Auswahl der wissenschaftlichen Literatur zum Thema „Place du spectateur“
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Zeitschriftenartikel zum Thema "Place du spectateur"
Bosséno, Christian-Marc. „La place du spectateur“. Vingtième Siècle, revue d'histoire 46, Nr. 1 (1995): 143–54. http://dx.doi.org/10.3406/xxs.1995.3163.
Der volle Inhalt der QuelleBosseno, Christian-Marc. „La place du spectateur“. Vingtième Siècle. Revue d'histoire, Nr. 46 (April 1995): 143. http://dx.doi.org/10.2307/3771554.
Der volle Inhalt der QuelleBosséno, Christian-Marc. „La place du spectateur“. Vingtième Siècle. Revue d'histoire 46, Nr. 2 (01.04.1995): 143–54. http://dx.doi.org/10.3917/ving.p1995.46n1.0143.
Der volle Inhalt der QuelleDelaporte, Marie-Laure. „Immersion corporelle et hybridité des genres artistiques : traquer le corps et investir l’espace dans les installations contemporaines“. Figures de l'Art. Revue d'études esthétiques 26, Nr. 1 (2014): 177–88. http://dx.doi.org/10.3406/fdart.2014.1634.
Der volle Inhalt der QuelleBabeux, Sébastien. „Le spectateur hors jeu : investigation ludique du réseau interférentiel“. Jouer, Nr. 9 (10.08.2011): 79–98. http://dx.doi.org/10.7202/1005531ar.
Der volle Inhalt der QuelleLeroy, Christine. „Immersion charnelle du spectateur et émotion kinesthésique“. Figures de l'Art. Revue d'études esthétiques 26, Nr. 1 (2014): 259–69. http://dx.doi.org/10.3406/fdart.2014.1640.
Der volle Inhalt der QuelleCloutier, Marianne. „L’expérience immersive des corps : détournements artistiques des technologies d’imagerie médicale“. Figures de l'Art. Revue d'études esthétiques 26, Nr. 1 (2014): 231–44. http://dx.doi.org/10.3406/fdart.2014.1638.
Der volle Inhalt der QuelleBrisset, Frédérique. „Le doublage, à la frontière entre traduction et adaptation ?“ TranscUlturAl: A Journal of Translation and Cultural Studies 9, Nr. 2 (22.09.2017): 32. http://dx.doi.org/10.21992/t9gw8m.
Der volle Inhalt der QuelleMountasar, Rachid. „Ces corps qui regardent : la place du spectateur dans la danse des cheikhate“. Horizons/Théâtre, Nr. 7 (01.06.2016): 70–80. http://dx.doi.org/10.4000/ht.700.
Der volle Inhalt der QuelleAventin, Catherine. „L’engagement du spectateur de théâtre de rue. Revivre l’espace urbain“. Tangence, Nr. 108 (30.05.2016): 95–105. http://dx.doi.org/10.7202/1036456ar.
Der volle Inhalt der QuelleDissertationen zum Thema "Place du spectateur"
Liucci, Nicolas. „Le spectateur en place : représentation des classes sociales dans l'imagerie contemporaine“. Paris, EHESS, 2010. http://www.theses.fr/2010EHES0150.
Der volle Inhalt der QuelleIssues. During the last three decades, the existence of social classes has been questioned. The recent social evolution has led to the rehabilitation of the "class-conscious" sociological standpoint. Advertising. Some goods, such as clothes and cars, allow their owner to express a certain social status. The interpretation demonstrates marked differences between down-market and up-market advertisements. The iconic analysis shows that the characters are represented in various ways, recalling the topical descriptions of the class structure. This makes clear that a hierarchy of styles exists very similar to the ancient Rhetoric hierarchy. Not only advertising carries a quintessentially conservative representation of the c1ass structure, addressing each one in a hierarchical style, in order to put the viewer in his due place. It is also supporting an ideological vision of the social structure, where the Iower class is merely depicted as debased version of the upper class, as a class deprived of means, a class defined according to what it does not have. Art. The more you climb up to the up-market, in advertising, the more you notice the use of "artistic" languages -including the absence of stereotypes and the manipulation of specific lexicons. Compared to advertising, Art produces "disturbing" pictures -pictures, which would try to challenge the symbolic distribution of places. The analysis shows that specific artworks overthrow the previously established hierarchies, and endeavor to loose the viewer in collages of incongruous elements, in order to arouse his reflection. But it also appears that the "exclusive" context in which the artwork exists alters its subversive potential
Daniellou, Simon. „La place du spectateur : représentations théâtrales et théâtralité de la représentation dans le cinéma japonais“. Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20036/document.
