Dissertations / Theses on the topic 'Art as proposition'
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Baraud, Dominique. "Proposition ornementale pour un "Celtic Revival"." Paris 1, 1989. http://www.theses.fr/1989PA010546.
Full textThis work is about graphic and symbolic studies of celtic ornamentation, through the three main gospels of the irish high middle ages: the book of kells, the book of lindisfarne and the book of durrow. The principles of harmony, the symbolism of language, and formal repertory are brought back to life to create a new ornamentation, with a sacred characteristic, early beginnings of a celtic revival. The elaboration of this particular type of expression generates the studies of our artistic and sacred context. Problems, constraints, and instructions are exposed, leading us imperceptibly to choose a spiritual option found again in our artistic past : the purity of cistercian art. This paradox is difficult to define: irish treasures and pureness of cistercian art constitute a double option: a graphic and spiritual one, for the suggested ornamental creation. Reference to "modern art" will justify the bases of our attitude. A triple objective is reached: bringing back to life celtic art, we'll propose to revalue the notion of ornamentation, to get a new expression of sacred art
Tillotson, Zoe. "Ephemeral art : a philosophical proposition about the nature of time and being." Thesis, University of the Arts London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650331.
Full textSpaulding, Eric M. "The patient as art a critique from aesthetics of the transhumanist proposition /." Deerfield, IL : Trinity Graduate School, 2007. http://dx.doi.org/10.2986/tren.006-1561.
Full textNOVOA, PADRON MARIA TERESA. "Art public, étude de cas : Caracas, Montréal et Paris de 1980 à 1993, suivie d'une proposition personnelle." Paris 8, 1995. http://www.theses.fr/1995PA081108.
Full textThe following thesis is dealing with public art as a bidimensional or tridimensional piece of art situated in public locations determining or being determined by urban morphology. It's public status is creating the communauty patrimony and at least state patrimony. One of the purpose of this study is to discover the process of some contemporary public art experiences located as well in my own country or abroad. For the case study we choose the towns of caracas, montreal et paris with the following works. Caracas: - intervention in the petare metro - sculpture garden in the parque del est - sculpture composition plaza venezuela. Montreal: - place berri - sculpture park rene levesque - sculpture garden centre culturel canadien paris: - pont-neuf wrapped - patio d'honneur palais royal - major axis cergy- pontoise at least we'll espace our own intervention proposals on public locations. They are taking much care of the actual life needs. Our personnal proposals are dealing with the necessity to work public spaces as the support of art works
Ramade, Bénédicte. "Infortunes de l'art écologique américain depuis les années 1960 : proposition d'une réhabilitation critique." Paris 1, 2013. http://www.theses.fr/2013PA010558.
Full textLorent, Marie-Françoise. "Le cimetière du Dieweg à Uccle (1868-1946). Proposition pour une méthode d’approche de l’art funéraire dans sa dimension sociologique." Doctoral thesis, Universite Libre de Bruxelles, 2017. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/248053.
Full textDoctorat en Histoire, histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
Hsieh, Chenwei. "Processus de création d'un système d'images interactives pour le spectacle vivant : proposition d'une méthode de développement rapide et mise en oeuvre d'une structure d'un système d'interactivité multi-niveaux et multi-sources." Paris 8, 2013. http://octaviana.fr/document/170326594#?c=0&m=0&s=0&cv=0.
Full textIn this thesis, I try to present my process to create an interactive system in a live performance, specifically the dance and musical improvisation made collectively with several artists: performers, composers and creators of the interactive image. The first part is the artistic research about related artists’ works in their live performances. The technical research is the subject of the second part. It consists of my experience about the technology, hardware and software in the development of interactive creations, especially the sensor system of sound and movement. In the end, I propose a structure of system with the multiple-levels and interactive sources. It is a full process to create diversified mapping interactive system. The main goal of the process is to create a faster and more intuitive interactive program. It includes a structure of multiple- level scenes controls, the reusable and independent sensors systems by using the OSC protocol, and the creative function module in platform Unity with multiple input controls
Dodds, Christopher, and chris@iconinc com au. "Avatars and the Invisible Omniscience: The panoptical model within virtual worlds." RMIT University. Creative Media, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080424.100301.
