Auswahl der wissenschaftlichen Literatur zum Thema „Femmes artistes interprètes – France“
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Zeitschriftenartikel zum Thema "Femmes artistes interprètes – France"
Bracht, Kathryn. „Creativity Has No Expiry Date: Directing Escaped Alone at Western Gold Theatre“. Theatre Research in Canada 42, Nr. 2 (01.10.2021): 309–15. http://dx.doi.org/10.3138/tric.42.2.f05.
Der volle Inhalt der QuelleKlein, François. „Comment faire vivre ensemble l'Afrique et la France dans la tête des immigrés ?“ Migrants formation 66, Nr. 1 (1986): 44–49. http://dx.doi.org/10.3406/diver.1986.6465.
Der volle Inhalt der QuelleJoyeux-Prunel, Béatrice. „Charlotte FOUCHER-ZARMANIAN, Créatrices en 1900. Femmes artistes en France dans les milieux symbolistes“. Revue d'histoire du XIXe siècle, Nr. 52 (01.06.2016): 236–38. http://dx.doi.org/10.4000/rh19.5061.
Der volle Inhalt der QuelleDagenais, Huguette. „Unité et diversité dans la recherche et l’action féministes“. Introduction 4, Nr. 2 (12.04.2005): 1–8. http://dx.doi.org/10.7202/057647ar.
Der volle Inhalt der QuelleSitzia, Émilie. „Charlotte Foucher Zarmanian . Créatrices en 1900. Femmes artistes en France dans les milieux symbolistes . Paris, Mare & Martin, 2015, 358 p.“ Romantisme 175, Nr. 1 (04.04.2017): X. http://dx.doi.org/10.3917/rom.175.0128j.
Der volle Inhalt der QuelleChevillot, Anaïs. „Frontière de l’intime chez les femmes artistes en France (2006-2016)“. Enfances, Familles, Générations, Nr. 34 (2019). http://dx.doi.org/10.7202/1070309ar.
Der volle Inhalt der QuelleLeon, Véra. „Charlotte Foucher Zarmanian, Créatrices en 1900 : femmes artistes en France dans les milieux symbolistes“. Clio, Nr. 46 (01.12.2017). http://dx.doi.org/10.4000/clio.13856.
Der volle Inhalt der QuelleTakahashi, Hiromi. „Paris entre l’admiration et la pauvreté : Des traces d’une écrivaine japonaise des années 1930“. Tourisme littéraire 37, Nr. 1 (01.02.2018). http://dx.doi.org/10.7202/1046291ar.
Der volle Inhalt der QuelleDissertationen zum Thema "Femmes artistes interprètes – France"
Benard, Charlène. „Le « metal à chanteuse », un genre musical ? Une enquête sur la construction médiaculturelle d’un genre musical par le gender. Le cas du metal symphonique en France“. Electronic Thesis or Diss., Paris 3, 2023. https://bsnum.sorbonne-nouvelle.fr/files/original/1338/6773/These_en_cours_de_traitement.pdf.
Der volle Inhalt der QuelleSymphonic metal is a subgenre of metal music, which has the particularity of presenting a majority groups lead by female singers (80% on average). This feature is common to both this predominantly male culture, and to popular music more broadly, as the great majority of female musicians tend to be singers. This dissertation aims to measure the role played by women and by singers in the shaping of a musical genre, through a cultural approach of metal culture and of its situation in France, from the genre’s inception in 1996 to the present day.As the most hated genre of music in France, metal must rely mainly on its own networks in order to subsist and foster in this country: its press and local live scenes. Through the analysis of these two elements, this study considers promotional and evaluative media discourses on metal recordings and the production of concerts in France, from foreign bands touring around the country to the grassroots production of local events. Its aim is to consider not only the role female singers play as performers and creators, but also their involvement in the life of a scene often considered as masculine: their position, both central and negotiated, tends to limit the situation of domination. Through a complementary, comprehensive approach based on a questionnaire and interviews, this thesis also discusses the notions of “feminine taste” and of the “feminization” of a genre and a scene
Gueguen, Jean-Marie. „Les droits des artistes-interprètes ou exécutants sur leurs prestations en droit français“. Paris 2, 1986. http://www.theses.fr/1986PA020025.
Der volle Inhalt der QuelleCardon, Vincent. „Une vie à l'affiche : sociologie du vieillissement en emploi des artistes interprètes“. Paris, EHESS, 2011. http://www.theses.fr/2011EHES0026.
Der volle Inhalt der QuelleIn this dissertation, the professional ageing of performing artists is analysed as a biographical process initiated till the very first steps on the labour market. The spectacular inter-individual inequalities of success observed in those worlds could suggest the professional trajectories on this external labour market are basically unstructured. On the contrary, I show that those project-based careers obey strong regularities. The demonstration relies on a scale variation implying the analyse of the labour market, of the social protection system and of the organization of production in those worlds and on the use of quantitative (longitudinal) methods, crossed with more than 75 interviews, and the ethnographic observation of the role of talent agents and casting directors in the structuring of the feature film labour market. A particular focus is made on the retirement issue. I aim to analyse the implications of the lack of articulation between the retirement system artists pertain and their derogatory unemployment system that is used by them as a flexicurity device. The case of performing artists is a good methodological entry on the long term consequences of stabilized precariousness
Barrio, Sébastien. „Sociologie du rap français : état des lieux, 2000-2006“. Paris 8, 2007. http://octaviana.fr/document/124492134#?c=0&m=0&s=0&cv=0.
