Dissertations / Theses on the topic 'Image du mort'
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1
Essid, Kaouthar. "Imageries de la mort et art contemporain." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010739.
Abstract:
La mort est une réalité qui nous hante et qu'on s'obstine à occulter. Cette hantise de la mort peut-elle en faire un objet d'art ou l'objet d'un art qui tend à réévaluer le statut du corps humain à notre époque ? Il existe une opposition fondamentale entre le corps humain voué à la disparition et la conception contemporaine d'un corps beau et inaltérable. A travers ce memento mori, je traite la mort en tant qu'expression plastique et je soulève le questionnement de sa légitimité en tant que langage pictural. Ma confrontation avec la mort m'a amenée à réaliser des œuvres qui méditent sur l'existence, sur la temporalité et sur la nature du rapport de l'être humain à son corps et sur la mort dans ses diverses connotationsDeath is a fact that persues us inspite of our efforts to dissimulate it. The question seems accordingly to be : can this obsession be turned into an object of art which tends to reconsider the status of the human body in our epoch ? There is an essential opposition between the human body that is doomed to vanish and the contemporary vision of a beautiful and unaltered body. Threoughout this "memento mori", I tried to explore death as a plastic expression which raises the question of its legitimacy as a pictorial language. My confrontation with death allowed me to achieve several works that meditate upon existence, temporality, and the nature of the relationship between the human being and his body, and death in its various connotations
2
Roshem, Sarah Eva. "Prothesis : le corps, la mort et la céroplasticienne." Paris 1, 2003. http://www.theses.fr/2003PA010609.
Abstract:
Prothésis présente l'usage que nous faisons de la cire à des fins artistiques. Notre thèse expose dans notre première partie, Prothésis, comment la cire a pu servir dans l'histoire des hommes à remplacer le corps d'un mort par un substitut, dans les domaines funéraires et médicaux. Dans la seconde partie, Prothèse, nous démontrons qu'à la question du manque d'une partie du corps, le substitut en cire a permis dans les cadres religieux et médicaux d'apporter une réparation satisfaisante à cette question du corps prothétique. Dans Thèse notre dernière partie, nous soutenons que le substitut en cire que nous utilisons dans notre pratique peut agir encore aujourd'hui sur les consciences dans le champ artistique.
3
Khalilnezhad, Ghavidel Neda. "La mort et son image : de la France à l'Iran. Une étude comparative de la conception de la mort dans les proverbes et sentences latins, français et persans." Thesis, Limoges, 2019. http://www.theses.fr/2019LIMO0127.
Abstract:
La mort reste une énigme essentielle de la vie humaine et la restera pour toujours du fait qu’elle est une irréalité dont l’homme ne peut aucunement faire l’expérience. Son idée, pour dire autrement, est à ce titre posée en dehors du projet de l’existence, si l’on croit Sartre. Or, un philosophe comme Heidegger la pose même au fin-fond de notre expérience en mettant en avant sa fameuse thèse de l’être-pour-la-mort. Quoiqu’il en soit, la mort étend son royaume partout, depuis la terre au ciel, et demeure d’actualité hier et de nos jours. D’où son omniprésence aussi bien dans les textes des philosophes et penseurs que dans les propos du peuple ; dans les sentences ainsi que dans les proverbes. Ces derniers font justement l’objet de notre thèse. Nous avons en effet essayé de voir l’image que trouve la mort dans ces textes de sentence ou de proverbe, selon qu’elle est exprimée par le persan ou le français ; d’où l’importance qui est également accordée aux espaces culturels différents l’un de l’autre que sont l’Orient et l’Occident. La mort change de visage, nous allons le voir, suivant qu’elle sera traitée sous la plume d’un religieux ou d’un athée. Il est pour ainsi dire question des conceptions ou visions du monde, de la mort en l’occurrence, qui diffèrent d’un espace à l’autre et qui feront désormais, peut-être, l’intérêt des recherches à venir. Notre thèse se veut ainsi une analyse, si ce n’est une histoire, de la mort à travers une étude comparée des proverbes et sentences en langues latine, persane et françaiseDeath remains an essential mystery of human life and will stay so forever since it is an unreality that human cannot experience at all. Its idea, in other words, is something outside the notion of existence, if we believe in Sartre. Where as, a philosopher like Heidegger, has even gone beyond by putting in advance his famous thesis of being-for-death. However, death spreads its kingdom everywhere, from earth to heaven, and remains the reality of yesterday and today. These comprise the subject of this thesis. We have indeed tried to see the picture that death would find in the sentences or proverbs, according to whether it is expressed in Persian or French; hence the importance is equally attached to the cultural differences of the East and the West. Death changes the face; we will see it: following that it will be treated under the pen of a religious or an atheist. This is for the purpose of questioning the concept or vision of the world, of death in this case, which differ from one place to another and who will now, perhaps, be interested in the future research. This thesis is an analysis, if not a story, of death through a comparative study of proverbs and sentences in Latin, Persian and French languages
4
Kim, Mi-Jin. "Pour une image de l’homme, de la vie et de la mort, à partir d’une expérience spirituelle orientale." Paris 1, 1996. http://www.theses.fr/1995PA010627.