Full textBravin, Alessandra. "L'art rupestre de la phase des cavaliers au Maroc : les sites de Foum Chenna (Vallée du Draa) et du Jebel Rat (Haut Atlas) : Analyse iconographique, thématique et proposition de chronologie." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3119.
Full textThe first part presents the general characters of the phase known as "Libyco-Berber". After a thorough examination of the literature, the very notion of "Libyco-Berber" is analysed and recognized as being inadequate to define the phase and it is proposed a new denomination i.e. the "phase of the horsemen."Its specific characters are analysed from the point of view of the introduction of the horse in North Africa, in terms of iconography and style, all set in the historical context of Morocco's I millennium BC.The second part relates to the plateau of Tizi 'n Tirghiyst, examined on the basis of publications and through an accurate prospecting work. From this approach emerges the complexity and heterogeneity of the rock art of this area that includes not only the phase of the horsemen but also earlier phases. The methodology includes the analysis of the iconographic typical elements: the horse and harness, his weapons and the themes.The third part is devoted to the study of Foum Chenna, in the Draa Valley. It is immediately detected the homogeneity of the site although an older phase is present. The methodology for the analysis is the detailed study of individual elements that led to the identification of new themes and the discovery of new inscriptions in Lybic letters.The fourth part is devoted to the comparison between the two sites, to highlight similarities and differences, to identify elements for a chronology.The three annexes are respectively the corpus of engravings of the horsemen phase of the Rat, of Foum Chenna and the totality of the Libyan inscriptions of this site
Carbogim, Luís Felipe de Souza. "Aprendizagem obscura: fragmentos arranjados por proposições artísticas." Universidade Federal de Juiz de Fora (UFJF), 2011. https://repositorio.ufjf.br/jspui/handle/ufjf/2664.
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Esta dissertação é um escrito que se compõe com multiplicidades que atravessam um professor de artes no seu formar-se, ou, deformar-se. É o exercício de trazer com a escrita, uma escrita de si, o processo da pesquisa, não um falar sobre a pesquisa, mas a pesquisa em si – perseguindo e sustentando a problemática como aula? Agenciando Hélio Oiticica, Gilles Deleuze, Félix Guattari e Friedrich Nietzsche, na busca de uma um corpo outro, uma aula outra em última análise. O conceito de proposição, tal como aparece na obra de Oiticica, é definido por ele como o declanchar de processos inventivos coletivos, deslocado aqui para a imanência das aulas, das leituras, das escritas, dos corpos... da vida. A proposição abala qualquer concepção dicotômica e disso deriva um campo problemático de encontros entre professor, arte, alunado, fruição, produção, poética, estética, política e ética. Esta problematização persegue a aula enquanto proposição: aulaproposição, mas não se trata da apresentação de uma didática para o ensino de artes, tampouco uma pedagogia da arte, está mais próxima de um abalo no campo educacional que faz tremer, especialmente, os alicerces da Arte/Educação, reverberando na questão tão cara à Arte/Educação escolar que traz como que um senso comum o objetivo do ensino de arte em formar um público crítico para as artes. Aulaproposição: processo de invenção coletivo anônimo, no qual os participantes são produtores, em busca de um ―estado de invenção‖, como coloca Hélio Oiticica. Daí, especialmente com Oiticica, um corpo interroga: como formar artistas e não formar público? Como formar público e não formar artistas? É possível, tendo em vista a proposição, um caminhar outro, o impossível? Relato alguns processos-aulas a partir do ―método‖ investigativo da cartografia, produzido por Deleuze e Guattari, no qual a pesquisa, pesquisador e pesquisado não se dão em separado. O processo de pesquisa é processo de invenção, importa ao pesquisador estar à espreita do acontecimento, atento às virtualidades que pululam no campo de pesquisa. Nesta ―perspectiva‖ o campo de pesquisa é jogo de forças, oficina de signos, e, a atenção do pesquisador-cartógrafo deve flutuar e pousar num movimento com o movimento vivo de um campo-jogo. Assim, preparo um corpo para estar atento difusamente aos processos que vivi com alunos e alunas de seis, sete, quinze e dezesseis anos, para exercitar a cartografia rente aos processos inventivos da experimentação dos propositores. Parte da pesquisa fora realizada a partir do meu arquivo pessoal produzido com um colégio da cidade de Juiz de Fora, especialmente interessado no processo poético-inventivo em aulas de artes visuais.
