Dissertations / Theses on the topic 'Bergen Arcs'
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Cohen, Anthony Stephen. "Isotopic investigations of granulites from northwest Scotland and west Norway." Thesis, University of Cambridge, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.279161.
Full textMarcel, Linda Aneha. "A lecture performance at Bergen Community College to promote community awareness of local composers /." Access Digital Full Text version, 1994. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11625971.
Full textIncludes tables. Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Lenore Pogonowski. Includes bibliographical references (127-132).
Raimbourg, Hugues. "Mécanismes d'éclogitisation et conséquences pour l'exhumation des roches métamorphiques de haute pression : l'exemple de l'Arc de Bergen, Norvège." Paris 6, 2005. https://tel.archives-ouvertes.fr/tel-00010888.
Full textMartel, Jean-Mary [Verfasser], Frank [Akademischer Betreuer] Berger, Peter [Gutachter] Schegner, and Michael [Gutachter] Anheuser. "Series arc faults in low-voltage AC electrical installations / Jean-Mary Martel ; Gutachter: Peter Schegner, Michael Anheuser ; Akademischer Betreuer: Frank Berger." Ilmenau : Universitätsbibliothek Ilmenau, 2018. http://d-nb.info/1152096966/34.
Full textBrooke, Magdalene A. "Mauerkunst, lebenskunst: an anlysis of the art on the Berlin Wall." Scripps College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,8.
Full textXu, Tao. "Capturing the Epiphany of Time - A Bergsonian Reading of Virginia Woolf's Mrs Dalloway." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-24024.
Full textBeer, Suzanne. "Le cybermusée virtuel : du virtuel philosophique au virtuel technologique." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080060/document.
Full textThis thesis takes into account the critic of the expression of « virtual museums » made by some museologists who replace dit by the term « cybermuseum ». It comes back to the research of what virtual means in this topic that Bernard Deloche did, with new understandings. Coming from Bergsonian and Deleuzian approaches, it compares them with the meaning given to it in scientific and technological disciplines, especially for virtual reality, since cybermuseums are an expression of digital arts using this kind of technology. Cybermuseums tend to use this last meaning, which is a reduction to the field of possibility, affranchised of its philosophical creative characteristic. An analogy between museal field referent and pure memory or flux of microperception allows to look for a definition of a cybermuseum specific type of museology. A proper museal cybermuseum figure is found in information landscape metaphors from infoviz, which are rethought for digital museums typical uses. Immersion in together esthetical and cognitive environment is then reached. Esthetical conceptions of digital image solve the problem of a digital museum without « real things » : the anesthetic esthetic of Diodato, fragmentary intimism and genesis of Chirollet and Weissberg, image association of Aby Warburg. Cybermuseum therefore pursue a similor goal as Malraux’s « museum without walls », by taking into account digital medium specifities. The thesis contains a creation of cybermuseums prototypes which experiment theoretical ideas and makes them go forward
Garceau, Jean-Sébastien. "La création esthétique comme nouveauté radicale : développements à partir de Bergson." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27087/27087.pdf.
Full textRoberntz, Tuija. "Friheten i flödet : En studie av nuflöde och frihet i Henri Bergsons filosofi." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-41220.
Full textOne of the key concepts of Henri Bergson’s philosophy is Duration. Bergson uses duration to describe how being in time is constituted as moving. In this thesis I am searching for what room there is for freedom within duration by studying how Bergson’s thoughts about human conditions, intuition, life and evolution evolve in Time and Free Will (1889), An Introduction to Metaphysics (1903) and Creative Evolution (1907). I do this in dialogue with Gilles Deleuze´s ”Intuition as a method” (Bergsonism, 1966) and “Lecture Course on Chapter Three of Bergson's "Creative Evolution"”(1960). Deleuze clarifies the importance of Bergson’s intuitive method to reach freedom in duration. To make a critical comparison I use the article "Disseminating Time: Durations, Configurations, and Chance." (2017) written by Daniela Vallega-Neu. This comparison opens up to a broader sense of how freedom within duration could be conceived. It also makes an argument for dancing as an alternative method in order to reach freedom in duration possible.
Aho, Lucy. ""Det kanske inte finns någon där" : En tematisk analys av forskning om Ingmar Bergman och religion." Thesis, Karlstads universitet, Institutionen för samhälls- och kulturvetenskap (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-80031.