Der volle Inhalt der QuelleThis thesis proposes a study on the characteristics of the cinematic representation by comparing it to another form of representation with which it shares a similar stage of mise-en-scène: the theatre. Our goal is to understand how the place of the film spectator is determined over time and by the perpetual reconfiguration of the filmic point of view, by analyzing how fiction films reflect an initial spectatorial vantage point in front of theatrical performances or theatrical profilmic forms withinthe filmic reality. In order to make out how the filmic diegesis combines mimetic and narrative acts, the traditional Japanese theatrical practices serve as privileged objects of analysis by virtue of their characteristics: the three-dimensional use of space, the marked partition between modes of enunciation, the “presentational” relationship to theatrical reality, etc. Thus, the exploration of a wide range of examples of theatrical performances in Japanese fiction films allow us to identify how theviewpoint of the extra-filmic spectator, sometimes delegated to the one of a diegetic substitute, is determined by the construction of the filmic reality thanks to the combination of staging, framing and editing
Lauraire, Héloïse. „Parcours scéniques : un genre de dispositif esthétique spécifique dans l'art contemporain occidental des années 2005-2012 : étude d’une sélection d’œuvres de Christoph Büchel, Mike Nelson, Jonah Freeman & Justin Lowe“. Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080034.
Der volle Inhalt der QuelleBetween the early 2000s and the early 2010s, four contemporary Western artists Christoph Büchel, Mike Nelson, Jonah Freeman and Justin Lowe built gigantic and enigmatic multi-room installations in Europe and the United States. Our initial hypothesis was that there were relationships between the labyrinthine super-productions of these artists, both in terms of their conceptions and their receptions.Our study describes and analyzes the specificities (construction, visitors reception, themes and references ...) and the issues (exploration, elaboration of a story, visitors’ endangerment and risk-taking...) of the aesthetic experiences offered by these works of art, nowadays invisible. The gathering and assessment of unpublished archives concerning ten of these artistic devices and their geneses as well as a field survey carried out among their spectators have enabled us to reconstruct mental images of these works. The plans and ekphrases, illustrated fictions, presented in this thesis reveal the spatial and temporal dimensions of these aesthetic walkthroughs and bring to light a set of similar set ups, materials, and themes. Based upon the scenographic strategies of the artists and the feelings of the spectators, our analysis leads us to consider these works as emotional installations and as dystopian narrative spaces. Walking across these, as if journeying through a voyage of initiation, sparks the spectator’s imagination and makes him fully conscious of his individuality and ability to take action
CATALANO, ANA ROSA SARAIVA. „THE PLACE OF THE PARTICIPATING SPECTATOR IN LYGIA CLARK S AND HÉLIO OITICICA S WORK“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6409@1.
Der volle Inhalt der QuelleThe goal of this dissertation is to analyse the existing relationship between the art work, the artist and the spectator within the context of Lygia Clark s e Hélio Oiticica s work. These two artists were chosen as the object of this study because both were committed to proposing new issues regarding the inclusion of the spectator as a direct agent in the modification and even creation of the art work. They stood out in the artistic world by proposing innovating issues, searching to occupy the real space and free themselves from the bidimensionality of the canvas and the easel. The research is based on the premise that both are current references in the history of Brazilian art and investigates the span of their trajectory, from their participation in the Neoconcrete group up to their last pieces, stressing the problematics involved in each one s work and, specially, to what point they were able to establish a direct dialogue with the public.
Besson, Roger. „Les lieux de l'interaction : fréquentation du stade et intégration sociale à Neuchâtel“. Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1017.