This dissertation is a written that is formed for multiplicities that cross an arts teacher on his auto form or auto deform. It is the exercise to bring with a written the research process, not to talk about the research, but the research itself – accompanying and supporting the problematic how class? Hélio Oiticica, Gilles Deleuze, Félix Guattari and Friedrich Nietzsche‘s touted consists in the search for, ultimately, another body, another class. The proposition concept, such as it appears in the Oiticica work, is defined by him as the collective inventive process initiate displaced here to the immanence of the classes, readings, writings, bodies…life. This proposition unsettles any dichotomous conception and causes meetings problematic field among teacher, art, pupils, fruition, production, poetic, aesthetics, policy and ethics. This problematization tries to understand class while proposition: classproposition. It‘s not the didactic presentation to the arts teaching, neither an art pedagogy. It‘s more closely of a seism on the educational field that especially making shake the Art/Education foundations, reverberating in the special question to the school Art/Education that brings like a common sense the objective of the art teaching to form a critical public to the arts in general. Classproposition: process of the anonymous collective invention in which the participants are producers in search of an ―invention state‖ according to Hélio Oiticica. So, especially with Oiticica, a body questions: how to form artists and public doesn‘t? How to form public and artists don‘t? Is it possible considering the proposition, another walk, the impossible one? Some class-processes are related based on the cartography investigative ―process‖ produced by Deleuze and Guattari in which the research, researcher and researched don‘t happen on the separate way. The research process is an invention process. It interest to the researcher to be lurking to the event, to be aware to the virtualities that sprout on the research field. In this ―perspective‖, the research field is forces game, signs workshop and the cartographer-researcher attention must float and land in the movement with the living movement of a game-field. Thus, a body is prepared to be diffusely aware to the processes lived together pupils with six, seven, fifteen and sixteen years old to exercise the cartography close to the inventive processes of the proponents‘ experimentation. A part of the research was done from a personal portfolio produced with a Juiz de Fora school, especially interested in the inventive poetic process in visual arts classes.
Strömberg, Marika. "Inredningsarkitektur i den cirkulära ekonomin : Kvalitets- och hållbarhetsaspekter på inredning i offentlig miljö." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-183697.
Full textSantorineos, Manthos. "Une approche sur la recherche et l’art à l’époque du numérique à travers l’étude des systèmes artificiels d’organisation de la mémoire humaine : nécessité et proposition d’un outil d’enregistrement et de synthèse des données susceptible de contribuer à la mise en place d’une nouvelle forme de doctorat ("doctorat_machine")." Paris 8, 2006. http://octaviana.fr/document/119090325#?c=0&m=0&s=0&cv=0.
Full textSociety exists in a state of hybridicity in relation to memory storage, between a “paper” culture and the culture of digital technology, while in many contexts the results of this situation are not yet apparent, as digital technology is used for the enhancement of conditions and not for their development. Important role in the clarification of this situation will play a change in research method putting in good practice the capacities of the new system of memory processing. In the realm of digital art both conditions coexist yet the artist-researcher can bring into fruition the advantages of digital technology characterised by the notion of “platform” and not of “media” valid up to the electronic revolution. In the course of research, a system for the optimisation of digital capacities of knowledge processing was created so as to tackle complexities and problems inherent in the object of study. In the context of perspectives of digital culture, a hypothesis is being examined, this system, defined as doctorate_machine, to comprise the new thesis form with respect to research documentation and presentation
Santorineos, Manthos Huitric Hervé. "Une approche sur la recherche et l'art à l'époque du numérique à travers l'étude des systèmes artificiels d'organisation de la mémoire humaine nécessité et proposition d'un outil d'enregistrement et de synthèse des données susceptible de contribuer à la mise en place d'une nouvelle forme de doctorat ("doctorat_machine") /." Saint-Denis : Université de Paris 8, 2007. http://www.bu.univ-paris8.fr/web/collections/theses/THESE_Santorinaios.pdf.
Full textSantorinaíos, Mánthos. "De la civilisation du papier à la civilisation du numérique : à travers les aventures de l'enregistrement de la recherche, de la pensée et de l'art : proposition d'une nouvelle forme de thèse de doctorat numérique /." Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb41347333f.
Full textBibliogr. p. 275-283. Webliogr. p. 283-287.
