Auswahl der wissenschaftlichen Literatur zum Thema „Mémoire – Photographie“
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Zeitschriftenartikel zum Thema "Mémoire – Photographie"
Vial, Christine. „Mémoire et photographie“. Bulletin de psychologie 42, Nr. 389 (1989): 375–78. http://dx.doi.org/10.3406/bupsy.1989.13023.
Der volle Inhalt der QuelleThomas, Cyril. „Shõmei Tõmatsu : la mémoire des ruines“. Protée 35, Nr. 2 (05.02.2008): 45–54. http://dx.doi.org/10.7202/017466ar.
Der volle Inhalt der QuelleOlivier, Laurent. „Photographie, Archeologié Et Mémoire“. European Journal of Archaeology 2, Nr. 1 (1999): 107–15. http://dx.doi.org/10.1179/eja.1999.2.1.107.
Der volle Inhalt der QuelleTamisier, Marc. „La mémoire et la photographie“. Marges, Nr. 01 (15.03.2003): 65–76. http://dx.doi.org/10.4000/marges.826.
Der volle Inhalt der QuelleJewsiewicki, Bogumil. „Photographie, un objet du pouvoir“. Anthropologie et Sociétés 40, Nr. 1 (18.05.2016): 219–50. http://dx.doi.org/10.7202/1036378ar.
Der volle Inhalt der QuelleMeynard, Cécile. „L’Africain de Le Clézio“. Arborescences, Nr. 4 (20.11.2014): 44–64. http://dx.doi.org/10.7202/1027431ar.
Der volle Inhalt der QuelleCollington, Tara. „L' usage de l’objet dans la pratique autobiographique de Colette Fellous“. Voix Plurielles 17, Nr. 1 (27.04.2020): 141–58. http://dx.doi.org/10.26522/vp.v17i1.2477.
Der volle Inhalt der QuelleBédard, Yves. „Images technologiques : ce qu’il advient de la mémoire“. Cinémas 1, Nr. 3 (02.03.2011): 88–101. http://dx.doi.org/10.7202/1001068ar.
Der volle Inhalt der QuelleKim, Hyeona. „La photographie dans La Mémoire aime chasser dans le noir de Gérard Macé“. Études de Langue et Littérature Françaises 103 (15.09.2015): 373–94. http://dx.doi.org/10.18824/ellf.103.12.
Der volle Inhalt der QuelleRoberts, Allen F., und Mary Nooter Roberts. „L'aura d'Amadou Bamba. Photographie et fabulation dans le Sénégal urbain“. Anthropologie et Sociétés 22, Nr. 1 (10.09.2003): 15–40. http://dx.doi.org/10.7202/015520ar.
Der volle Inhalt der QuelleDissertationen zum Thema "Mémoire – Photographie"
Erbetta, Alejandro. „Mémoire et (re)construction d'histoires individuelles, familiales et collectives (approches photographiques)“. Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080033.
Der volle Inhalt der QuelleIn a time of exacerbation of the self-representation (through the socialnetworks, among other things), our subject of study proposes a reflection onmemory and the reconstruction of histories in the artistic practices. Using as astarting point a personal photographical work (Reprises), we propose a linkbetween theory and creation, in a dialectic that starts from the analysis ofpersonal works, to establish a dialogue with theorists and contemporaryartworks dealing with these issues. In this kind of retrospective approaches thatreinterpret the past, the artists work from the material and memory traces, suchas the images of family albums, archives, documents, or testimonies. Mixingdifferent esthetical universes in a new unity, they make coexist their ownimages with existing sources, disappeared lives with their own existences. Theirworks thus become a artistic re-creation and postulate a special narrative spacewhich evokes a poetics of the memory. Partial and fragmentary, they show anarrative reconfigured by the imaginary and the editing. They exceed thestrictly photographical field and open their language to the dialogue with otherarts, taking the form of hybrid artworks. What relation can be set betweenmemory, reconstruction and identity, between individual and collectivehistory ? If the past is being transformed, how to rebuild it ?
Sheridan, Bridget. „Les cheminements de la mémoire : marche, photographie, écriture“. Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20104/document.
Der volle Inhalt der QuelleWith art walking and the body in motion at the heart of my artistic practice, this research incites us to explore collective memory via three visual and theoretical areas : walking in the landscape, photography and writing.The path we take demands exploring archives, using testimonies. It also means travelling alongside the witnesses of some of the most tragic episodes of our history, along the paths of their memory. As a walking artist, it is equally making my way, on foot, reactivating memory, which seeps into the furrows traces into the earth, projecting the past on the landscape, the mountains and the horizon. As we walk, our body in motion experiences the landscape, an intersensoriality that stimulates memory. I revive history whilst interweaving walking, photography and writing. Photography responds to the rhythm of the walking artist, to the artist's curiosity in the archives, and to the artistic language of the photographer questioning “lieux de mémoire”. Writing, in turn, examines the use of lines, movement and testimonies, while it also questions handwriting and mapping. These three mediums are intertwined in an intermedial artistic practice, discovering the paths of memory. We must imagine a process of weaving between creative work and theory that awakens curiosity for historical, anthropological, philosophical and architectural subjects. This research suggests considering this intermedial approach, this subtle blend between walking as an aesthetic practice, photography and writing, while walking the paths of memory
Erbetta, Alejandro. „Mémoire et (re)construction d'histoires individuelles, familiales et collectives (approches photographiques)“. Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080033.