Full textLand, Robert William. "Little Paintings." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1035.
Full textMaravi, Pilar L. "Del cielo a la tierra: Gonzalo de Berceo, Signos que aparecerán antes del Juicio Final, y sus nexos con la arquitectura medieval española." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/272222.
Full textPh.D.
This dissertation is a study of the links between the poem Signos que aparecerán antes del juicio final of Gonzalo de Berceo and the Spanish medieval architecture. The analysis is based on a comparative and systematic contrast between the literary work of Berceo and the monumental sculptures present in three cathedrals that represent the Spanish medieval architecture. The iconographies found in the portals of these cathedrals have thematic and symbolic similarities with the poem of Gonzalo de Berceo.
Temple University--Theses
Kurdi, Alaa El. "Du Changement au Mouvement : Application de la Méthodologie du Traceur au cas de la Transformation du Musée des Arts et Traditions Populaires en un Musée des Civilisations de l’Europe et de la Méditerranée." Thesis, Paris, CNAM, 2012. http://www.theses.fr/2012CNAM0837.
Full textThe main models of organizational change have in common that they see change, more or less explicitly, either as a dynamic phenomenon due to forces or as a flow, a movement. But change itself is not directly observed. It is simply inferred from a series of observations that focus on either (i) an entity, or (ii) a sequence of events - phases or steps of an on-going process. So, research in organizational change faces a paradox : understanding change processes leads to representations and explanations that reify the processes in fixed forms (words or diagrams). The aim of this dissertation is to observe change itself and show how it can be thought of as a flow, a movement. The conditions of understanding change as a movement are based on Henri Bergson’s philosophy
Svedberg, Jakob. "Traduire le lexique philosophique : Une étude qualitative de la traduction des termes philosophiques." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-65770.
Full textMayr, Helen-Sophie. "Curating the Subversive : Illegal Graffiti in Urban Space on the Example of Berlin and how to Approach it Curatorially." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-192116.
Full textFowler, Adam. "The Positive- and Negative-Right Conceptions of Freedom of Speech and the Specter of Reimposing the Broadcast Fairness Doctrine ... or Something Like It." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3497.
Full textNash, Casey Aaron. "The Olympic Glory of Jesse Owens: A Contribution to Civil Rights and Society." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etd/1510.
Full textEklund, Sebastian. "Fantasins fission : en essä." Thesis, Konstfack, Institutionen för Konst (K), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7726.
Full textSundström, Eva. "Konstnär, estet, nyskapare : En kvantitativ och kvalitativ analys av Karin Bergöö Larssons broderier och vävnader på Carl Larssongården i Sundborn." Thesis, Uppsala universitet, Textilvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-398610.
Full textRaimbourg, Hugues. "Mécanismes d'éclogitisation et conséquences mécaniques pour l'exhumation des roches métamorphiques de haute pression." Phd thesis, Université Pierre et Marie Curie - Paris VI, 2005. http://tel.archives-ouvertes.fr/tel-00010888.
Full textAuvinen, Tuomas. "Unmanageable opera ? : the artistic-economic dichotomy and its manifestations in the organisational structures of five opera organisations /." Thesis, Boston Spa : British thesis service, 2000. http://catalogue.bnf.fr/ark:/12148/cb39143436f.
Full textMostyn, Santiago. "Notes on the productivity of nostalgia." Thesis, Kungl. Konsthögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-6.
Full text[I examensarbetet ingår utställningen "Little father, glorious stump":] The exam work consisted of a three-room installation of sculptural objects, activated by a live sound performance, as well as a 3D animation projected unto one wall of the gallery.
Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet förden gestaltande delen.
The master work includes a written essay and a forming part. The alternative title is the name of the forming part.
Claesson, Nils. "Spökmaskinen : Sju förändringar och förflyttningar – gestaltningsprocesser i animerad film." Doctoral thesis, Stockholms konstnärliga högskola, Institutionen för film och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-270.
Full texthttps://www.uniartsplay.se/slin
Bega-Hart, Angelica. "Shaken and Stirred: Tactile Imagery and Narrative Immediacy in J. D. Salinger's "Blue Melody," "A Girl I Knew," and "Just Before the War with the Eskimos"." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2641.