Santorineos, Manthos. "Une approche sur la recherche et l'art à l'époque du numérique à travers l'étude des systèmes artificiels d'organisation de la mémoire humaine : nécessité et proposition d'un outil d'enregistrement et de synthèse des données susceptible de contribuer à la mise en place d'une nouvelle forme de doctorat ("doctorat_machine")." Phd thesis, Université Paris VIII Vincennes-Saint Denis, 2006. http://tel.archives-ouvertes.fr/tel-00180014.
Full textAubert, Alain. "Propositions pour une "scenaristique" : "l'intrigue scenarique"." Paris 3, 1996. http://www.theses.fr/1997PA030023.
Full textThe "scenaric plot" can be found in film scenarisation. In order to study it, we will situate scenarisation in cinema as a whole. Cinema is divided into ten sub-territories that determine the scenario. This will constitute the general environment of the plot. We can then subdivide scenarisation in eight polarities. Besides sources and investigation, we can distinguish : idea, problematic, scheme, character, plot, spatial organisation, timing and dialogue. This will constitute the specific internal environment of the plot. We will then validly deal with the analysis of the "scenaric plot". In the first place, it is made of matter of "contents", which can be seen as composed of "semantic basins" (from "law" to "destiny"). Secondly, it seems to conform to a same form of expression, or obliged ternary existential scheme (situation-action-situation). Then it comes out, thanks to its own matter of expression, not the characters, but four axis of interactions: socio-economical, strutural, dramaturgical, and socio-psychic. At last, it complies with certain modes of the form of expression (logic, credibility: dramatization, "satirisation"). We then can foresee a "scenaristic"
Sintorn, Johan. "Enclosing and Mounting an Electronic Component on Articulated Haulers : A proposition on how to protect, and where to place, an intelligent node on the environmentally harsh exterior of construction equipment with respect to multiple parameters." Thesis, Linköpings universitet, Maskinkonstruktion, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-134053.
Full textNeris, Rodrigo [UNESP]. "Descaminhos da experiência: uma jornada de investigação com estudantes na construção de sentidos na e para a experiência." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/144413.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Este trabalho relata a pesquisa de um professor sobre a experiência estética em sua pratica docente, a qual apresenta uma abordagem sobre experiência, educação e ensino de arte na perspectiva do par experiência/sentido proposto por Jorge Larrosa Bondía. No percurso de investigação, o professor criou um grupo de pesquisa com alguns de seus estudantes do Ensino Médio da Escola Estadual Professora Heloiza Therezinha Murbach Lacava, em Santa Bárbara d’Oeste/SP. Com apoio teórico de John Dewey, Jorge Larrosa Bondía e Jacques Rancière, o texto apresentado na dissertação articula três vozes: a dos pensadores e filósofos, a do professor de arte e pesquisador e a dos estudantes do grupo de pesquisa em seus processos de reflexão e investigação da temática, imbricando as principais ideias em desenvolvimento na narrativa aos textos A função da Arte 1 de Eduardo Galeano e Onda de Susy Lee, evocados como metáforas por sua força poética, a lhes conferir corpo e lhes alimentar de sentidos. Em meio a experiência vivenciada pelo professor e pelos estudantes no grupo de pesquisa, desenvolve-se condições que possibilitam tecer algumas considerações que contribuem para a compreensão das ideias de ignorância do mestre e emancipação, apresentados por Rancière.
This work reports a teacher’s research about the aesthetic experience in his professional practice, which presents an approach about experience, education and art education using the pair experience/sense suggested by Jorge Larrosa Bondía. On the investigation route, the teacher has created a research group with some of his High School students from the public school Professora Heloiza Therezinha Murbach Lacava, in Santa Bárbara d’Oeste, São Paulo state. With the theoretical support from John Dewey, Jorge Larrosa Bondía and Jacques Rancière, the text presented on this thesis articulates three voices: the one from the thinkers and philosophers, another one from the art teacher/researcher and a last one from the students taking part in the research group during their reflection processes and this theme’s investigation, interrelating the main ideas being developed in the texts A função da Arte 1 from Eduardo Galeano and A Onda from Susy Lee, mentioned as metaphors because of their poetic strength, vesting matter in them and feeding them with senses. Among the experience lived by the teacher and the students from the research group, conditions are developed to comment on some considerations which contribute to the understanding of the concepts of master’s ignorance and emancipation presented by Rancière.