Abstract:
La metempsycose, la philosophie taoiste et bouddhiste, la calligraphie et la peinture du paysage de l'extreme-orient sont les sources de mon experience spirituelle. Par ailleurs beuys, l'arte povera, la trans-avant-garde en italie, le land art que j'ai decouverts en occident, ont inspire mes modes de representation. Le developpement comprend cinq chapitres qui correspondent aux differentes etapes de la vie humaine et de l'oeuvre elle-meme. Dans cette these d'arts plastiques chaque chapitre comprend deux grandes parties pour mieux faire apparaitre la coherence qui existe entre la theorie et la pratique dans mes tableaux. Le premier chapitre "le reve de conception" montre comment le reve annonce l'oeuvre a venir. C'est par la conception que le reve et l'imagination, l'ide, l'esprit forment une demarche de creation analogue au desir d'avoir un enfant. Le deuxieme chapitre "pour une ame et pour la matiere d'un voyage" explicite la symbolique de la forme circulaire qui revient de facon recurrente dans mon oeuvre, et la cohabitation de la matiere orientale et occidentale rendue possible par le mouvement de la forme et l'utilisation conjointe des differentes techniques d'origine orientale ou occidentale. Dans le troisieme chapitre "transmutation de l'espace dans le temps" je montre la relation qui existe dans mes tableaux entre les symboles de l'espace et ceux du temps. Dans le quatrieme chapitre "croisement de culture en peinture", je developpe la reflexion sur mon appartenance a deux cultures differentes, la culture orientale et la culture occidentale. Dans le cinquieme chapitre "humour (s)", j'aborde le probleme du role de l'artiste d'aujourd'hui. J'ai indique le devenir de mes peintures dans ce dernier chapitre. C'est l'humour qui me guidera et m'apportera le plaisir. Je voudrais melanger toutes les emotions humaines, tous les materiaux, avec humour, et creer ainsi de nouveaux mythes et de nouveaux revesMetempsychosis, taoist and buddhist philosophy, calligraphy and landscape painting of far-est are the sources of my spiritual experience. On the other hand, beuys, arte povera, italian trans-avantgarde, and land art, which i have discovered in occident, have inspired my-representation modes the development consists of five chapters corresponding to the different steps of human life and of the work itself. In this thesis of plastic arts, each chapter includes two great parts in order to show better the coherence between theory and pratics in my work. The first chapter "dreame of conception" shows how dream announces the work to come. By this conception, dream and imagination, idea, spirit are the initial step of creation analogous to the desire of a child. The second chapter "for a soul and for the matter of a journey" makes clear the symbolic of the circular form recurrent in my work, and the cohabitation between oriental and occidental matter, made possible by the movement of the from ande combined utilization of different techniques of oriental as well as occidental origin. In the third chapter "transmission of space in tim", i show the relation existing in my paintings between space and time symbols. In the fourth chapter "crossed cultures in painting", i develop the reflexion on my belonging to both different cultures, oriental et occidental. In the fifth chapter, "humour(s), i approach the problem of the role of the artist today. I have indicated the future of my paintings in this last chapter. Humour guides me and brings me pleasure. I wish to mix every human emotion, every material, with humour, and thus create new myths and new dreams
5
Coulombe, Maxime. "Faire du corps une image." Doctoral thesis, Université Laval, 2006. http://hdl.handle.net/20.500.11794/18280.
