. Women, children and the elderly constituted the core of the frightened population that fled the German troops. In 1939-1940, the parisiennes are in constant motion: evacuated, expelled, choosing to move on, forced into emergency exodus, etc. The urgency and the direction of their movement depends on the current state of the conflict that opposes France and Germany. In spite of themselves, women find themselves on the forefront of the war, having to face a situation unheard of all social points of reference are gone, their responsibilities tenfold, their children and their elders in their charge. Millions of women become heads of family for an unknown period of time. They face a new reality: evacuation, exodus and repatriation
Tsai, Lin Yen. „Le silence du désir : l'espace corporel dans l'art féminin“. Paris 8, 2010. http://www.theses.fr/2010PA083142.
Der volle Inhalt der QuelleFor me, art is identifying oneself with the “Other”. This thesis, then, is an introspective examination of my work from the standpoint of femininity and sexuality – an obsession of mine that I became aware of thanks to other women artists. Throughout my work, the whole issue of woman as an artist has evolved along two lines : the difference between genders, and their respective interpretation of sexuality. Within this aesthetic evolution, anxiety and doubt have been inspiring and guiding me towards a change in my creative mentality. Though femininity is not an artistic criterion and sexuality is merely a taboo, they are nevertheless manifest in women's art. This anamnesis gives an added dimension to the negativeness of my personal experience (Chora), bringing me back to the origin of my quest, and leads me on towards the frontier of revolt. Ultimately, art is the hope to go beyond one's own limits/limitations, and it is my hope that each of my works is actually a rebirth. Through "self-sculpture", I am searching for a reflective methodology as well as for a form of psychological therapy. The mimetic mirror is linking the image of art to that of desire in the anamnesis of the body, an image that adjusts itself as in a cultural “negotiation” (between what is taboo and what is sacred, between model and obstacle). Figuratively speaking, the association by similarity constitutes a “point of contact” that is inexpressible. Creation is an expression of my thirst after the Word - to paraphrase Roland Barthe’s “j’ai faim du Mot”. The silence of desire occurs within the épochè of sexuality, the doubt as to one’s femininity. I enter the interactive space combining “I-you-she” whose reconciliation can finally lead to liberation. Based on such a paradoxical desire, my research and quest aim at legitimizing and reasserting my body. The intent here is to show that art can be as diverse, marginal and subversive in its manifestations as the subject of desire, whose liberation depends on its materialization
Quinby, Diana. „Le collectif Femmes/Art à Paris dans les années 1970 : une contribution à l'étude du mouvement des femmes dans l'art“. Paris 1, 2003. http://www.theses.fr/2003PA010600.
Der volle Inhalt der QuelleBretonnière, Sandrine. „Ancrages collectifs, identité singulière : parcours de subjectivation de femmes bosniaques depuis la guerre de 1992-95“. Paris, EHESS, 2009. http://www.theses.fr/2009EHES0171.
Der volle Inhalt der QuelleThis research analyzes the ways women rebuild themselves after the 1992-1995 war in Bosnia- Herzegovina. Bosnian women attempt to disengage themselves from prescribed social roles which strongly limit their subjectivity. They forge their lives, using a collective woman-identity, national and supranational identities, as well as religion. Ali remodel their family and inter-personal relations with spouses. They experience different types of problems. Muslim women who choose to show their Islamic identity in public space by wearing a hijab feel their other identities are threatened, most particularly their woman-identity and the freedom they associate with it. Women who were displaced during the war and who wish to rebuild their lives in a place other than their pre-war home are up against an uncompromising return policy which was set up by the Dayton peace accords in December 1995. Subjectivity is nonetheless an essential characteristic of the Bosnian women's trajectories we were able to track year after year in this after-war period
Kern-Coquillat, Françoise. „Les femmes dans le service de santé pendant la guerre de 1914-1918 en France“. Thesis, Montpellier 3, 2013. http://www.theses.fr/2013MON30008.
Der volle Inhalt der QuelleThis subject mainly concerns female nurses, « the most praised » women at that time, but also female doctors who had newly arrived in that profession at the end of the last century. The former, very numerous, are « evident » in a way, well known by everybody, but finally « invisible » owing to an over-representation that outshines them. The latter, in small numbers, are forgotten or more precisely ignored. This subject seems close to us, almost familiar, but it is more complex than we think it is, being at the crossroads of several fields of research. First, it has to do with the military history, as women evolve in a man's world, a militarized universe. Then, it is also the history of women entering medical professions for the first time, with a reflexion on medical techniques and the treatment of pain. It is the history of gender, as we witness the building of a social gender gap which highlights man's domination in his relationship with women. The history of the representation of women through different prisms, imagined and built by a male society. Lastly, it is the history of privacy through women's words too. It is the history of women who were dominated, excluded from knowledge, power, the war sphere, women confined to a watched environment - yesterday the home, here the hospital. Women tied by behavioral duties, training and hierarchical obligations. The work comes in a triptych : women such as we want them – and this is men's view - then women as we see them, through the prism of representations and lastly, women as they tell themselves through their testimonies
Lencastre, José Garcia. „La santé de la reproduction et la fécondité des femmes déplacées de guerre, à Luanda“. Paris 10, 2006. http://www.theses.fr/2006PA100053.