Der volle Inhalt der QuelleIn February 2007, Neuchâtel celebrates the inauguration of a brand new soccer stadium. For the club of Neuchâtel Xamax, which has been facing economical difficulties since a long time, this infrastructure represents a promising bright future. Everyone praises without restraint the comfort of the new arena, which is described as a friendly place, convenient to encounters, able to attract bigger crowds of people for long festive afternoons dedicated to the soccer entertainment. The analysis of the real social impact of the modernisation of this type of infrastructure is nonetheless very tricky. It implies not only a critical reflection on the attributes that can be considered as “socially virtuous” for the community, but also requires deciphering how the place works in its whole complexity. Following that, the research first requires the construction of a theoretical and methodological tool, which allows the study of the “integration potential” of this kind of space. Within the framework of the soccer stadium analysis, the use of this tool shows us that, in the case of Neuchâtel, this place plays a quite important social role. Based on various sources (questionnaire surveys, statistics relative to affluences, discourse analysis on a forum, etc.), the comparison of the situations that characterize the old and new infrastructure leads nevertheless to a nuanced assessment of the process of modernisation
Wang, Gang. „CORRELATIONS RELATIVE TO THE REACTION PLANE AT THE RELATIVISTIC HEAVY ION COLLIDER BASED ON TRANSVERSE DEFLECTION OF SPECTATOR NEUTRONS“. Kent State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=kent1144770985.
Der volle Inhalt der QuelleLe, Clinche Servane. „Etude de la prise en considération de la spécificité du contexte sportif dans l’attachement des spectateurs aux composantes des événements sportifs liés : Cas de la place du cheval dans les concours équestres“. Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLS370/document.
Der volle Inhalt der QuelleThis thesis aims at investigating the position of the specificity of sport context, in the adapted Points of Attachment Index scale to a particular filed. This scale measures the spectators' attachment to sporting event and their dimensions. Attachment and emotional attachment concepts are used for spectator-sporting event relationships researches. As a specificity of sport, we study horse in French and equestrian context. This research tends to examine the consideration of this specificity of scale. Several steps of this thesis are associated with studies. Firstly, we identify the stakeholders of equestrian competitions, with spectator’s equestrian sporting event. The main goal of this study is to emerge “specificity-horse” items. Then, a quantitative study is conducted (n=463). On the one hand, it gives us the opportunity to analyze the consideration of specificity dimension to adapted scale. On the other hand, we examine spectators’ attachment to horse and other dimensions of sporting events. These results provide a better understanding of spectator-sporting event relationships. For it, this research suggests to examine sport and cultural context and to adapt scale, in order to make the results representing the field reality at its best
„The place of the participating spectator in lygia clarks and hélio oiticicas work“. Tese, MAXWELL, 2004. http://www.maxwell.lambda.ele.puc-rio.br/cgi-bin/db2www/PRG_0991.D2W/SHOW?Cont=6409:pt&Mat=&Sys=&Nr=&Fun=&CdLinPrg=pt.
Der volle Inhalt der QuelleBücher zum Thema "Place du spectateur"
Hunkeler, Thomas, Corinne Fournier Kiss und Ariane Lüthi. Place au public: Les spectateurs du théâtre contemporain. Genève: Metispresses, 2008.
Den vollen Inhalt der Quelle findenCanter, David V. Football in its place: An environmental psychology of football grounds. London: Routledge, 1989.
Den vollen Inhalt der Quelle findenFried, Michael. Esthétique et Orignines de la peinture moderne, tome 1 : La Place du spectateur. Gallimard, 1990.
Den vollen Inhalt der Quelle findenHarris, Joanne. Place in the Sun/Al and Christine's World of Leather/the Spectator (Storycuts). Transworld Publishers Limited, 2011.
Den vollen Inhalt der Quelle findenSchliesser, Eric. Philosophy of Science. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690120.003.0011.
Der volle Inhalt der QuelleBailey, Doug. Cutting Skin. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190611873.003.0002.
Der volle Inhalt der QuelleSen, Amartya. Our Obligation to Future Generations. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198825067.003.0007.
Der volle Inhalt der QuelleKoehlinger, Amy. History of Sport and Religion in the United States and Britain. Herausgegeben von Robert Edelman und Wayne Wilson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199858910.013.34.