Souza, Eleni Jesus de [UNESP]. "Aula como ato criativo e educador propositor." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/143498.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Essa Pesquisa educacional versa sobre uma práxis educativa em arte educação, cujo tema, a aula como ato criativo e o educador como propositor, considera que a inteligência se constrói a partir das experiências de seus próprios sujeitos. Assim, inferimos não ser possível conceber uma aula, senão na experiência, na coletividade, no saber fazer, opinar, criticar e avaliar não estando integralmente mergulhados em propósitos. Compreendemos um projeto educativo como ação por concepção, considerando o sujeito como criador e propositor de si mesmo. Vemos o Projeto como possibilidades colaboradoras em arte educação, dentro da concepção de aula como ato criativo e o educador como propositor de percursos, que compartilha um processo de ensino e aprendizagem, no qual a pesquisa da prática em arte experiência são indissociáveis. Como exemplificação, apresentamos um estudo educacional em arte educação numa escola estadual, perpassando conceitos como os de Polivalência e Interdisciplinaridade, concluindo que a Interdisciplinaridade corrobora o pensamento estético, artístico e crítico dos alunos mas a Polivalência não. Aferimos também, por meio de sondagem efetuada com professores de arte do estado de São Paulo, que o Currículo de arte cedido pela SEE/SP divide opiniões pela forma como se apresenta, sobre o que propõe e como propõe ao educador as “metodologias” para o trabalho em sala de aula. Ressaltamos que a autoria é intrinseca às atividades humanas, ao clarificar que a obra de arte não se constitiu um presente do acaso, e sim intencionalidade de seu autor. Demonstramos tanto que o estudo minucioso da prática, os registros, os diários e os diálogos possibilitam ao educador o retorno a determinados momentos de sua práxis – ou seja, a seus próprios processos de criação – quanto o fato de que uma atividade autoral e integrada leva os alunos à apropriação de linguagens, técnicas, conteúdos, momentos históricos e, sobretudo, ao entendimento artístico como experiência vivida entre corpo e mente.
Educational research over an art education practice in which the subject is the class as a creative act and the educator its proposer, taking in consideration that what builds intelligence is the person’s own experiences. Thus, it infers as not possible designing a class that is not based on experimentation, collectivity, know how, opinion, criticism and evaluation – thus being fully immersed in purposes. It comprises an educational project as an action by concept, since it considers the subject as both creator and proponent of itself. It sees the project as collaborative possibilities in art education within the concept of the class as a creative act and the educator as the proposer of paths sharing a teaching and learning process in which art research and practical experience are inseparable. As exemplification, this research presents an art education study held in a public school, pervading concepts such as multifunctionality and interdisciplinarity. The reached conclusion points in the direction that interdisciplinarity corroborates to the aesthetic, artistic and critical thinking of the students, however, multifunctionality does not. With the aid of a survey carried out with art teachers of São Paulo State public schools, the study also indicates that the Art’s Curriculum adopted by the State divides opinions among teachers, specially concerning the way it is presented, the proposals within and how they’re laid out to the educators: as working "methodologies" for the classroom. Moreover, this study emphasizes that authorship is intrinsic to human activity and clarifies that the work of art is not a gift of chance but the result of the author’s intentionality. Detailed practice studies, records, diaries and dialogues allow educators to return to certain moments of their praxis, that is, their own creative processes; also, an authorial and integrated activity create for students the possibility of an appropriation of languages, techniques, contents, historical moments and especially the understanding of an artistic experience lived between body and mind.
Urlberger, Andrea. "Parcours artistiques et virtualités urbaines : du discours aux propositions artistiques." Paris 8, 2001. http://www.theses.fr/2001PA081960.
Full textMavrakis, Kostas. "La signifiance picturale : propositions pour un renouveau de la peinture." Paris 8, 1993. http://www.theses.fr/1993PA080769.
