Dissertationen zum Thema „Vases attiques“
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Rouet, Philippe. „Attribuer classer. Sur l'historiographie moderne des vases attiques (18e-20e siecles)“. Paris, EHESS, 1996. http://www.theses.fr/1996EHES0320.
Der volle Inhalt der QuelleThis research deals with the history of the interpretation of greek vases and compares the works of the french archaeologist edmond pottier (1855-1934), who organized the corpus vasorum antiquorum (cva), and the english scholar sir john beazley (18851970), who attributed most athenian vases. This comparison allows us to build an opposition between two main tendencies in ceramic studies: the first considers vases mostly as art objects, and puts forward an history of the painters and artistic personalities, the second insists more on the historic and documentary value of the vases, and on correct classification. In eight chapters, we trace back the history of these conceptions. The first one deals with the rediscovery of ancient vases in the eighteenth century. Chapter ii analyses the research done on the artists before beazley's time. Chapter iii introduces pottier's works, mainly his catalogue of ancient terracotta vases from the louvre and his contribution to the dictionnaire des antiquites grecques et romaines. Connoisseurship is the main subject of chapter iv: it is compared with the field of renaissance painting art history. Chapter v is concerned with beazley's intellectual background, while the following chapter examines closely his method. The reception of beazley in france is studied in chapter vii through pottier's criticism. The last chapter analyzes pottier's initial project for the cva, which is a universal repertory of all the ancient vases in public museums and private collections
Renaud, Denis. „Les œnochoes attiques à figures rouges : production, distribution, iconographie“. Master's thesis, Université Laval, 1989. http://hdl.handle.net/20.500.11794/33528.
Der volle Inhalt der QuelleMontréal Trigonix inc. 2018
Chazalon, Christine Ludi. „Les vases attiques à figures noires de la collection Bourbon du Musée archéologique national de Naples“. Montpellier 3, 2002. http://www.theses.fr/2002MON30065.
Der volle Inhalt der QuelleCollard, Hélène. „Montrer l'invisible : recherche sur la mise en image de la présence divine au sein de l'espace rituel sur les vases attiques“. Paris, EHESS, 2014. http://www.theses.fr/2014EHES0014.
Der volle Inhalt der QuelleIn the Greek world, an important mode of divine perception, although this is not the only one, is the visual perception. This was especially made possible by means of images, which are part of the visible but enable to “show the invisible” and, therefore, to embody the divine. To shed light on the issue of divine representation in the Greek religious system, this study intends to provide an analysis of various processes for imaging the divine presence within a specific artistic production: attic vase-painting of the sixth and fifth centuries BC. While figurative representation of the gods could take many forms, vase-painting is a particularly interesting case study for it works on a proper mode and then offers a specific sight on the way the Greeks perceived the world and themselves. By reading and analysing these images, this study also address some broader issues, as the possible cultual referent of these pictures, the relationship established through the ritual between worshipers and deities, and the picture the Greeks had of their gods and of the ways in which they could manifest themselves
Souche, Olivares Hélène. „La mousikè sur les vases attiques (VIe et Ve siècles av. J. -C. ) : pratiques différenciées selon les sexes de lecture, d'écriture, de musique et de danse“. Rouen, 2005. http://www.theses.fr/2005ROUEL511.
Der volle Inhalt der QuelleThis research consist in the elaboration of a corpus of attic vases produced between the 6th and 5th century before J. - C. Representing the practice of mousikè. This study uses the concept of gender to analyse these images. The mythological models, the representation of the educational processes which build the sexual identity as well as moments of conviviality between men or women at the adulthood are the different study's themes. The artists paint men with lyra and women dancing. This representation of the practices of the mousikè doesn't fit with reality but raises rather of collective imaginary and seems at last give to women the techniques of the body and to men those techniques related to speech and thought
Niddam, Noémie. „Objets dans le champ et champs de l'objet dans la peinture sur vase à figures rouges attiques autour du Ve siècle av. J. -C“. Paris 1, 2009. http://www.theses.fr/2009PA010563.
Der volle Inhalt der QuelleGranger, Clara. „Héraclès dans l'imaginaire grec : iconographie et procédés de représentation aux époques archaïque et classique“. Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2140.
