Dissertationen zum Thema „Liberté créative“
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Pignard, Isabelle. „La liberte de création“. Phd thesis, Université Nice Sophia Antipolis, 2013. http://tel.archives-ouvertes.fr/tel-00868027.
Der volle Inhalt der QuelleDelvolvé, Véronique. „La liberté d'entreprendre“. Paris 2, 2002. http://www.theses.fr/2002PA020033.
Der volle Inhalt der QuelleKim, Hyangmi. „L'esprit de liberté dans la création poétique de Baudelaire“. Paris 4, 1999. http://www.theses.fr/1999PA040108.
Der volle Inhalt der QuelleEkogha, Thierry. „Liberté et création chez Nicolas Berdiaev et Louis Lavelle“. Dijon, 2000. http://www.theses.fr/2000DIJOL005.
Der volle Inhalt der QuelleLecardonnel, Mélaine. „Exercice et limites de la liberté de création : approche juridique“. Nantes, 2009. http://www.theses.fr/2009NANT4017.
Der volle Inhalt der QuelleThe realization of a work requires that the author enjoys an important freedom of creation to mark the imprint of his personality. But many works are the result of a contractual agreement between the author and an employer or a backer. In this context, freedom of creation of the first is necessarily framed by the directive given by the other party. Moreover, even outside of this case, the freedom of creation is limited: the authors must not disturb public order or violate the rights of third parties. But the boundary between lawful and unlawful is not always clear. Therefore, some authors believe that their activity is marked by a legal insecurity and call the authorities to take better account of their interests. Yet areas of freedom have been set by legislators and judges. Most of them are from copyright which, despite the criticism it undergoes, remains an essential medium of creation. But the instruments they propose are not sufficient to fully secure the creative activity. . This is why it is advisable to seek new methods to achieve a balance between the rights of the third persons and the freedom of creation
Billion, Arnaud. „La production de l’intelligence artificielle comme objet du droit d’auteur“. Electronic Thesis or Diss., Lyon 3, 2023. https://scd-resnum.univ-lyon3.fr/in/theses/2023_in_billion_a.pdf.
Der volle Inhalt der QuelleAI systems can produce outputs that may purportedly be subject to copyright. To investigate this possibility, one should avoid the use of a rough model of copyright law, and an approximative description of the facts. Artificial production should be envisaged realistically, being serial and non-convergent. Most of the time, there is not one sole artificial output obtained by the so-called “AI user”. On the contrary, there are mostly supernumerary outputs due to the use of an indirect and highly iterative kind of software engineering. Then we understand the reason why this cannot be subject to copyright protection. Free choices are only creative towards works of authorship, not their indirect computed implications. This is also a confirmation of the consistency of copyright law: it protects what the author has conceived and realized, what is not excessively impeded by technical constraints, what is objectively and precisely identifiable… As a consequence, authorial determination, creative convergence and social intelligibility appear as unavoidable preconditions of copyright law
Cabay, Julien. „L'objet de la protection du droit d'auteur: Contribution à l'étude de la liberté de création“. Doctoral thesis, Universite Libre de Bruxelles, 2016. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/228996.
Der volle Inhalt der QuelleDoctorat en Sciences juridiques
info:eu-repo/semantics/nonPublished
Favier, Sylvain. „L'étendue de la liberté lors de la création des sociétés par actions à capital privé“. Toulouse 1, 2004. http://www.theses.fr/2004TOU10023.
Der volle Inhalt der QuelleIn its broadest meaning, the principle of contractual freedom recommends that a law subject may be tied to a bond of law only if he expressly wants the latter. In that regard, the company contract is of a remarkable importance when it seals fate of contracting parties within a juridical entity distinct from those who created it. Share-based companies are governed by mandatory rules which do not offer much liberty to their founders. To that extend, recent developments in company law, though not exclusive from a particular regime where contractual element is predominant, do not give up a juridical security which is eminently necessary. The founders must define the juridical form which is most appropriate to the company purpose, in accordance to the different possibilities offered by the legislation. In the contract, they determine the juridical scope of the rules which will govern their relationships (composition of organs, operation of the company, organisation and stabilisation of power. . . ). However, the definition itself of those relationships must not divert from the fundamental exigency aiming at preserving the balance of power and respective attributions of the parties, whether major or minor associaties. The company contract must strive to establish the most fair and useful relationships in the interest of the parties. The underlying opposition to the establishment of the contract thus guarantees obligations it generates respect some type of balance, since they must fulfil everybody's needs
Latil, Arnaud. „Création et droits fondamentaux“. Thesis, Lyon 3, 2011. http://www.theses.fr/2011LYO30073/document.