Full textThiérard, Hélène. ""Hylé I" et "Hylé II" de Raoul Hausmann : des ensembles textuels autobiographiques en mouvement." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA043.
Full textThis thesis discusses Raoul Hausmann's work in progress, Hyle, whose genesis lasted over 30 years (1926-1958). "Hyle I" (unpublished) and "Hyle II" (2006) both have strong autobiographical character and deal with the years 1926-33 (Germany) and 1933-36 (Ibiza). Each consists of approximately a hundred units combined together into a textual ensemble, which goes beyond traditional genre classifications and produce a transgeneric, plural and mobile textual identity. Taking into account Hausmann's crucial importance in Berlin Dada both on the theoretical field and for his artistic and poetical production, this thesis looks into the question of the continuation of an avant-garde project within "Hyle". In order to understand what remains of Hausmann's utopian project of an enlargement of human perception, it is most helpful to explore the intermedial relations between the work in progress and Hausmann's practice of photomontage, visual poetry and photography. The comparative analysis of "Hyle I" and "Hyle II" is based on an extensive genetic enquiry using the two principal Hausmann archives in Germany and France. It first focusses on the macrostructural level and highlights how the technique of textual montage creates a spatial and dynamic coherence mode, which is conflicting with that of narrative linearity – this being supported in "Hyle II" by a comprehensive poetics of space. The analysis then sheds some light on the ambiguity of an autobiographical project which forms itself in the course of the genesis and oscillates between retrospective subject constitution and subject fragmentation or dissolution. It finally analyses the language experiment in Hyle as a utopian attempt to shift the verbal bondaries which limit our understanding – culminating in "Hyle II" with the multilingual writing influenced by the exile years
Die Dissertation untersucht Raoul Hausmanns Work-in-progress "Hyle" unter Berücksichtigung seiner mehr als 30 Jahre umfassenden Textgenese (1926-1958). "Hyle I" (unveröffentlicht) und "Hyle II" (2006) handeln von Hausmanns Leben in den Jahren 1926-33 (Deutschland) und 1933-36 (Ibiza). Diese jeweils aus ca. 100 zusammenmontierten Einheiten bestehenden Textensembles gehen über traditionelle Gattungszugehörigkeit hinaus zugunsten einer transgenerischen, pluralen und beweglichen Identität. Ausgehend von Hausmanns wesentlicher Rolle in Dada-Berlin – im theoretischen wie im künstlerischen und poetischen Bereich – wird in dieser Arbeit der Frage nach der Fortschreibung eines Avantgarde-Projekts in "Hyle" nachgegangen. Das vielfach intermediale Verhältnis des Schreibprojekts zu den Ausdrucksformen der Fotomontage, der visuellen Poesie und der Fotografie wird herausgearbeitet und in Beziehung zu Hausmanns utopischem Projekt einer Erweiterung der menschlichen Wahrnehmung gesetzt. Die vergleichende Analyse von "Hyle I" und "II" erfolgt anhand einer fundierten, sich auf den beiden Haupt-Nachlässen in Deutschland und Frankreich stützenden Rekonstruktion der Textgenese. Sie zeigt zuerst auf makrostruktureller Ebene, wie die Text-Montage einen räumlich-dynamischen, im Spannungsfeld mit einem linear-narrativen stehenden Kohärenzmodus stiftet, und wie sich dies zudem in "Hyle II" in einer umfassende Raumpoetik artikuliert. Die Analyse hebt dann das Ambivalente eines autobiographischen Unternehmens hervor, das sich erst im Laufe der Genese entwickelt und zwischen retrospektiver Ich-Konstitution und Subjekt-Auflösung bzw. -Fragmentierung oszilliert. Sie befasst sich schließlich mit dem Sprachexperiment als einem utopischen Projekt, das den starren, unsere Erkenntnis beschränkenden Grenzen der Sprache erneut Beweglichkeit zu verleihen sucht – und im mehrsprachigen, durch Exil-Erfahrung geprägten Schreiben in "Hyle II" seinen Höhepunkt erreicht
Stock, David M. "Educating for Democracy: Reviving Rhetoric in the General Education Curriculum." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd985.pdf.
Full textVignal, Marie-Noëlle. "Alain-Fournier : culture et création, influences et affinités." Clermont-Ferrand 2, 1994. http://www.theses.fr/1994CLF20066.