Der volle Inhalt der QuelleHerakles is one of the most important figures in the literature and art of ancient Greece, and he is the subject of a huge mythology as complex as varied. Herakles’ story is developed in the oral traditions and transcribed in the texts, as well as widely put in image. He is profusely represented in attic ceramics, which constitute a polysemic support, making all the variations that allow his complex figure. First, a vase could be seen in differents ways and views : from a simple reception to a more elaborate thought, according to the abilities and the culture of the spectators. Then, Heracles is the only character in Greek mythology who has such an ambiguous nature, of heroes and gods. So the Greek artists have adapted, on various media, from architecture to ceramic, a large number of his deeds, highlighting one quality or an other, depending on which episode is represented. Obviously, in order to interpreting the image of Herakles in the archaic and the classical periods of Greek antiquity, the particular context of a city, the political situation and the object must all be considered
Fless, Friederike. „Rotfigurige Keramik als Handelsware : Erwerb und Gebrauch attischer Vasen im mediterranen und pontischen Raum während des 4. Jhs. v.Chr. /“. Rahden/Westfalen : M. Leidorf, 2002. http://catalogue.bnf.fr/ark:/12148/cb39277746b.
Der volle Inhalt der QuelleCampenon, Christine. „Études sur la céramique attique a la fin du Ve siecle et au premier quart du IVe siècle“. Paris 10, 1987. http://www.theses.fr/1987PA100051.
Der volle Inhalt der QuellePart one of the thesis deals with the production of attic red-figured vases, from 450 to 320 B. C. It consists of a survey of four types of shapes (skaters - chapter 1 -, oinochoai – chapter 2 -, drinking vessel – chapter 3 -, lekythoi – chapter 4 -) : typology of the different varieties, peculiarities and common features and development of the shapes. Concluding part one, some considerations on the development of the shapes. Concluding part one, some considerations on the evolution of the fashion, of the conditions of production (development of mass-production? More specialized workshops?), on the relationships betwen attic red-figured vases, black pottery and metalwork. The second part of the thesis deals with the trade of attic red-figured ceramics. Chapter one: geographical distribution of the different kinds of vases studied in part one. Secondly, catalogue of the shapes found in the main market-places of Mediterranean sea: specific regional features. Finally, the problem of the conditions of trade: development of mass-production and distribution. In appendix, a survey on dating (the main chronological references and their value)
Nadal, Eléonore. „Poséidon, les chevaux, la terre et l'eau : l'iconographie de Poséidon dans les céramiques attique et italiote“. Toulouse 2, 2004. http://www.theses.fr/2004TOU20101.
Der volle Inhalt der QuelleThe iconography of Poseidon on Attic and South Italian vases reveals several aspects similar to those attributed to him by Greek mythology and religion. During the VIth Century, he belongs to divine gatherings, witnessing some historical changes in Athens, often related to Athena, the aristocratic and warrior world. At the same time, initiate the most important series of his iconographic corpus, which illustrate his links with horses, horsemen, and his action as Earth-Shaker through images of the Gigantomachy, unveiling his chthonic side. In the Vth century, the sea god comes in the forefront during the Persian wars and the Athenian hegemony on the Egean sea. Then start the erotic meetings of the god, mostly with Amymone, they continue in South Italian ceramic, showing the god of earthly waters and fecundity, whereas other vases offer the vision of the god who has founded important peoples of the Greek world, and that of South Italian cultural identity
Strawczynski, Nina. „Temps, ordre et désordre : constructions et agencements des images dans la céramique attique (VIe-Ve siècles av. J.-C.)“. Paris, EHESS, 2000. http://www.theses.fr/2000EHES0019.
Der volle Inhalt der QuelleOulié, Elena. „L'aspective sur la céramique attique du VIIIème siècle av.J.-C au premier quart du VIème siècle avant J.-C“. Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20035.