Der volle Inhalt der QuelleThe legal approach to the notion of creation is vague. It is traditionally considered in the light of intellectual property rights (copyright, patent, design, etc.), but this approach is insufficient. Fundamental rights show us this. They let us distinguish between its different dimensions: creation as both a human activity (a creative act) and an object of property (a creative good). The freedom of creation protects and ensures the creative act. However, the nature of the former remains unclear. It fluctuates between falling within the freedom of expression and the freedom to conduct a business. Furthermore, the proportionality test leads to the limits of creative freedom being examined in terms of “laws of the creative type”. Fundamental rights then require us to go beyond the concept of the creative act as a message.The creative good is protected by property law. Fundamental rights, however, bring into question the French concept of a creative good by further emphasising their economic aspect. Moreover, the proportionality test means retracing the boundaries of property law by taking into account its social functions. Fundamental rights therefore blur the line between property law and unfair competition law
Paillasson, Roger. „L'art et le pouvoir : de l'annexion politique de l'art à la liberté créatrice de l'artiste dont l'architecte demeure l'archétype“. Lyon 3, 1996. http://www.theses.fr/1996LYO31014.
Der volle Inhalt der QuelleMancuso, Domenico. „Libero arbitrio e trascendenza del futuro“. Paris 4, 2007. http://www.theses.fr/2007PA040281.
Der volle Inhalt der QuelleThe free will controversy has revolved for over three centuries on a dualism opposing determinists and libertarians, whose outcome is an antinomy between two (allegedly) complementary positions, neither of which seems capable of accounting for the requisites that are commonly associated to the inner perception of free will. As a way out of the deadlock, I propose to introduce the notion of temporal perspective : a free act can only be appreciated as such if it is viewed before occurring; building on this idea, I sketch out a conception of freedom as creation of reality and self-transcendence of the subject; such a conception has its fullest expression in the image of a conscious thought constantly overcoming its own limits
Enser, Noémie. „Conscience et création en droit d'auteur“. Thesis, Université Paris-Saclay (ComUE), 2015. http://www.theses.fr/2015SACLS088.
Der volle Inhalt der QuelleConnections between law and consciousness are obvious but ambiguous, and this statement is undeniable in the specific field of legal science that is copyright law. Consciousness can have two sides: a moral one, which refers to the distinction of right from wrong, and a psychological one, which mainly refers to a man’s awareness. Each of these two aspects of consciousness can be found in copyright law. In theory, moral conscience is irrelevant in copyright law: its links with artistic freedom make it an amoral field. But artistic freedom has its limits, which often impact on the exercise, and even sometime on the very existence of copyright. Then the indifference displayed by copyright law towards moral conscience crumbles. At the opposite, the awareness seems to play a key role regarding copyright law. In spite of the legislator’s silence, most of the doctrine’s members grant copyright protection based on the artist’s awareness of his creation. His judgment, his will to create, and his control of the creating process are the three doctrinal conditions resulting from the requirement of awareness. However, none of these three conditions is systematically applied, and it seems like they are not grounded, or even necessary. The requirement of awareness creation then must be rethought. Through a game of mirrors, moral conscience and awareness play unexpected parts in copyright law. While being displayed as irrelevant, moral conscience is inevitably taken into account, whereas awareness is interpreted as a discriminatory exigency, role it should not play
Nettel, Guadalupe. „Octavio Paz et la liberté : une approche diachronique et transgénérique“. Paris, EHESS, 2008. http://www.theses.fr/2008EHES0044.