Der volle Inhalt der QuelleSambron, Diane. „La politique d’émancipation du Gouvernement français à l’égard des femmes musulmanes pendant la guerre d’Algérie“. Paris 4, 2005. http://www.theses.fr/2005PA040155.
Der volle Inhalt der QuelleLa thèse traite de la politique d’émancipation du gouvernement français envers les femmes musulmanes en Algérie depuis le début du XXème siècle et au moment de la guerre d’Algérie. Cette politique est menée conjointement par les pouvoirs civils et militaires français. Ils mettent en place un ensemble d’actions pour améliorer le statut de la femme, dans le domaine juridique, de la citoyenneté, de l’éducation et de l’insertion professionnelle. L’accélération de cette politique se justifie dans le contexte de la guerre d’Algérie où les femmes deviennent un enjeu politique et militaire pour le FLN et la France. Il s’agit d’une part d’intégrer les musulmanes à la société française de couper le FLN de sa base active féminine et d’autre part, pour le FLN, de s’assurer le soutien de la population dans la lutte nationaliste et de conserver sa base active. Le gouvernement harmonise le statut personnel des femmes avec les lois civiles françaises. Il permet aux femmes d’accéder à la citoyenneté. Il développe la scolarisation des jeunes filles. De son côté, l’armée mène un programme d’action psychologique destiné aux femmes, afin d’obtenir leur adhésion à l’Algérie française. Cette politique de la France envers les femmes suscite l’opposition du FLN, contraint de définir à son tour sa conception de l’émancipation des femmes. Après la guerre, une partie des mesures adoptée par la France pour libéraliser le statut des femmes est maintenue, jusqu’à l’abrogation de l’ensemble de la législation française dans les années 70. Cette thèse est largement réalisée d’après les archives françaises
Bonnes, Marie-Noële. „Les Femmes au service de l'institution militaire en Grande Bretagne pendant la première guerre mondiale“. Bordeaux 3, 1992. https://hal.science/tel-03768218v1.
Der volle Inhalt der QuelleThis work examines the utilization of women by the military establishment, which, in tme of war, colludes with the government, in the light of gender. Studies and, more generally, of historical studies on women as subjects and objects. It intends to show that the subordination of women is bolstered by symbolical images and normative concepts which preclude alternative options. In 1914-18, women's work was for the first time officially requested to help win the war and exposed the dependence of the military on women in three specific areas: nursing, munition factories and the amred forces. This upset traditional images and preconceptions and patriarcal institutions introduced or revived myths to deny women their place in the public sphere after the war, yet women were not simply manipulated, they pressured institutions to leave "peripheries" and invade "centers", and though the backlash was fierce, war accelerated the democratization process and their infiltration of the male bastions could not be quenched. The conclusion tries to assess their progression in the light of the present position of women in the military and and the appraisal of the fleminist movement
Bagi, Marie. „Représentations de l'intime dans les œuvres des artistes femmes du XIXe au XXIe siècle : de Camille Claudel à Louise Bourgeois“. Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCC001.
Der volle Inhalt der QuelleIn 1971, Linda Nochlin was questioning herself about the visibility of the women artists in artʼs world. This thesis analyses this question and has an overview of womenʼs path in Art from the XIXth Century up to this day. Camille Claudel and Louise Bourgeois are the central artists of this work and others women are introduced too in a comparative way. You will see that their intimacy shine trough their work. The intimacy, in all its shapes, layers and mediums, is the motion of theirs creations.Up to this merges the questioning about “feminine art” or “women art” in which the intimacy is discovered by the public. The analysis of their work and the reception of it by the public are the central elements of this argumentation. The rediscovering and the recognition of Camille Claudel and Louise Bourgeois in the eighties is one of the importants elements studying in thisthesis. These two women artists, sculptors, are linked by the time - 1982 - and life in which the past is the key source of their work.STAR
Borghino, Elisa. „Des voix en voie : les femmes, c(h)oeur et marges des avant-gardes“. Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENL041/document.
Der volle Inhalt der QuelleVoices on the way. Women, heart / choir and fringe of the avant-garde explores the thick network of relations established by some female characters who have inspired projects and researches within the historical avant-garde in the French panorama of the early twentieth century. This study examines women – Sonia Delaunay, Claire Goll, Marie Laurencin, Hélène d'OEttingen, Valentine de Saint-Point and Elsa Triolet – who have worked closely with the main leaders of the emerging avant-garde movement, giving rise to projects and cooperations across Europe. These fecund female artists, who share multiculturalism and multilingual abilities, are the most active in the literary-artistic landscape of the early twentieth century. Traces of their works can be found in correspondence, excerpts, memoirs and other documents, both published and unpublished, that create the corpus of the thesis. The documentation presented here is a valid testimony to the authors' ability to put in place communicative strategies for an adequate recognition of their work into the national and international scene. The work is subdivided in three parts, each describing, explaining and dissecting the subject, in order to retrace the ways of these creators, to hear their voices at last. The appendix includes original documents and a chronology listing the examined works, together with those of the main exponents of the avant-garde movement
Devillez, Virginie. „L'Etat et les artistes: entre révolution et réaction, les politiques culturelles de la Belgique (1918-1944)“. Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211733.
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