Full textThe thesis "alain fournier his writing and culture" brings into question the legends generated by many critics and hagiographers concerning the author of le grand meaulnes. The correspondance between. A. Fournier and j. Riviere is the life line without which it is impossible to recount his formative years which teemed with bookish encounters. The authors most frequently and enthusiastically read were claudel and gide in whom it is easy to recognize the intellectual mentors who played such a vital part in unfolding fournier's creative processes and his aesthetics regarding the novel. Alain fournier's artistic education owes a lot to the preraphaelites (which he discovered during his time in the united kingdom) and to symbolist painters such as carriere and redon : the dreamlike quality which enshrouds the grand meaulnes might well have been instigated by them. M. Denis a pre-war painter belonging to a christian revival group, no doubt rekindled in fournier the faith of his childhood. In this way alain-fournier is placed in relation to the philosophical and spiritual trends of the years 1900 to 1913. This was a time when the intellectual elite of french youth, haunted by tormented self-questioning, tended to look to well-known converts such as claudel, peguy, leon bloy. In this work are laid out he complex stages of his spiritual evolution. His mystical yearnings are not compatible with doctrines and orthodoxy
Nitsche, Véra. "Der neue Geist des Kollektivs. Politische und ästhetische Implikationen kollektiver Produktionsverfahren im Theater in den 1960/70er-Jahren und zu Beginn des 21. Jahrhunderts (am Beispiel der Schaubühne am Halleschen Ufer sowie She She Pop und Gob Squad)." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030002.
Full textThis thesis focuses on collective theatrical practices in Germany in the 1960s/70s and at the beginning of the 21st century. Our particular interest is the spirit of the collective: the political ideas and aesthetic concepts that encourage theatre people to work collectively and to organize themselves as collectives. We assume that the spirit of the collective has developed in parallel with the changes in the world of work since the late 1960s as described, for example, in Luc Boltanski and Eve Chiapello's publication The New Spirit of Capitalism. While in the 1960s/70s, collectives were unanimously perceived as the theatrical way of anticipating socialism, the current discourse about theatre collectives is marked by a heterogenization of positions. While some see them as the vanguard of the neoliberal deregulation of the German-speaking theatre landscape, others see in the collective functioning a new form of the Political. In the 1960s/70s as well as today, collective theatre work is linked to specific aesthetic strategies, which raise the question of the interdependence between the mode of production and aesthetics. This thesis seeks to link reflection on the organizational and production practices with the aesthetic concepts of the theatre collectives. Based on a discourse analysis methodology, the thesis brings out the spirit of the collective specific to the 1960s/70s on the one hand and to the beginning of the 21st century on the other hand. Divided into two main parts, it exposes the lines of continuity as well as the ruptures between the two generations of theatre collectives
Diese Dissertationsschrift beschäftigt sich mit den Theaterkollektiven der 1960er/70er-Jahre und des 21. Jahrhunderts. Das besondere Interesse gilt dem Geist des Kollektivs, d.h. den politischen Vorstellungen und ästhetischen Konzepten, die der kollektiven Theaterarbeit zugrunde liegen. Wir gehen davon aus, dass sich der Geist des Kollektivs parallel zu den Veränderungen in der Arbeitswelt seit dem Ende der 1960er-Jahre entwickelt hat, wie sie beispielsweise Luc Boltanski und Eve Chiapello in Der Neue Geist des Kapitalismus beschreiben. Während die Theaterkollektive in den 1960er/70er-Jahren relativ einhellig als der theatrale Vorgriff sozialistischer Produktions- und Gesellschaftsstrukturen wahrgenommen wurden, ist der aktuelle Diskurs von einer Heterogenisierung der Positionen geprägt. Die heutigen Kollektive werden einerseits als die Avantgarde der neoliberalen Deregulierung der deutschsprachigen Theaterlandschaft angesehen, andererseits werden die kollektiven Arbeits- und Organisationsweisen als neue Ausdrucksformen des Politischen wahrgenommen. Sowohl in den 1960er/70er-Jahren als auch heute ist die kollektive Theaterarbeit mit spezifischen ästhetischen Strategien verknüpft, was die Frage nach der Interdependenz zwischen der Produktionsweise und den theatralen Ausdrucksmitteln aufwirft. Diese Dissertation bringt die Überlegungen zu den kollektiven Organisations- und Produktionspraktiken mit den ästhetischen Konzepten der Kollektive in Verbindung. Die Arbeit basiert auf einer diskursanalytischen Methodologie mittels derer der jeweilige Geist des Kollektivs herausgearbeitet wird, der für die Theaterkollektive der 1960er/70er-Jahre bzw. für die heutigen Kollektivformationen typisch ist. Sie gliedert sich in zwei Hauptteile und hebt, die beiden Kollektivgenerationen diachronisch untersuchend, die Kontinuitätslinien und Brüche hervor, die den neuen Geist des Kollektivs mit demjenigen der Vorgängergeneration verbinden
Bhowany, K. "Eclogite; fluid assisted metamorphism; P–T pseudosections; Caledonian Orogeny; Bergen Arcs; P–T path." Thesis, 2015. http://hdl.handle.net/2440/117958.