Der volle Inhalt der QuelleThis doctoral dissertation is a crossed study of Octavio Paz's work and life, and is focused on the idea of freedom. Its aim is to show how this idea is omnipresent in all the genres he took up and how it evolved over the years. It is therefore from his biography that the issue of freedom has been developed in four parts. The first one deals with Paz's debut in the thirties in Mexico. The second analyses his stay in France (1956-1951). The third one is about Paz's stays in Orient (Japan and India). And the last one deals with the last period of his life, when he came back to Mexico (1968-1998). The thread that has been followed -the idea of freedom -eventually makes it possible to show Paz's deep coherence, a coherence that doesn't arise from his political opinions, but from his commitment to the idea and the experience of freedom itself
Garcia-Jourdan, Sophie. „La création d'un espace de liberté, de sécurité et de justice : conséquence de la suppression des contrôles aux frontières intérieures“. Paris11, 2003. http://www.theses.fr/2003PA111007.
Der volle Inhalt der QuelleVieira, Marcelo Marcos Barbosa. „Ética e ontologia em Bergson“. Universidade Federal de São Carlos, 2017. https://repositorio.ufscar.br/handle/ufscar/9317.
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L’investigation de la liberté qui inaugure la philosophie de Bergson est, elle aussi, l’origine d’une nouvelle conception sur l'existence. Définie comme source de création, la durée interne de la conscience qui émerge dans l’acte libre constitue l’expérience à partir de laquelle d’autres dimensions de la réalité seront abordées. Nous cherchons, alors, approfondir les rapports entre l’éthique et l’ontologie présents dans la philosophie de la durée, en ayant comme référence les trois niveaux de conscience travaillés par Bergson : conscience humaine, conscience vitale et conscience mystique.
A investigação sobre a liberdade que inaugura a filosofia de Bergson é também a origem de uma nova concepção sobre a existência. Definida como fonte de criação, a duração interna da consciência que emerge no ato livre constitui a experiência a partir da qual serão abordadas outras dimensões da realidade. Procuramos então aprofundar as relações entre ética e ontologia presentes na filosofia da duração, tomando como referência os três níveis de consciência trabalhados por Bergson, enquanto consciência humana, consciência vital e consciência mística.
Hirano, Kazuhiko. „La liberté et la puissance de l’intuition chez Bergson : À travers le temps qui « agit » et la force de négation“. Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20048/document.
Der volle Inhalt der QuelleWe can say that the action of time and the intuitive power of negation are important aspects in Bergson’s reflections on his point of departure. And when we survey his works, it seems to us that they cannot be neglected. First, Bergson arrives already at a method of acquiring knowledge which differs from the intelligence. As intuition is a method of the knowlege proper to Bergson, intuition that has the power of negation is an important discovery. Second, this intuition urges itself to proceed to an intuition of the duration. And the former supports the latter. Third, his notion of the action of time is an original understanding of its experience. One of the foundations of the freedom and one of the contents of the freedom are derived from the action of time and this previously mentioned intuition. Fourth, Bergson emphasizes that the illusion of the « possible » leads us to misunderstand « the radical novelty ». And this understanding shows that the free act and the universe are both creations of novelty. The notion of the illusion of the « possible » that is established in his later years has its origin in his reflections on his point of de departure. Finally, it seems that to obtain an original understanding through the intuitive power of the negation is a Bergson’s way of studying his subject. He gathers scientific or academic facts. He identifies problems through the use of the intuitive power of the negation. In short, it seems that we can imagine that what is profound in Bergson’s thought comes from the action of time and the intuitive power of negation. So we think that the reflections on the point of departure is worthy of in-depth consideration
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”
Hirano, Kazuhiko. „La liberté et la puissance de l'intuition chez Bergson : À travers le temps qui " agit " et la force de négation“. Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00752855.
Der volle Inhalt der QuelleGrell, Isabelle. „La création de quelques personnages dans Les chemins de la liberté : L'âge de raison, Le sursis, La mort dans l'âme, La dernière chance de Jean-Paul Sartre, étude génétique“. Grenoble 3, 2001. http://www.theses.fr/2001GRE39006.
Der volle Inhalt der QuellePlato, Isis Von. „Autonomie et réciprocité : Friedrich Schiller et le projet d'une éducation esthétique à l'époque des Lumières“. Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010567.