Der volle Inhalt der QuelleThis thesis, relates the recent history of rap music supported with Shusterman’s « experience’s theory » from his book book “Pragmatist aesthetics, Living beauty, rethinking art” (Les Editions de Minuit, 1992) as well as about thirty interwievs. The evolution rap is connected with the technological overhang of the electronic industry such as the coming of the “sampler” or the developement of tune-tables. Several old research into rap are updated. The thesis characterises different types of rap, studies the relations with institutions, the split between underground and commercial rap and the awareness wich lead the relations between young and old rap’s generation. One chapter is about the recent division between rap and hip hop culture. We aim at dealing with the writting process. Rap is seen as a mediation between written work and oral tradition, close to the musical creation process, the literary aspect of this music has been studied. The temporal scope for observations and about thirty interviews is between 2000 – 2006. The artist needs help from other people, either in underground rap or in commercial rap: which can be analized with a conceptualization coming from in Art worlds (Flammarion, 1988) by Howard S. Becker. We’ve deal with people also called “support personnal”. Rap evolution is very fast. This thesis gives a review of the présent situation with an “entry to the ground” with the meeting of the artists who have been created this “new rap” since 2000 and by an analysis of the night shows progress. It want itself as a contribution toward the history of this music wich now offers a dimension of cumulative knowledge
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 QuelleSol, Credence. „Le droit des artistes-interprètes à la protection de leur travail à l'ère numérique“. Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2026/document.
Der volle Inhalt der QuelleThis work provides a broad study of the right of performing artists to protect their performances in the Internet era. The first part of this work explores the theoretical foundation of copyright law, the history of moral rights, and the application of the theory of moral rights to cases affecting performing artists in the United States, the United Kingdom, and France. In addition, this work discusses relevant international law, including the Berne Convention and the Beijing Treaty. The second part of this work addresses the history of the movie industry. More specifically, it concentrates on the history of the film industry in the United States, the United Kingdom, and France, observing how technological progress in filmmaking techniques have affected the rights of movie actors under both national and international law. The third part of this work proposes a Protocol to the Beijing Treaty that would create a mechanism to lower the barriers to justice that currently prevent performing artists from vindicating their rights. This work concludes with a reflection on the lessons that can be drawn from both the history and the current practices of the United States, the United Kingdom, and France with respect to the moral rights of performing artists, recommending that the three countries provide more significant protections to performing artists going forward
Foucher, 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 QuelleQuinby, 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 QuelleLanhers, Jean-Louis. „La politique culturelle de l'Etat et des collectivités territoriales en faveur du théâtre de marionnettes de 1960 à 1990“. Reims, 2004. http://www.theses.fr/2004REIMD003.
Der volle Inhalt der QuelleDuring the sixties, the French puppet players had to face difficulties and their profesional activities were threatened. To remedy this situation, they claim acknowledgment of their art from the public authorities. But in France, any official acknowledgment means that specialized organisations are in the process of being institutionnalized. The financial support granted to institutions do not benefit the puppet theatres experiencing difficulties in their practice directly. Consequently, they are expecting subsidies which will enable them to help and encourage creation, support training and diffusion allow the performing of puppet-show
Dumont, Fabienne. „Femmes et art dans les années 70 : "douze ans d'art contemporain" version plasticiennes : une face cachée de l'histoire de l'art, Paris, 1970-1982“. Amiens, 2004. http://www.theses.fr/2004AMIE0007.
Der volle Inhalt der QuelleBücher zum Thema "Femmes artistes interprètes – France"
Foucher, Charlotte. Créatrices en 1900: Femmes artistes en France dans les milieux symbolistes. Paris: Mare & Martin, 2015.
Den vollen Inhalt der Quelle finden(France), Musée national d'art moderne/Centre de création industrielle. Elles@centrepompidou: Artistes femmes dans la collection du Musée national d'art moderne, Centre de création industrielle. [Paris]: Centre Pompidou, 2009.
Den vollen Inhalt der Quelle findenMusée national d'art moderne/Centre de création industrielle (France). Elles@centrepompidou: Artistes femmes dans la collection du Musée national d'art moderne, Centre de création industrielle. [Paris]: Centre Pompidou, 2009.
Den vollen Inhalt der Quelle findenBirnbaum, Paula. Women artists in interwar France: Framing femininities. Farnham, Surrey, UK, England: Ashgate, 2011.
Den vollen Inhalt der Quelle findenCharlotte, Yeldham. Women Artists in Nineteenth-Century France and England: Their Art Education, Exhibition Opportunities and Membership of Exhibiting Societies and Acad (Outstanding ... Theses from the Courtauld Institute of Art). Taylor & Francis, 1990.
Den vollen Inhalt der Quelle findenMaya Angelou's I know why the caged bird sings: A casebook. New York: Oxford University Press, 1999.
Den vollen Inhalt der Quelle findenBraxton, Joanne M. Maya Angelou's I Know Why the Caged Bird Sings: A Casebook (Casebooks in Contemporary Fiction). Oxford University Press, USA, 1998.
Den vollen Inhalt der Quelle findenBraxton, Joanne M. Maya Angelou's I Know Why the Caged Bird Sings: A Casebook (Casebooks in Contemporary Fiction). Oxford University Press, USA, 1998.
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