Full textExhumed deep crust is rare and exposures that preserve both protoliths and altered domains are limited around the world. Mesoproterozoic anorthositic granulites exposed on the island of Holsnøy, western Norway, preserve different stages of progressive deformation together with the corresponding metamorphism that record the conversion to Siluro-Ordovician eclogites during fluid infiltration. Five different stages of deformation can be identified: 1) brittle deformation resulting in the formation of fractures and generation of pseudotachylites in the granulite; 2) development of mesoscale shear zones associated with increased fluid–rock interaction; 3) large-scale replacement of granulite by hydrous eclogite with blocks of granulite sitting in an eclogitic ‘matrix’; 4) complete conversion of granulite to eclogite within large-scale shear zones; and 5) break up of completely eclogitised granulite by continued fluid influx, resulting in the formation of potassium-rich mineral assemblages. P–T constraints derived from phase equilibria forward modelling document a burial and partial exhumation path with peak conditions around 21–22 kbar and 640–660 °C. Fluid infiltration began on the prograde path and continued throughout the recorded P–T evolution. However, in places limited fluid availability on the prograde path resulted in an excellent preservation of prograde mineral assemblage, allowing the burial path to be well constrained.
Thesis (B.Sc.(Hons)) -- University of Adelaide, School of Physical Sciences, 2015
Bergeron, Annie. "Art et monde /." 2003. http://proquest.umi.com/pqdweb?did=766731311&sid=19&Fmt=2&clientId=9268&RQT=309&VName=PQD.
Full textTexte d'accompagnement d'une exposition réalisée à l'été 2003 sous le titre "Les lieux du désir". Bibliogr.: f. 30-31. Publié aussi en version électronique.
Bergeron, Blake K. "Gradients of Push." 2016. https://scholarworks.umass.edu/englmfa_theses/42.
Full textAuger, Marie-Pier. "Le triptyque oublié de Jan de Beer au Musée des beaux-arts de Montréal." Thèse, 2016. http://hdl.handle.net/1866/19103.
Full textThis M.A. thesis treats the triptych of the Adoration of the Shepherds (1510-1530) by Jan de Beer (1475-1538), in the collections of the Montreal Museum of Fine Arts (MBAM) since 1975. The project is twofold, and engages on one hand provenance studies, and secondly iconography. First the provenance of the triptych is examined, and brings to light significant documents detailing of the artwork’s journey in the tumultuous twentieth century. While this Antwerp-mannerist triptych appears on page nine on the list of objects “whose history is incomplete between 1933 and 1945,” recently published by the MBAM, our research now confirms the passage of the work, in 1934, in the Galgoz castle of the Erdődys, an aristocratic family known throughout Hungary, Slovakia, and Croatia. A new document regarding the sales contract signed by Vilmos Erdődy (1887-1959) and Theodor Fischer on December 5th, 1934 in Vienna has also come been found, as well as the 1937 auction catalogue documenting its sale. Attention is therefore paid to the historical, political and economic contexts experienced by the Erdődy family before the turning point in 1934. A thorough review of the SAP Panel’s legislation and recommendations will enlighten us regarding the conditions and possibilities of a forced sale. Secondly, the triptych’s iconography is examined in great detail, following a theoretical framework developed by Erwin Panofsky. Amidst several other popular texts of the time, the Revelations of Saint Bridget of Sweden can be shown to have fundamentally influenced the imagery of the Adoration of the Shepherds. However, Jan de Beer infuses his altarpiece with a second layer of meaning, what Panofsky would call its iconology, that of the blindness of humanity in the face of divine light. The deployment of this secondary discourse is by means of hidden symbolism, which, by introducing itself stealthily, testifies on the one hand to the intimate desire for a direct relationship with God some years before the Council of Trent, but also of the ideas central to a humanist culture: a spiritual reflection on one’s own salvation.