Der volle Inhalt der QuelleHolt, Robin. Unhomeliness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199671458.003.0008.
Der volle Inhalt der QuelleJohnson, Catherine. Telefantasy. BFI Publishing, 2022. http://dx.doi.org/10.5040/9781839025402.
Der volle Inhalt der QuelleBuchteile zum Thema "Place du spectateur"
Moretti, Jean-Charles, Alain Badie, Sandrine Dubourg und Anna Papadopoulou. „Les aditus du théâtre d’Orange“. In Les théâtres antiques et leurs entrées, 207–20. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qr1.
Der volle Inhalt der QuelleHill, Shonagh. „Feeling Out of Place: The ‘Affective Dissonance’ of the Feminist Spectator in The Boys of Foley Street“. In Performance, Feminism and Affect in Neoliberal Times, 269–81. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-59810-3_21.
Der volle Inhalt der QuelleSchmickl, Silke. „La place du spectateur“. In Les Museum Photographs de Thomas Struth, 65–69. Éditions de la Maison des sciences de l’homme, 2005. http://dx.doi.org/10.4000/books.editionsmsh.25359.
Der volle Inhalt der Quelle„Epilogue: The Place of the Spectator“. In Practicing the City, 139–48. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823267897-007.
Der volle Inhalt der Quelle„The director and their place as spectator“. In The Uncapturable. Methuen Drama, 2019. http://dx.doi.org/10.5040/9781350138889.ch-010.
Der volle Inhalt der QuelleSmith, Murray. „The Imaginative Spectator“. In Engaging Characters, 40–70. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198871071.003.0003.
Der volle Inhalt der Quelle„The Place of the Spectator in the Work of James Coleman“. In James Coleman. The MIT Press, 2003. http://dx.doi.org/10.7551/mitpress/4007.003.0004.
Der volle Inhalt der QuelleHarries, Martin. „Anselm Kiefer's Lot's Wife: Perspective and the Place of the Spectator“. In Forgetting Lot's Wife, 76–102. Fordham University Press, 2007. http://dx.doi.org/10.5422/fordham/9780823227334.003.0005.
Der volle Inhalt der QuelleRedmon, Allen H. „Adaptation“. In Rewatching on the Point of the Cinematic Index, 142–84. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496841810.003.0005.
Der volle Inhalt der Quelle„From Book IV“. In Selections From The Female Spectator, herausgegeben von Eliza Haywood und Patricia Meyer Spacks, 54–61. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195109214.003.0005.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Place du spectateur"
Olarewaju, Oluseyi, Athanasios V. Kokkinakis, Simon Demediuk, Justus Roberstson, Isabelle Nölle, Sagarika Patra, Daniel Slawson et al. „Automatic Generation of Text for Match Recaps using Esport Caster Commentaries“. In 6th International Conference on Computer Science, Engineering And Applications (CSEA 2020). AIRCC Publishing Corporation, 2020. http://dx.doi.org/10.5121/csit.2020.101810.
Der volle Inhalt der QuelleDumont d'Ayot, Catherine. „Machines à exposer“. In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.
Der volle Inhalt der QuelleGiurescu, Adina. „The aesthetic experience of the contemporary theater audience“. In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.21.
Der volle Inhalt der QuelleCONDURACHE, Dumitriana. „A Diverse Beauty: Amore, by Pippo Delbono“. In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0015.
Der volle Inhalt der QuelleMyers, Marie J. „BRIDGING LANGUAGE GAPS OF L2 (SECOND LANGUAGE) TEACHERS BY OPTIMIZING THEIR SELF-AWARENESS“. In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end112.
Der volle Inhalt der QuelleMonteiro, Caique Cahon. „Aesthetic Experience and Digital Culture: New Flows in The Space of Art Exhibition“. In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.
Der volle Inhalt der QuelleBlidar, Crina-Rozalia. „Traditions and customs in the country of Codru, Maramureş“. In Conferinţă ştiinţifică naţională "Salvgardarea şi conservarea digitală a patrimoniului etnografic din Republica Moldova". Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841856.04.
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