6
Rinaldi, Riccardo. "Maurice Blanchot et la question de l'image." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL029.
Abstract:
La plupart des approches philosophiques de l’œuvre de Maurice Blanchot ont réservé jusqu’à présent une place marginale à la question de l’image. À partir de L’Espace littéraire (1955), pourtant, l’image assume un statut théorique nous permettant de l’appréhender comme la matrice d’une écriture, d’abord partagée entre fiction et critique, qui trouve enfin dans la fragmentation son essor le plus naturel. Loin d’embrasser un nihilisme stérile, Blanchot dégage de la réflexion sur l’œuvre d’art de Heidegger l’idée d’une apparition en tant que disparition, d’une forme invalidant la distinction entre matière et forme, d’une présence qui n’est pas donnée : présence d’une absence. Il en tire une vision radicalement antihumaniste, bien plus cohérente que la conception de l’événement scandant l’histoire des époques de l’Être : venant avant la chose, l’image condamne la conscience du sujet métaphysique en tant que scène exclusive de toute représentation. Le visage de la mort devient le paradigme du regard aveugle que les choses portent sur nous. La littérature se révèle alors préliminaire à une vision autre, qui touche à ce qui précède l’existence de l’homme dans sa globalité, sa finitude s’éparpillant en une approche sans fin de la fin. Laissant de côté les textes politiques de Blanchot, nous avons considéré l’œuvre comme étant prioritaire au destin de l’auteur, que l’écriture emporte et détermine. Moins structurée que celle de Heidegger, elle s’avère finalement plus appropriée pour être lue à travers « l’optique » suggérée dans la Lettre sur l’humanisme : l’on ne peut concevoir une éthique, en tant que pensée de l’humanisme, si nous n’avons pas au préalable redéfini ce qu’est l’humanitas de l’hommeMost philosophical approaches to Maurice Blanchot's work have hitherto reserved a marginal place for the question of image. Since L'Espace littéraire (1955), however, image assumes a theoretical status that enables us to apprehend it as the matrix of his writing that, initially divided between fiction and criticism, finally achieves its most natural thriving in fragmentation.Far from embracing a sterile nihilism, Blanchot derives from Heidegger’s reflection on art the idea of an appearance as disappearance, of a form invalidating the distinction between matter and form; a presence which is not given: the presence of an absence. He draws from it a radically anti-humanist vision, much more coherent than the conception of the event defining the history of the epochs of the Being: coming before the thing, image condemns the consciousness of the metaphysical subject as the exclusive stage of all representation. The face of death becomes the paradigm of the blind gaze that things lay upon us. Hence, literature proves to be preliminary to a different vision, one that touches on what precedes man’s existence as a whole, his finitude being scattered in an endless approach of the end.Leaving aside the political texts of Blanchot, I have considered the œuvre as a priority in the author’s fate, which is overcome and determined by writing. Less structured than Heidegger's, Blanchot’s work proves finally more suited to be read through the perspective suggested in the Letter on Humanism: we cannot conceive an ethics, as a thought of humanism, if we have not previously redefine what the humanitas of man is
7
Pietri, Nicole. "La photographie comme sépulture." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080049.