Heras, I., M. Krause, G. Abrasonis, A. Pardo, J. L. Endrino, E. Guillén, and R. Escobar-Galindo. "Advanced characterisation and optical simulation for the design of solar selective coatings based on carbon:transition metal carbide nanocomposites." 2019. https://hzdr.qucosa.de/id/qucosa%3A33924.
Full textBoisvenue, Jean-François. "Darstellung und Wirklichkeit in Der Idiot und Die Dämonen, zwei Dostojewski-Bearbeitungen von Frank Castorf für die Volkbühne Berlin." Thèse, 2011. http://hdl.handle.net/1866/6299.
Full textAs a theatre performance is a volatile piece of art, as it has a performative character, and therefore possesses its own fictional world, the two concepts “representation” and “reality” are of meaning in theater studies. In this context, the works of the Berliner theater director Frank Castorf represent particularly rich research objects. Because Castorf give a lot of value to the present and the reality of the performance, it is to ask: what role does the representation of a fictional world play in the productions of Castorf? This work aims to first identify how important the performativity for Castorf in two theater adaptations of Dostoevsky's novels is for the stage, Die Dämonen und Der Idiot. Since man mediates his own phenomenon more and more and since in this context, the reproducible media like television or cinema has an overwhelming and increasing importance in our consumer society, the theater, like other art forms, has changed. For this reason, the two theatrical adaptations were transferred to other media, that is, in films and books. This work describes the process of "re-representation", i.e. the transition from one medium to another. Here will be analyzed the connections between the various works of art and the motivations of the Berliner director and his theater, The Volksbühne Berlin, to “repurpose” the novels in plays and plays in movies and books. Moreover, despite their increasing integration in theater, video projections are still seen by certain number of puristas as invaders to be proscribed because of their threat to theatre’s essence: performativity as the encounter between actors and an audience in the same space, at the same time. However, live video-projection images can maintain a performative nature since they are likely to generate mutual influences between themselves and the members of the audience. By analyzing Frank Castorf’s Der Idiot, this thesis shows how cameras and their transmission devices have the capacity to be substituted to the main objects of the theatrical show: actors.
Da eine Theateraufführung ein flüchtiges Kunstwerk ist, weil sie einen performativen Charakter hat und deswegen ihre eigene fiktionale Welt besitzt, ist das Begriffspaar Darstellung/Wirklichkeit in der Theaterwissenschaft von Bedeutung. In diesem Zusammenhang stellen die Theaterwerke des Berliner Regisseurs Frank Castorf besonders komplexe Forschungsgegenstände dar. Weil Castorf der Gegenwart und der Wirklichkeit der Aufführung eine große Bedeutung beimisst, stellt sich die Frage, welchen Platz die Darstellung einer fiktionalen Welt in den Inszenierungen Castorfs einnimmt. Diese Arbeit geht zunächst um den Platz des Performativen in zwei Theaterbearbeitungen von Dostojewskis Romanen Die Dämonen und Der Idiot für die Volksbühne Berlin. Da der Mensch sich mehr und mehr medialisiert und in diesem Kontext die reproduzierbaren Medien wie das Fernsehen oder das Kino, eine überwältigende und steigende Bedeutung in unserer Konsumgesellschaft haben, wird das Theater wie die anderen Kunstformen, verändert. Aus diesem Grund wurden die beiden Theaterbearbeitungen in andere Medien übertragen, in diesem Fall in Film und Literatur. Diese Arbeit beschreibt den Vorgang der „Re-repräsentation“, das heißt den Übergang von einem Medium zu einem anderen. Dabei werden die Verbindungen zwischen den verschiedenen Kunstwerken und die Motivation Castorfs analysiert, die Romane in Theaterstücke und die Theaterstücke in Filme sowie in Bücher zu übertragen. Darüber hinaus stellt das Video noch heute für einige Puristen – trotz einer steigenden Nutzung der Videotechnik auf der Theaterbühne – einen Fremdkörper dar, der von der Bühne verbannt werden muss. Er würde die Essenz des Theaters bedrohen: den performativen Charakter, der im gleichzeitigen Zusammentreffen von Akteuren und Zuschauern in einem gleichen Raum besteht. Allerdings können die Live-Videoübertragungen den performativen Charakter des Theaters teilweise bewahren, da sie das Publikum beeinflussen können; und umgekehrt. In dieser Arbeit wird durch die Analyse des Stückes Der Idiot von Castorf gezeigt dass die Kameras und ihr Live-Übertragungssystem das wesentliche Element der Theateraufführung ersetzen können: die Schauspieler.