Der volle Inhalt der QuelleHow does the experience of freedom become sensible? What part does the aesthetic experience play in creating our freedom? By criticizing the Enlightenment, and to save its initial gesture, Friedrich Schiller is one of the first thinkers to warn his contemporaries about the contradictions inherent in freedom. Particularly with his "Letters on the aesthetic education of man", written in 1795, he highlights the danger of an inhumane totalitarianism undertaken on behalf of reason. For Schiller, the aspiration to freedom is based on the education of feeling; and reciprocally, the cultivation of feeling is based on the experience of freedom, that finds its expression in beauty. This interplay is a recurrent theme in Schiller's thought and a typical manifestation of the relation between autonomy and reciprocity. By paying attention to Schiller's language, it seems that lively dialogue is the source of his aesthetic theories that favor the epistolary form. The correspondence between Schiller and Goethe is an exemplary case of friendship that gives birth to each other's autonomy through a poetic of dialogue. The hypothesis that the address is constitutive in the thought is confirmed by the Kallias letters, exchanged with Komer. Their abject is the definition of beauty and the value of works of art. Furthermore, the maturation of an individual, and the question regarding his role in society, is developed in the Bildungsroman. The aim of this present work is to reproduce the value of the project of an aesthetic education for today, to consider its political and ethical significance -ta re-establish, in a way, the portrait of the Aufklärer as a human type
Puyôou, Bianca. „Pygmalion, un mythe génésiaque. Conceptions et représentations du pouvoir créateur“. Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040215.
Der volle Inhalt der QuelleThis hermeneutic interdisciplinary work, where literature and philosophy are tightly intertwined and converse with the so-called hard sciences, first proceeds to define the notion of myth as a literary type of story that illustrates a stance on a metaphysical question. It reveals Ovid’s story of Pygmalion as a genesiac myth in which mankind is at the heart. Progressing from the XVIIIe to the XXe century along the history of European ideas, it then halts at the French, German and Italian literary works that revisit the myth, in light of the question drawn from the source text – that of the extent of Man’s creative power – in order to extract the common characteristics. In their study of Art and Eros, they present a relationship to the world and to the others that is directed toward a dynamic of creation that is realized through a similar process based on the representations along with the mental and personal implication and dispositions of the subject, ecstasy, will and faith. In turn, drawing on their lessons and this observation, this work eventually answers this question by elaborating an anthroposophical mythologism that call upon XXIe century discoveries in neurosciences, physiology, semiostylistic, esthetic and ethic. This system, in its quest of understanding this creative process, has led to the redefinition of a Man essentially led by a representational instinct, a creative gesture, moving from Creativity, to Pleasure and Beauty, by which he achieves his Freedom
Decossas, Béatrice. „Les exigences de la causalité créatrice ou une lecture complémentaire du 'Liber de causis' par Albert Le Grand et Thomas d'Aquin“. Paris 4, 2002. http://www.theses.fr/2002PA040032.
Der volle Inhalt der QuelleOnce stated the actual nature of the apory into which the understanding is led by originary causality ; once introduced the type of solution ancient Greek philosophy proposed ; once shown how the 'Liber de causis' tries to take up the challenge creation sends to proclusian emanatism, it is proceeded to the detailed analysis of Albert the Great and Thomas of Aquinas. .
Ego, Audrey. „Les droit fondamentaux de l'auteur et l'environnement numérique : l'exemple de l'oeuvre pédégogique numérique“. Thesis, Lille 2, 2015. http://www.theses.fr/2015LIL20021.
Der volle Inhalt der QuelleThe thesis deals with "The fundamental rignts of the author in the digial age". If the author has a accrued legal protection, it's essential to offer to him a wide freedom of creation. The objective of the research is to study how fundamental rights capture the author in the context of our society, which is increasingly based on information, exchange and communication. This topic concerns in particular the application of the copyright's rules as part of creation, dissemination, valorization of digital teaching resources produded by the universities
Guezmir, Asma. „La question du lecteur dans l'oeuvre romanesque de Retif de la Bretonne : Le Pornographe, Le Paysan perverti, Le Ménage parisien“. Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040144.