Abstract:
Depuis le début de l’humanité, l’homme a pris soin de ses morts, tandis que les relations de la Mort à la photographie commencent au milieu du XIXème siècle avec l’invention de la photographie. La Mort suppose un corps mort dont on se doit de prendre soin en lui donnant une sépulture. Telle que nous la concevons, la sépulture est un dépôt intentionnel qui montre, par cet acte, l’attention que l’on porte au mort, qui conserve ainsi sa part d’humanité dans la Mort, c’est-à-dire précisément, ce que la sépulture se devrait de protéger. En proposant d’interroger les relations de la Mort à l’image du mort, à partir de la photographie et à l’aune de la sépulture, le propos de ce travail de recherche ne serait pas tant de savoir ou d’affirmer que la photographie est ou non une sépulture, mais comment la photographie peut interroger la notion même de sépulture. En retour, nous nous demandons, à partir de la sépulture, comment celle-ci serait susceptible d’induire un questionnement vis-à-vis de la photographie. La photographie comme sépulture, suppose de rapprocher la photographie de la sépulture, et d’envisager comment la photographie pourrait répondre à ce que l’on pourrait attendre d’une sépulture. À une autre échelle, nous nous demandons s’il serait possible de voir ce qui relèverait de la sépulture dans la photographie analogique à partir de l’œuvre de Christian Boltanski qui apparaît comme le fil directeur de ce travail de thèse. Parmi tous les artistes photographes qui nourrissent et guident cette réflexion, Boltanski, sans être photographe, a un cheminement artistique qui l’a conduit à se tourner vers la photographie et à réaliser des sépultures, des Monuments funéraires. Il nous offre un éclairage particulier pour aborder à la fois la photographie et la sépulture. C’est en croisant les disciplines, les points de vue, ce qui se voit et ce qui ne se voit pas, ce qui se dit et ce qui se murmure que cette thèse se donne à lire dans un tissage entre implicite et expliciteSince the beginning of mankind, man has been taking care of his dead ones, while the relationship between death and photography began in the middle of the 19th century with the invention of photography. Death supposes a dead body that one takes care of by giving it a burial. As we conceive it, burial is an intentional deposition which shows, by this act, the attention that one draws to the dead one that keeps its humanity in Death. Preservation of humanity is precisely what should be protected through burial. By proposing to question the relationship between Death and the image of the dead one, starting from photography and in the light of burial, the purpose of this research work would not be so much to know or to affirm that photography is or is not a burial, but how photography can question the very notion of burial. In return, we ask ourselves, starting from burial, how burial would be likely to induce a questioning towards the photography. Photography as a burial, supposes to bring photography closer to burial, and to consider how photography could respond to what one could expect from a burial. On a different scale, we question whether it would be possible to see what would be related to the burial in analogue photography from the work of Christian Boltanski which appears as the guiding thread of this thesis. Among all the artist-photographers who feed and guide this reflection, Boltanski, without being a photographer, has an artistic path that led him to turn to photography and create burials, funerary monuments. He offers a particular insight to approach both photography and burial. By crossing disciplines, points of view, what is seen and what is not seen, what is said and what is whispered, this thesis should be read as a weaving between implicit and explicit
8
Maillard, Benoît. "Clinique de la maladie létale : de l'effraction corporelle à la réponse du sujet." Phd thesis, Université Rennes 2, 2010. http://tel.archives-ouvertes.fr/tel-00599280.
Abstract:
Nous interrogeons la clinique de la maladie létale. Cette recherche porte sur les incidences subjectives de la confrontation à la maladie létale telles qu'elles apparaissent dans la parole du sujet. Si la maladie est d'abord une rupture de " la vie dans le silence des organes ", l'altération corporelle se double ici du risque de la mort. Les registres du corps et de la mort fondent le sol de ce champ clinique. Nous commencerons par préciser les coordonnées métapsychologiques de ces registres en les situant dans un dédoublement. En effet, si pour Freud l'inconscient ignore la mort, n'est-elle pas un élément nécessaire à la loi symbolique du langage ? De même, la réalité organique qui demeure en grande partie inaccessible pour le sujet n'est-elle pas un élément nécessaire à la construction de l'altérité ? Nous montrerons que le corps et la mort définissent des fonctions structurantes pour le sujet sur fond d'une ignorance déterminante. Le surgissement de la maladie létale vient modifier et désarticuler ces fonctions. Comment le sujet va-t-il pouvoir répondre ? La présentation d'une série de sept fragments cliniques, issus de notre pratique institutionnelle, permettra une exploration des modalités de réponse du sujet à l'effraction corporelle de la maladie létale. C'est le mouvement et la translation qui s'opèrent de la rupture à la réponse, de la suspension à la parole, de l'événement au dire qui lui succède dans la relation transférentielle qui sont ici étudiés. Au plus près de la menace de la mort et de l'atteinte corporelle, c'est l'émergence et la persistance du sujet parlant qui se donnent à entendre.