Bernard, Justin. "Adapter l'opéra au cinéma, entre création et reproduction : étude sociologique de "La Flûte enchantée" de Bergman." Thèse, 2013. http://hdl.handle.net/1866/9984.
Full text"La Flûte enchantée" (1975), téléfilm d’Ingmar Bergman, pose, dans une perspective sociologique, la question de l’adaptation de l’oeuvre alliée aux intentions esthétiques de son auteur. En quoi Bergman est-il parvenu à adapter "La Flûte enchantée" à la société, principalement suédoise, de 1975 à laquelle son film est destiné ? Comment développe-t-il sa contribution esthétique entre le respect de l’oeuvre, tant sur le plan de son contenu dramatique que sur le plan de sa réception, et l’innovation qui est à la base de son approche cinématographique ? De par son mode de diffusion télévisuel, le film de Bergman rend l’opéra accessible au plus grand nombre. De par ses réarrangements du livret, traduit en suédois, il réactualise l’oeuvre de Mozart. De par ses traits esthétiques, il exprime une vision de son auteur sur la représentation même d’un opéra sur scène et marque de son empreinte l’histoire des mises à l’écran d’opéras.
"The Magic Flute" (1975) is a television film directed by Ingmar Bergman which, from a sociological perspective, raises the question of an opera’s film adaptation paired with the aesthetic endeavours of filmmaking. How does Bergman succeed in adapting "The Magic Flute" to a contemporary, mainly Swedish, 1975 audience to whom his film is intended? How does he develop his aesthetic contribution as he comes face to face with the difficult choice between owing respect to the opera, in terms of the libretto’s content and of its reception, and envisioning a work of its own? Through its telecast, Bergman’s film makes the opera accessible to the public at large. By rearranging the libretto, translated into Swedish, it attunes Mozart’s work to contemporary issues. It also bears aesthetic traits which express Bergman’s ideas about the theatrical performance of an opera and has left its imprint on the history of operas on screen.
Kuipers, Ronald Alexander, Robert Sweetman, Michael J. DeMoor, Rebekah Smick, Ronald Kurt Shuker, and Rachael McGuire. "Perspective vol. 44 no. 1 (Feb 2010)." 2013. http://hdl.handle.net/10756/251198.
Full textKuipers, Ronald A., Robert Sweetman, Michael DeMoor, Rebekah Smick, Ronald Kurt Shuker, and Rachael McGuire. "Perspective vol. 44 no. 1 (Feb 2010)." 2010. http://hdl.handle.net/10756/277687.
Full textDavidson, Kristy Lee. "Is that what you’re wearing? Gender diversity in contemporary fiction, a novel and exegesis." Thesis, 2012. https://vuir.vu.edu.au/21487/.
Full textBerger, Karen. "Performing belonging: meeting on and in the earth." Thesis, 2013. https://vuir.vu.edu.au/25361/.
Full textCabart, Anaïs. "Cinéma analytique et transfert : l'expérience spectatorielle dans Persona et L'Heure du loup de Bergman et Antichrist, Melancholia et Nymphomaniac de Von Trier." Thèse, 2017. http://hdl.handle.net/1866/20764.
Full textSoubiran, Flavia. "«Falling stars and the Golden Age of Hollywood» : étude de la figure de la star vieillissante dans le cinéma hollywoodien des années 30 aux années 60 : étude de cas : le méta-personnage de Bette Davis, origines et influences." Thèse, 2017. http://hdl.handle.net/1866/21138.
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