Full textThe works presented attempt to resume the grand european tradition both in treatment and as to subject matter. In support of such a purpose the vanguardist discourse is confuted, the present substitution of non-art to art is explained by the unfavourable conditions prevailing in our society (reification, autonomization, valorization of the new, capitalist strategies etc) and a set of aesthetical propositions is put forward buttressed on lacan's psychoanalysis), levi-straussian anthropology and informational theory. As against dickie's institutional theory it is reaffirmed that an artwork distinguishes itself from anything else by objectively exhibiting aesthetic qualities. Figurative (but not abstract) painting is able to create an imaginary world which is plausible (mimetically well done), decorative (pleasing to the eye), the expression of the artist's longing (an opportunity for day-dreaming) and full of meaning
Perler, Dominik. "Der propositionale Wahrheitsbegriff im 14. Jahrhundert /." Berlin : W. de Gruyter, 1992. http://catalogue.bnf.fr/ark:/12148/cb357126687.
Full textSamoud, El Fidha Saima. "Propositions méthodologiques d'analyse comparée des arts d'une même culture : introduction à l'analyse des relations entre les arts musicaux et visuels arabo-musulmans." Paris 4, 2008. http://www.theses.fr/2008PA040116.
Full textStarting from the intuition that a link connects Arab-Islamic arts, a link confirmed by various articles dealing with the former, this research addresses a more general issue : studying how various artistic expressions of the same culture can be compared, and finding methods and approaches for making such comparisons possible. In this dissertation we first discuss problems inherent to comparative studies. Next, looking at the cultural relationships between all arts in general and more particularly between the musical and visual arts, we then investigate the analytical methods that allow us to deduct the existence of these relationships. Finally, we suggest possible approaches for analyzing the relationships between arts of the same culture, and more specifically between arts "belonging to" Arab-Islamic culture
Mazourenko-Monebhurrun, Elena. "La tapisserie dans la nouvelle Russie : étude historique et esthétique : recherches et propositions pour un renouveau." Paris 1, 2008. http://www.theses.fr/2008PA010514.
Full textPérez-Ilzarbe, Paloma. "El significado de las proposiciones : Jerónimo Pardo (m. 1502) y las teorías medievales de la proposición /." Barañáin : EUNSA, 1999. http://catalogue.bnf.fr/ark:/12148/cb371163616.
Full textTextor, Markus. "Bolzanos Proportionalismus /." Berlin : W. de Gruyter, 1996. http://catalogue.bnf.fr/ark:/12148/cb358448322.
Full textClaude, Jean-Pierre. "Proposition d'une spécification d'administration de réseaux hétérogènes." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37603993d.
Full textGiroud-Fliegner, Olivier. "La peinture moderne et contemporaine : propositions pour une esthétique de l'erreur." Paris 4, 1993. http://www.theses.fr/1993PA040198.
Full textThe first part of our problematics explains the philosophical context of an esthetics of error; indeed, most of the pictorial movements of this century has been criticized as a danger of non-sense in painting. The common point of the critics is also the question of death of art, as a danger to overcome by finding a concept able to establish a logic of modernity in art. We find in Gombrich's and Nietzsche’s texts already a statute of error which confirms our purpose, and makes us enable to build a concept of error, in the second part of our purpose. Thus, error is determined by Kant’s analyses of temporality and perception. And we can define error as a function of an almost "false" perception. As a function, error creates a dialectics of liberty in painting. In the last part of our purpose, we analyze Adorno's esthetics as the loss of the sense of error and modernity, as well as the postmodernist orientation of art, which opens our problem on the question of the sense of modernity in art
Peytavi, Jean-Marc. "Proposition d'un algorithme de type Varimax oblique. Applications." Grenoble 2 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37617912r.
Full textCailler, Bernadette. "Proposition poétique : une lecture de l'oeuvre d'Aimé Césaire /." Ivry (46 rue Barbes, 94200) : Ed. Nouvelles du Sud, 1994. http://catalogue.bnf.fr/ark:/12148/cb35786152w.
Full textFouquier, Gilles. "Programmation temps réel à objets : études et proposition /." Gif-sur-Yvette : Direction de l'information scientifique et technique, CEA Saclay, 1996. http://catalogue.bnf.fr/ark:/12148/cb361642829.
Full textRichard, Annette. "Itinéraires pour une appropriation des oeuvres picturales : finalités et conditions d'une initiation à l'art chez des élèves de lycée : propositions de méthode." Paris 8, 1994. http://www.theses.fr/1994PA08A009.
Full textGonzalez-Rubio, Sandoval Rubén. "Propositions d'architectures pour les traitements symboliques." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37605526n.