9
Cappelaere, Charles-Henri. "Estimation du risque de mort subite par arrêt cardiaque à l'aide de méthodes d'apprentissage artificiel." Phd thesis, Université Pierre et Marie Curie - Paris VI, 2014. http://pastel.archives-ouvertes.fr/pastel-00939082.
Abstract:
On dénombre plus de 40 000 cas de morts subites en France, chaque année. Depuis le début des années 2000, le défibrillateur automatique implantable (DAI) est prescrit de manière prophylactique aux populations à risque. Nombre de ces implantations semblent prématurées : une étude récente a révélé que 81% des DAI implantés chez les patients étudiés n'ont jamais délivré de thérapie pendant les cinq années suivant l'implantation. Cette constatation soulève un problème en raison des complications post-opératoires encourues par les patients porteurs d'un défibrillateur implantable. Avec la rupture de sonde, les chocs électriques engendrés inutilement (c'est-à-dire lorsque la vie du patient n'est pas menacée) par le défibrillateur sont les complications les plus fréquentes : des études ont montré que 13% à 17% des patients porteurs d'un défibrillateur implanté ont subi au moins un choc inutile, susceptible de fragiliser le tissu cardiaque. Il apparaît donc important de mieux définir la population à risque de mort subite, afin d'optimiser la sélection des patients candidats. Le pouvoir prédictif de mort subite des différents descripteurs des enregistrements électrocardiographiques de longue durée (Holter) a fait l'objet de nombreuses études univariées, sans permettre d'amélioration des critères de sélection. Dans ce mémoire, nous présentons l'analyse multivariée des descripteurs de l'enregistrement Holter que nous avons menée. Nous avons extrait l'ensemble des descripteurs calculables sur la base étiquetée d'enregistrements Holter de patients, victimes ou non d'arythmies traitées par le DAI, dont nous disposons. En mettant à profit les connaissances physiologiques sur l'arythmogenèse, nous avons réalisé une sélection des descripteurs les plus pertinents. Puis, à l'aide d'une méthode originale de conception et d'évaluation de classifieur, nous avons construit un classifieur ad hoc, basé, lui aussi, sur les connaissances physiologiques de l'arythmogenèse ; ce classifieur discrimine les patients à risque (pour lesquels il recommande l'implantation), des patients pour lesquels l'implantation ne paraît pas opportune. À l'issue de notre étude, et au vu des performances atteintes, il semble possible d'améliorer la fiabilité des indications d'implantation prophylactique, à l'aide de méthodes d'apprentissage statistique. Pour valider cette conclusion, il paraît néanmoins nécessaire d'appliquer la méthode exposée dans la présente étude à une base de données de plus grande dimension, et de contenu mieux adapté à nos objectifs.
10
Kim, Seonja. ""L'image fantôme" chez Hervé Guibert." Paris 12, 2004. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990003948580204611&vid=upec.
Abstract:
Nous avons étudié le concept de " l'image fantôme " dans les oeuvres littéraires et photographiques d'Hervé Guibert, journaliste, écrivain et photographe français (1959-1991). Notre objectif a été de montrer que l'image fantôme, qui est. Selon l'auteur, une représentation mentale et littéraire, apparaît aussi dans ses photographies. Nous avons décrit l'image fantôme comme un support de mémoire, rendant visible une photographie pourtant non réalisée. L'image fantôme se situe par conséquent entre deux systèmes de représentations parallèles, le littéraire et le photographique. C'est ce qui nous a conduite à 1'exploration de l'oeuvre photographique de Guibert où nous avons observé le dédoublement narcissique de l'auteur en le reliant à l'image du fantôme. Pour comprendre ces oeuvres, où Guibert semble réussir à représenter l'invisible, nous les avons interprétées ici sous la catégorie du sublime métaphysique. A la recherche d'un au-delà, Guibert semble se transformer lui-même en une image fantômeWe studied the concept of the "ghost image" in literary and photographic works of Hervé Guibert, a French journalist, writer and photographer (1955-1991). Our objective was to show that the ghost image, which is, according to the writer, a mental et literary representation, appears also in his photographies. We descrihed the ghost image as a backup of memory, making visible a photography however flot realized. The ghost image is situated in consequence hctween two systems of parallel representations, the literay and the photographic. It is what led us to the exploration of Guibert's photographie works where we observed the auhor's narcissistic split personality linking it to the image of the ghost. For the best comprehension of these works, where Guibert seems to succeed in representing the invisible, we interpreted them here under the category of the metaphysical sublime. In pursuit of a hereafter, Guibert seems to be transformed into a ghost image
11
Gonçalves, Rui Gabriel Guilherme. "Ícone: Imagem e Fantasma." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2011. http://hdl.handle.net/10362/7182.