Der volle Inhalt der QuelleThe thesis purports to investigate the ‘reader’ in three works by Rétif de la Bretonne which are: Le Paysan perverti (1775), Le Ménage parisien (1772) and Le Pornographe (1769). Though diverging in content and structure, the three works converge in the desire to inscribe the reader in the text. Although sought for, quite often in an exaggerated way, the reader in the three texts has an extremely tense relationship with the author who is committed to control the act of reading while pretending to leave the reader total freedom. This struggle for power is felt at various levels in the three texts examined; it is made overt through the figure of the intradiegetic reader but subtler when appealing to the figure of the ‘ideal reader’. Apart from the visceral tie to the text, we distinguish in the retivian novelistic discourse a modern conception of the author/reader relationship. Though ‘uneven’, ‘clumsy’ and ‘impertinent’, Rétif, early on, declared implicitly within his work a first-time vision of the role of the reader in the accomplishment of the literary act. The reader is in fact inscribed in the text as the emulator of the author: a potential and legitimate owner of the work on which depends his becoming. However, Rétif is not ready to surrender his authorship. The continual division of the author transfigures the literary experience into a human one
Lin, Wei-chun. „Les images et l’image dans l’œuvre de Michel Tournier“. Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20003.
Der volle Inhalt der QuelleThis study of image in Tournier's work aims to decipher the writer’s conception of image, the specificity of his imaginary world, his passion to create « new » like artists do. Thus, images, photographic and painted, either evil or beneficial, reveal the specific imagination of Michel Tournier – the ambiguity of an imaginary « bifrons ». An image is neither clear nor stable. The dual and often antithetical nature of image illustrates the aesthetic project of the writer: ambiguity, contradiction and polysemy. This aesthetic project is a challenge to the reader’s usual thoughts and habits. An image is not like it seems to be, a word is not changes his meanings in literary works, the world is not like it is perceived. All values, rules imposed by society, by human beings have to be inverted and interpreted. By analyzing images in the works of Tournier, this research specifically invites us to reflect on the possibilities of representation, and on their value and literary creation, considered as « re-presentation »
Leroy, Séverine. „L'oeuvre théâtrale de Didier-Georges Gabily : poétique d'une mémoire en pièces“. Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20007/document.
Der volle Inhalt der QuelleThis thesis covers the work of French writer and stage director Didier-Georges Gabily (1955-1996), his published and unpublished texts as well as production archives and interviews with his actors and collaborators. The perspective is that of a poetics of memory, a disenchanted vision of contemporary society that transpires out of the confrontation of the past with the present, resulting in the deconstruction of myths in contemporary dramatic space, be they myths bequeathed by former directors/actors or political myths such as communism; in either case, these two angles open a perspective onto a community in the making. The analysis is based on an observation of the impact of memory upon both dramatic structure and speech/dialogue patterns, as a recurrent dramaturgical structure resting on a former catastrophe is what the characters are constantly – and helplessly – trying to piece back together. As a result, action is replaced by narrative, which results in aseries of monologues, a “romanization” of drama (Sarrazac). The approach is based on aesthetic criteria together with the analysis of the dynamics of history in the work (both as a series of topoï and as a structuring pattern) to offer a reading of the work that reveals the complex interplay of time and performance in the author’s quest. The influence of the concreteness of the stage on Gabily’s writing is analysed in the last section of this research and reveals a process of perpetual hybridization, manifesting the importance of the actors’ bodies and the materiality of the stage in his writing. The analysis of the different threads in the fabric of literary and artistic heritage in Gabily’s work for the stage reveals the emergence of an aesthetics ofresistance going against the overall violence prevailing in liberal society
Polvani, Simona. „La performativité dans l’œuvre et la pratique artistique de Gao Xingjian“. Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H307.
Der volle Inhalt der QuelleIn his conception of complete art as well as in the perception of his implementation of the artist, Gao practices numerous artistic disciplines. He is simultaneously novelist, poet, playwright, essayist, director, painter, filmmaker. His multidisciplinarity is the preeminent mark of his creation. He lived in China during Mao’s regime, underwent cultural reeducation and during this time all artistic practice was forbidden to him. Based on studies of performance and performability developed in the performance studies of Richard Schechner, Victor Turner and Judith Butler, I attempt to underscore the presence of a performative dimension in Gao’s work: theperformativity of ordinary as well as artistic life, both of which are deeply intertwined. This performativity emerges as existential and political resistance in the face of the prohibition to practice artistic creation during the time he lived in Maoist China and when he underwent cultural reeducation. It manifests itself as gestures of writing and of clandestine destruction, and the ritualized gestures of a marginalized artist. In this way, Gao builds his artistic creation as the conquest of an essential space of freedom at the same time shaping his individual identity as a man and as an artist. At the level of his creation, the solitude of the state of being on the threshold of marginality engenders a multivocal, demultiplying third eye aesthetic and a constantly renewed experimentation in all the fields of his practice, literary, theatrical, visual
Le, Falher Olivier. „Mettre en forme le travail artistique : les ressources de l’incertitude dans l’accueil en résidence d’artistes plasticiens“. Thesis, Avignon, 2010. http://www.theses.fr/2010AVIG1096/document.