Full textMatar-Perret, Roula. "Substrats, alchimie et révélations : les propositions architecturales de Gordon Matta-Clark." Rennes 2, 2008. http://www.theses.fr/2008REN20026.
Full textGordon Matta-Clark, an important figure of the American Art of the seventies, is mostly known for his spectacular building cuts. But he also produced a corpus of works, of great diversity : alchemical experimentations on matter, a profusion of drawings, performances or photographic constructed visions. These works are analysed in order to reveal all their architectural references. In their various forms lie hidden as much propositions on new spatial modalities that place Gordon Matta-Clark within his initial field of education, architecture
Dähnhardt, Simon. "Wahrheit und Satz an sich : zum Verhältnis des Logischen zum Psychischen und Sprachlichen in Bernard Bolzanos Wissenschaftslehre /." Pfaffenweiler : Centaurus-Verlagsgesellschaft, 1992. http://catalogue.bnf.fr/ark:/12148/cb355990259.
Full textRobu, Maia. "Créativité enfantine et arts plastiques dans des écoles primaires de Paris et de Chisinau : recherches, expérimentations et propositions." Paris 1, 2006. http://www.theses.fr/2006PA010509.
Full textTrotta, Joe. ""Wh"-clauses in English : aspects of theory and description /." Amsterdam : Rodopi, 2000. http://catalogue.bnf.fr/ark:/12148/cb40039873p.
Full textMikkelsen, Line. "Copular clauses : specification, predication and equation /." Amsterdam : J. Benjamins, 2005. http://catalogue.bnf.fr/ark:/12148/cb41362193z.
Full textLe, Quintrec Claudine. "Trait - retrait, écumes des mers, dérive talismanique, design vestimentaire et mutations : recherches et propositions." Paris 1, 2005. http://www.theses.fr/2005PA010514.
Full textCarolan, Louise. "What basic emotions are experienced in bipolar disorder and how are they are regulated." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/4108.
Full textSabbah, Claude. "Morphismes sans éclatement propositions données par l'université /." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37611051q.
Full textMalin, Franck. "Propositions pour une modelisation en semiotique visuelle. A travers quelques exemples d'images fixes." Toulouse 2, 1997. http://www.theses.fr/1997TOU20011.
Full textFrom almost the beginnings of semiology, still images are considered meaningful objects. With the theory of semiotics and its methodology of critical analysis, images have acquired the status of a textual organisation with a meaningful structure which owes nothing to chance nor is the result of free interpretations. Within this framework, we have taken into consideration findings from various authors working on images in order to build a device which allows us to recover, through hypothetical-deductive reasoning, the minimal meaning every image possesses. Through each one of the three examples of analysis, the idea is to elaborate quite a precise description of the level of expression in order to facilitate the elaboration of the meaning which appears on the level of content through our semiotic approach. This work tries to enhance the fact that there exists a primary signification in every still image (likely to be found by all individuals pertaining to the same society), and that this interpretation process occurs when the two levels are brought together. This approach defines signification as a hierarchical construction resulting from a slow maturation of the meaning where the reader starts from his sensations to reach a coherent and relevant interpretation in relation to the discourse which the image implies
Gérard-Marchant, Laurence. "Couleurs, parures, costumes : reflets dans l'oeil du peintre, renaissance et résurgences, interrogations historiques et propositions plastiques personnelles." Paris 1, 1989. http://www.theses.fr/1989PA010586.
Full textPlanche, Frédéric. "Ergonomie de l'informatisation propositions pour une démarche participative /." Grenoble 2 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb376004265.
Full textRappold, Fabienne. ""Défense d'afficher" de sa picturalité, recherches et propositions /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37617894n.
Full textThirion, Frédéric-Gérard. "Proposition pour un nouvel acte médical alliant l'art et la science." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37601523n.
Full textMiakaloubanza, Benoit. "L'Education des déficients intellectuels au Congo analyse et propositions." Lille 3 : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb37594966f.
Full textCarvalho, Soares Maria de Aires. "Pour un système portugais d'informatique juridique études et propositions /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37603653b.
Full textGodard-Schmitt, Danièle. "Propositions relatives, relations anaphoriques et prédication études sur "dont." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37597935w.
Full textLhoste, Pascal. "Exploitation des systèmes automatisés, EX.A.O. proposition d'une approche méthodologique et d'outils d'assistance." Grenoble : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb37594915j.
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