Abstract:
Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Filosofia, área de especialização em EstéticaEste estudo tem como objectivo demonstrar através de uma série de exemplos, a relação entre a criação da imagem e os ritos de memória e substituição nas culturas abordadas: Micenas, sociedades Neolíticas do crescente fértil, Roma Republicana e Imperial e Egipto-Romano e estabelecer um paralelo entre o poder da imagem e as codificações subsequentes que permitem o surgimento do ícone religioso
12
Rabié, Adham. "Les images de la mort dans l'oeuvre d'Andrée Chedid." Toulouse 2, 1989. http://www.theses.fr/1989TOU20043.
Abstract:
Le theme de la mort dans l'oeuvre romanesque d'andree chedid apparait des le debut du premier livre de l'ecrivain : "le sommeil delivre". Il est present dans de nombreux autres romans : "le sixieme jour", "le survivant", "jonathan". D'une facon generale, le desir d'un prolongement dans la vie terrestre precede les preoccupations metaphysiques. Il semble, en effet, que le probleme de la survie spirituelle ne se pose jamais serieusement aux personnages d'andree chedid avant qu'ils soient tres proches de la mort sauf dans : "les marches de sable" et "jonathan". Les images de la mort sont omnipresentes dans les oeuvres romanesques d'andree chedid. Mais, parfois, l'auteur nous donne l'impression que la mort menace de rendre futile tout bonheur et toute realisation, de mettre en cause la vie des personnages a laquelle ceux-ci s'attachent pourtant avec acharnement. Enfin, la mort apparait comme un moyen de magnifier la vie, elle est presentee comme l'unique tresorThe theme of death in andree chedid's book is presented since his first book: "le sommeil delivre". We find it in many other books: "le sixieme jour", "le survivant", "jonathan". Generally, the which of an extension of terrestrial life preceeds metaphysical preocupations. It seems that the problem of spiritual survival is never taken into serious considaration by his characters except when they are very close to death it self particularly in "les marches de sable" and "jonathan". The various images of death are omnipresent in andree chedid's work. But the authout sometimes gives us the impression that death will threatten all happiness and all achievement which life of characters is concerned and to which they are, however, all desperately linked. In shart death appears as a way of magnifying life. It is presented as the unique treasure
13
Sumiyoshi, Ken. "Maurice Blanchot et son écriture." Thesis, Université Clermont Auvergne (2017-2020), 2019. http://www.theses.fr/2019CLFAL014.
Abstract:
C’est l’inspiration qui nous incite essentiellement à la parole. Mais l’homme, avant l’acte d’écrire/parler et au moment de l’acte ou après l’acte, est-il identique ? Si le sujet de l’acte pourrait y répondre positivement, nous le contestons. A quel moment arrive donc à l’homme une fissure d’identité ? Nous montrons qu’elle lui arrive au moment de l’inspiration. A l’aube de la philosophie, Platon suppose l’identité entre ce que l’inspiration demande à l’homme de mettre en mots et les mots qu’il lui confère. Le dualisme platonicien du monde sensible et de celui suprasensible est connu, mais cette structure qui envisage l’idée en tant que but final est, comme le détecte correctement Nietzsche, elle-même motivée par l’idée. Cette dernière, en tant qu’inspiration, déclenche et guide le mouvement platonicien vers elle. Située au commencement aussi bien qu’à la fin, elle est identique, et Hegel et Heidegger sont dans la même lignée. C’est contre et dans cette identité qui constitue un cercle, que nous introduisons une différence ou une altérité, et cela notamment par l’idée d’immédiat. L’inspiration, lorsqu’elle nous arrive, n’y reste pas ; aussitôt apparue, elle disparaît immédiatement et en même temps. Elle ne reste pas pour nous guider vers elle mais ne fait que passer, ce qui revient à signifier qu’elle ne nous montre pas sa présence directrice, mais son absence. D’où que, si l’homme croit donner ses mots à ce que l’inspiration lui murmure sans langage, il les donne en réalité à la trace de l’inspiration ou à l’absence de l’inspiration. Par les mots, il n’incarne pas l’inspiration mais il en forme une image, et l’une des plus grandes problématiques est que Platon, Hegel et Heidegger prennent l’image