Der volle Inhalt der QuelleDuring the last thirty years, visual artists have had to familiarize themselves with a wide range of public support devices that operate long before the art works are completed and that are part of the creation process itself. This kind of partnership requires advance planning of the resources, the duration and the goals to be achieved, all of which seem in contradiction with the specificity of an artist’s work, where both the process and the final result are never entirely predictable. Can public support policies for artistic creation fit into this kind of uncertainty ? I answer this question positively, basing myself on a study of Artist in Residence programs for visual artists in France. Such programs are a typical means of socializing both the time and the space of an artist’s work. Thus I examine the artistic work by studying the documents which both shape and institutionalize it. Through the Communication Sciences, I first compare two official texts on Artist in Residence programs, and secondly I examine a corpus of calls for applications sent out to visual artists. In both cases I highlight the tension between two contrasting visions of artistic work. Either the artist is recognized for his experimentation and his research alone, or he is engaged for a commissioned work within a well-defined cultural program. In the third part of this study, I look at the Artist in Residence programs for visual artists in the city of Marseille. I examine the different mediations along the chain of artistic production, from the selection of the artist through to the exhibiting of the finished work(s), and including the commentaries around the project. We see that the uncertainty surrounding the artistic creation appears, in fact, to be a means for those in charge of these programs to share their expertise (and actively participate) within the period of time that separates the beginning of an art work from its finished version. This thesis, by associating the discourse analysis and the qualitative methods (observations and interviews), posits that the uncertainty discussed above is, in fact, a conventional, predictable and routine dimension of public support for artistic creation
L'Allier, Alexis. „Avant les falaises ; suivi de L'apostrophe et la majuscule : écrire en héros“. Mémoire, 2006. http://www.archipel.uqam.ca/2097/1/M9222.pdf.
Der volle Inhalt der QuelleVerville, Mélanie. „A ship to Namuh : mise à l'épreuve scénique d'une réflexion sur la question de l'altérité dans l'esthétique d'Adorno et sa résonance dans certaines pratiques théâtrales contemporaines“. Mémoire, 2006. http://www.archipel.uqam.ca/1796/1/M9303.pdf.
Der volle Inhalt der QuelleBeaurin-Lecardonnel, Juliette. „Pouvoir d’action des artistes dans le cadre de la commande publique : étude de cas de la Politique québécoise d’intégration des arts à l’architecture“. Thesis, 2020. http://hdl.handle.net/1866/25157.
Der volle Inhalt der QuelleThe Politique d'intégration des arts à l’architecture et à l'environnement des bâtiments et des sites gouvernementaux et publics, or “ Politique du 1%”, endeavours to promote the creation in the province of Québec of contemporary artworks integrated into their environment. It has three main objectives: to provoke the creation of artistic works integrated into their spatial environment, to make Québec based artists and their works more visible while enriching the living environment of citizens, and finally to make contemporary art more accessible to the entire population of the Québec province. The application of the process undertaken for the realization of the integration of an artwork is managed by a committee set up for each project, and is done according to specific criteria which meet the diverse interests of the actors concerned, especially the general public and the experts of the artistic world. The challenge for the artist, through the creation of an integrative work, is then to meet the expectations generated by each group of actors. This research therefore aims to reveal the means by which artists cope with such expectations and our question thus relates to the power of action of the “integrating” artists within the framework of the process of creation and of integration of their work: what is the possibility of incorporating their values, their intimate approach but also their own interpretation of what a successful integration is, while creating a meaningful piece of art. The research thus reveals that an adaptation of their approach and practice is necessary in this new context. The analysis of the artists' discourse also highlights a spectrum of adaptability, which enables to understand how this adaptation is possible given the confrontation of values such as freedom and autonomy to the constraints inherent in the policy.