Der volle Inhalt der QuelleIn a time of exacerbation of the self-representation (through the socialnetworks, among other things), our subject of study proposes a reflection onmemory and the reconstruction of histories in the artistic practices. Using as astarting point a personal photographical work (Reprises), we propose a linkbetween theory and creation, in a dialectic that starts from the analysis ofpersonal works, to establish a dialogue with theorists and contemporaryartworks dealing with these issues. In this kind of retrospective approaches thatreinterpret the past, the artists work from the material and memory traces, suchas the images of family albums, archives, documents, or testimonies. Mixingdifferent esthetical universes in a new unity, they make coexist their ownimages with existing sources, disappeared lives with their own existences. Theirworks thus become a artistic re-creation and postulate a special narrative spacewhich evokes a poetics of the memory. Partial and fragmentary, they show anarrative reconfigured by the imaginary and the editing. They exceed thestrictly photographical field and open their language to the dialogue with otherarts, taking the form of hybrid artworks. What relation can be set betweenmemory, reconstruction and identity, between individual and collectivehistory ? If the past is being transformed, how to rebuild it ?
Colombet, Julien. „La photographie en Pays d'Apt : (vers 1870-vers 1960) : image réaliste et enjeux ce mémoire“. Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10054.
Der volle Inhalt der QuelleBourdieu, Séverine. „Proses de la mémoire : enquête, archive et photographie dans le récit français contemporain“. Bordeaux 3, 2006. http://www.theses.fr/2006BOR30057.
Der volle Inhalt der QuelleFocusing on a corpus of contemporary French novelists, namely Pierre Bergounioux, François Bon, Annie Ernaux, Johan-Frédérik Hel Guedj, Pierre Michon, Patrick Modiano and Jean Rouaud, we will be examining a paradigm change which took place recently in the writing of memory. The works under analysis were written between the end of the nineteen seventies and the early 21st century. For reasons which are at the same time personal (episodes of grief), generational and historical (the fractures of the 20th century), the individual, family or collective past is now experienced as and marked by a sense of loss and escheated inheritance. Perceived as a riddle, it becomes actively investigated by the subject who seeks to inherit from it. It will be demonstrated that this process of investigation, centred as it is around the collection and the questioning of archives (letter-writing, notebooks, pictures, newspaper cuts, witness accounts and various material remains), borrows from methods of research and understanding belonging to other fields of knowledge, particularly social and human sciences, and from other types of discourse and writing, such as journalistic and police investigation. The borrowing rules themselves will be examined as so many questionings and defacements, with an eye on the renewal of literary forms that they bring about, as well as on the displacement of the relation between history and memory, and between document and fiction that they offer
Dornier-Agbodjan, Sarah. „Histoire de liens, histoire de biens : la photographie de famille : mémoire et transmission“. Besançon, 2003. http://www.theses.fr/2003BESA1001.
Der volle Inhalt der QuelleGuillot, Hélène. „Photographier la Grande Guerre : les soldats de la mémoire, 1915-1919“. Paris 1, 2012. http://www.theses.fr/2012PA010617.
Der volle Inhalt der QuelleRichards, Ariane Sarah. „Mai 68 : l'evolution de la mémoire culturelle et des icônes à travers la photographie“. Thesis, Durham University, 2013. http://etheses.dur.ac.uk/6366/.
Der volle Inhalt der QuelleEichenberger, Andrea. „Images d'Indiens : d'objet à sujet : la photographie chez les Guarani du village Yynn Moroti whera à Santa Catarina (sud du Brésil)“. Paris 7, 2011. http://www.theses.fr/2011PA070046.
Der volle Inhalt der QuelleThis thesis takes its place in discussions on Visual Anthropology and looks forward to promote an interaction between an imagetic narrative and an ethnographic reflection. After a work developed with Guarani people from the village Yynn Moroti Wherâ, located in Biguaçu district, south coast of Santa Catarina, I have tried to think about the different ways of seeing Indians in Brazil, and about the appropriation and usage of images in indigenous contexts. The thesis shows some changes in position regarding the visual constructions. Firstly, changes from the indigenous side, that are deconstructing stereotyped images and making simultaneously multiple images, that receive specific fonctions depending on the context : on one hand, they are an element of identity affirmation and a way to save the collective memory, on the other hand, they are looking for establishing a dialogue with the "Other" that is not able to see the Indians beyond the preconceived images. Secondly, a change from the anthropologist-photographer, that uses a differentiate methodology of insertion into the field and of interaction with studied subjects, and that produces an ethnographic narrative in which text and image are introduced so as to build a dialogue. In this work, Photography is set at the same level as ethnography, this means as an expression-discourse
Moreno, Jérôme. „Émergence et retrait de la figure humaine : pour une anthropologie de l’image“. Toulouse 2, 2009. http://www.theses.fr/2009TOU20022.