Der volle Inhalt der QuelleAs part of the renewal program study of history of Greek art developed in the research team PLH-CRATA, I am carrying out a thesis entitled : « The aspectivity in attic vase-painting : 900 – 575 ».This concept, elaborated by Egyptologists, refers to the construction of the image in graphic spaces which are not governed by perspective. Aspectivity is a close but distinct notion of what Waldemar Deonna called "primitivism". The perspective vision is the one that is natural for us. All the different techniques of perspective representation have in common the intention of representing the view of objects in three dimensions on a given space. They take into account the effects of the distance and the position in space with respect to the observer. The Greeks bequeathed us their perspective vision with figures conceived from a single place in a single moment. This representation is at the origin of the spatial and temporal unity. However, this mode of representation only took place very gradually between the end of the 6th century and the middle of the 5th century.Before this period, the art of many cultures is governed by the aspective principles. This notion, belonging to semiology, associates several points of view in the representation of the same character, whereas in natural vision we have only one. The aspective can also group together several moments of the same story in a single image, which can be read in one moment. The artist represents the parts as if each of them was isolated, as an enumeration of the various characteristics of the subject, freeing themselves from the subjective gaze of the observer placed in a certain place. The works do not seek to show a representation in time and space, but to show what must be, even if the events are not linked in time. The image becomes more a construction than a representation.There is, in Greek archaic art, as in the Egyptian and Near Eastern arts, an aspective. It is necessary to detect its presence, but also to identify its specificities. It is to this task that I dedicate myself, in a thesis conceived with close-ups on certain important periods. The results are particularly surprising, since they show, in the art of the Geometric period, a stronger presence of perspective processes that in the seventh and early sixth century BC. J.-C. within an image constructed otherwise by aspective processes. The results thus show that, from the start, the two conceptions of graphic space know some interpenetrations
Dietrich, Nikolaus. „Landschaftselemente in der attischen Vasenmalerei des 6. Und 5. Jahrhunderts v. Chr : eine bildwissenschftliche untersuchung zum verhältnis von figur und raum“. Paris, EHESS, 2008. http://www.theses.fr/2008EHES0092.
Der volle Inhalt der QuelleThe doctorate studies the ways in which trees and rocks are depicted in Attic vase-painting. The anachronistic notion of landscape is replaced by a concept of spatiality that does no longer differentiate between the pictorial space and the space of the vase and his viewer: The trees and rocks do not depict a space within the picture, that is, they do not represent the scene of the figures, but rather take part in the depiction and characterisation of the figures themselves. These figures should be understood both concretely and metaphorically as standing on the ground line as a part of the vase. The introduction gives a short review of the past research on nature and landscape in Greek art. The first part presents the different iconographies of trees and rocks in chronological order. The second part defines the general concept of spatiality that rules the iconographic use of trees and rocks in vase painting. The third part studies semantic aspects of trees and rocks
Malagardis, Athanasia-Nassi. „Skyphoi : typologie et recherches à partir des skyphoi à figures noires du musée du Louvre“. Paris 1, 1986. http://www.theses.fr/1986PA010589.
Der volle Inhalt der QuelleTonglet, Delphine. „Le kyathos attique de Madame Teithurnai: échanges artisanaux et interactions culturelles entre Grecs et Etrusques en Méditerranée archaïque“. Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209236.
Der volle Inhalt der QuelleDoctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Chaput, Samuel. „Les représentations sexuelles sur les vases attiques à figure rouge : entre sexualité et «pornographie»“. Thèse, 2015. http://hdl.handle.net/1866/18335.