Der volle Inhalt der QuelleFace plastic practice generates sensible images. This thesis proposes an exploration of figurative images based on anthropological approach. In a first category of images, face proceeds from vagaries of History. It could be alternately propaganda and destruction. Shoah symbolizes the face obliteration and reveals an image in the very back. Conversely, the face could rise from the melting pot of distortion, disfigurement and representation. The image envisages face like a trace: a gesture print issued from accumulation, interlace or series principle. In this case, image awakes from the gesture. However, a third set of images could also reveal a hesitant face. For example, in photography, this face plays on the thin frontier between representation and abstraction. Image waves between retreat and emergence, figurative appearance and disappearance. According to survival principle, this oscillation indicates the capability of figurative images to resurface time and space, beyond. They have a power : the power to remember
Bücher zum Thema "Mémoire – Photographie"
Erbetta, Alejandro. Pour une poétique de la mémoire: Photographie, littérature & arts. Paris: L'Harmattan, 2019.
Den vollen Inhalt der Quelle findenLangford, Martha. Scissors, paper, stone: Expressions of memory in contemporary photographic art. Montreal: McGill-Queen's University Press, 2007.
Den vollen Inhalt der Quelle findenTan, Fiona. Rise and fall: Fiona Tan. Vancouver: Vancouver Art Gallery, 2009.
Den vollen Inhalt der Quelle findenBourgade, Philippe. Eau-mémoire. Pointe-à-Pitre: Éd. Jasor, 2006.
Den vollen Inhalt der Quelle findenJacques, Lamalle. Mémoire noire. Paris: Les Arènes, 2016.
Den vollen Inhalt der Quelle findenClaass, Arnaud. Arnaud Claass: Mémoire vive. Trézélan: Filigranes, 2004.
Den vollen Inhalt der Quelle findenKlasen, Peter. Peter Klasen: La mémoire du regard, l'œuvre photographique. Paris: Archibooks + Sautereau, 2009.
Den vollen Inhalt der Quelle findenGaillard, Agathe. Mémoires d'une galerie. Paris]: Gallimard, 2013.
Den vollen Inhalt der Quelle findenGironde, Michel. Les mémoires de la violence: Littérature, peinture, photographie, cinéma. Paris: Harmattan, 2009.
Den vollen Inhalt der Quelle findenGironde, Michel. Les mémoires de la violence: Littérature, peinture, photographie, cinéma. Paris: Harmattan, 2009.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Mémoire – Photographie"
Bigot, Corinne. „Nostalgic Albums or Alternative Lieux de mémoire? The Interplay Between Stories, Photographs, and Recipes in Ethnic Culinary Memoirs“. In Palgrave Studies in Life Writing, 137–53. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84875-0_8.
Der volle Inhalt der QuelleGuillot, Hélène. „Photographie et nécessité d’État“. In Les Soldats de la mémoire, 31–40. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.4751.
Der volle Inhalt der QuelleNordholt, Annelies Schulte. „La photographie dans Lieux“. In Georges Perec et ses lieux de mémoire, 110–39. BRILL, 2022. http://dx.doi.org/10.1163/9789004521070_007.
Der volle Inhalt der QuelleGehrmann, Susanne. „24 Photographie et écriture autobiographique au Congo“. In Traumatisme et mémoire culturelle, 359–74. De Gruyter, 2023. http://dx.doi.org/10.1515/9783110420746-024.
Der volle Inhalt der QuelleGuillot, Hélène. „Le parcours d’une plaque de verre : de la prise de la photographie à l’archivage“. In Les Soldats de la mémoire, 85–89. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.4786.
Der volle Inhalt der QuelleBorges, Cristian, und Samuel de Jésus. „Mémoire de gestes dans l’œuvre d’Agnès Varda : peinture, photographie, cinéma“. In Agnès Varda : le cinéma et au-delà, 63–70. Presses universitaires de Rennes, 2009. http://dx.doi.org/10.4000/books.pur.1742.
Der volle Inhalt der QuellePierron, Lucile. „Célébrer le temps provisoire de la Seconde Reconstruction : les « baraquements-églises » ou la photographie comme mémoire d’un patrimoine disparu“. In Les archives iconographiques et audiovisuelles de la Reconstruction en France, de 1940 aux années 1960. Publications des Archives nationales, 2023. http://dx.doi.org/10.4000/books.pan.5608.
Der volle Inhalt der QuelleBessat, Frédéric. „Liste des photographies“. In La mémoire des coraux, 237. Éditions de la Sorbonne, 2000. http://dx.doi.org/10.4000/books.psorbonne.36909.
Der volle Inhalt der QuelleGuillot, Hélène. „Consulter les photographies“. In Les Soldats de la mémoire, 201–5. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.4841.
Der volle Inhalt der QuelleGuillot, Hélène. „Le personnel photographe“. In Les Soldats de la mémoire, 57–66. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.4771.
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