Der volle Inhalt der QuelleLa présente étude sert à rassembler tous les vases attiques à figure rouge présentant des scènes sexuellement explicites connues à ce jour. Un examen attentif de ces sources permit de les décrire ainsi que de les comparer afin d'en faire ressortir les similitudes et les différences. Ces vases, étrangement, proviennent majoritairement d'Étrurie, ce qui surprend lorsqu'on sait qu'ils ont été fabriqués en Grèce. Grâce à l'étude du commerce à cette époque, on constate que ces vases n'occupaient pas une grande place dans les relations commerciales entre Grecs et Étrusques. De plus, ces derniers les utilisaient dans un contexte funéraire, ce qui diffère grandement des Grecs. En effet, ces derniers semblent avoir utilisé ces vases dans un contexte où le vin était central, le symposion. Bien que ce genre de banquet était une activité généralement domestique, on se rend compte, à la lumière de découvertes archéologiques, que les vases sexuellement explicites auraient pu être utilisés dans un contexte lié à la prostitution, les bordels. Ceci nous amène donc à nous questionner quant au statut des femmes qui y sont représentées. Finalement, l'étude des sources littéraires, de peu contemporaines aux vases à l'étude, nous renseigne, en partie, sur les opinions quant aux différentes pratiques sexuelles de l'époque. Au final, bien que des pistes théoriques intéressantes se dégagent de l'étude de ces vases, il reste que des conclusions sûres et hors de tout doute sont impossibles étant donné le manque de source. Ces vases présentent donc un portrait à mi-chemin entre la réalité et le symbolisme de la sexualité en Grèce antique.
This study serves to collect all the red-figure Attic vases with sexually explicit scenes known to date. A close examination of these sources made it possible to describe and compare them to bring out the similarities and differences. These vases, strangely, come mainly from Etruria, which is surprising when we know that they were made in Greece. Through the study of trade at that time, we see that these vases did not occupy an important place in the trade relations between Greeks and Etruscans. In addition, they used them in a funerary context, which differs greatly from the Greeks. Indeed, they appear to have used the vases in a context where the wine was central, the symposion. Although this kind of banquet was generally a domestic activity, we realize, in light of archaeological discoveries, that sexually explicit vases could have been used in a context related to prostitution, brothels. This leads us to question the status of the women that are represented. Finally, literary sources that are contemporary of the studied vases, tells us, in part, on different views on the sexual practices of the time. Finally, although interesting theoretical tracks emerge from the study of these vases, it remains that firm conclusions are impossible given the lack of source. These vases therefore gives us a portrait halfway between reality and symbolism of sexuality in ancient Greece.
Lavallée, Marie-Josée. „La distribution de la céramique attique entre 600 et 550 avant notre ère : un lot d'Argilos“. Thèse, 2006. http://hdl.handle.net/1866/17791.
Der volle Inhalt der QuelleOulié, 1989 Elena. „L'aspective sur la céramique attique du VIIIème siècle av.J.-C au premier quart du VIème siècle avant J.-C“. Thesis, 2018. http://www.theses.fr/2018TOU20035.
Der volle Inhalt der QuelleAs part of the renewal program study of history of Greek art developed in the research team PLH-CRATA, I am carrying out a thesis entitled : « The aspectivity in attic vase-painting : 900 – 575 ».This concept, elaborated by Egyptologists, refers to the construction of the image in graphic spaces which are not governed by perspective. Aspectivity is a close but distinct notion of what Waldemar Deonna called "primitivism". The perspective vision is the one that is natural for us. All the different techniques of perspective representation have in common the intention of representing the view of objects in three dimensions on a given space. They take into account the effects of the distance and the position in space with respect to the observer. The Greeks bequeathed us their perspective vision with figures conceived from a single place in a single moment. This representation is at the origin of the spatial and temporal unity. However, this mode of representation only took place very gradually between the end of the 6th century and the middle of the 5th century.Before this period, the art of many cultures is governed by the aspective principles. This notion, belonging to semiology, associates several points of view in the representation of the same character, whereas in natural vision we have only one. The aspective can also group together several moments of the same story in a single image, which can be read in one moment. The artist represents the parts as if each of them was isolated, as an enumeration of the various characteristics of the subject, freeing themselves from the subjective gaze of the observer placed in a certain place. The works do not seek to show a representation in time and space, but to show what must be, even if the events are not linked in time. The image becomes more a construction than a representation.There is, in Greek archaic art, as in the Egyptian and Near Eastern arts, an aspective. It is necessary to detect its presence, but also to identify its specificities. It is to this task that I dedicate myself, in a thesis conceived with close-ups on certain important periods. The results are particularly surprising, since they show, in the art of the Geometric period, a stronger presence of perspective processes that in the seventh and early sixth century BC. J.-C. within an image constructed otherwise by aspective processes. The results thus show that, from the start, the two conceptions of graphic space know some interpenetrations