comme inspiration, ils prennent l’absence de quelque chose comme sa présence, sans différence ni altérité. Cette homogénéisation de l’une et de l’autre qui sont en réalité différentes l’une de l’autre, ainsi que l’identité à laquelle elle aboutit, sont dues à la puissance magique de l’image dont il n’est pas facile de se rendre compte.Mais, par l’idée de différence et d’altérité, ne pourrait-on pas dire que commence alors quelque chose d’autre que l’inspiration, c’est-à-dire quelque chose de nouveau ? C’est le cas de la pensée de Levinas. Et pourtant, le juif, dont nous découvrons que la pensée consiste à étendre la spécificité de l’inspiration d’un instant à tous les instants, prépare une radicalisation blanchotienne de l’absence. C’est par le langage que se réalise cette radicalisation. Le langage n’est pas une série de mots munis de sens cohérents, mais il est avant tout une série de phonèmes et de lettres. D’ailleurs, cette série n’est pas une continuité : lorsque chaque phonème, par son immédiateté, disparaît en même temps qu’il apparaît, il est totalement indifférent de ce qui le précède et de ce qui le suit. Il rompt tout rapport avec les autres au niveau spatio-temporel, ce qui fait de la série de phonèmes une continuité du discontinu. Ainsi, ce que l’homme obtient par le langage, est-ce non une totalité langagière constituant une signification, mais un ensemble d’inspirations disparues à chaque moment, à savoir un ensemble d’images qui n’ont aucun rapport les unes avec les autres. Notre recherche nous mènera alors à répondre à la question de savoir si l’homme, avant l’acte d’écrire/parler et au moment de l’acte ou après l’acte, est identique. Nous y répondons négativement, non que le langage confère une nouvelle identité à un homme, mais qu’il lui échappe à chaque instant, c’est-à-dire qu’il ne s’est jamais agi d’une identité quelconque, sauf d’une identité basée sur une image fallacieusement continuelleIt is the inspiration that encourages us essentially to speech. But, is the man, before the act of writing / talking and at the time of the act or after the act, identical? If the subject of the act could answer positively, we dispute it. At which moment does a fissure of identity happen to the man? We show that it arrives at him at the time of the inspiration. At the dawn of philosophy, Plato assumes the identity between what inspiration asks the man to put into words and the words he confers on it. Platonic Dualism of the sensitive world and supersensible is known, but this structure that considers the idea as a final goal is, as Nietzsche correctly detects, itself motivated by the idea. The idea, as inspiration, triggers and guides the Platonic movement towards it. Located at the beginning as well as at the end, it is identical, and Hegel and Heidegger are in the same line. It is against and in this identity which constitutes a circle, that we introduce a difference or an alterity, and this in particular by the idea of immediate. Inspiration, when it comes to us, doesn’t stay; immediately appeared, it disappears immediately and at the same time. It does not remain to guide us towards it but it only passes, which means that it does not show us its presence but its absence. If the man believes to give his words to what inspiration whispers to him without language, he actually gives them to the trace of inspiration or to the absence of inspiration. By the words, he does not embody the inspiration but forms an image of the inspiration, and one of the biggest problems is that Plato, Hegel and Heidegger take the image as inspiration; they take the absence of something like its presence, without differences or otherness. This homogenization of one and the other which are actually different from each other, as well as the identity to which it ends, are due to the magical power of the image it is not easy to realize.But, by the idea of difference and otherness, couldn’t we say that something else begins that inspiration, namely something new? This is the case of Levinas's thought. And yet, the Jew, whose thought is to extend the specificity of the inspiration at a moment to all the moments, prepares a Blanchot’s radicalization of the absence. It is through the language that this radicalization is realized. Language is not a series of words with consistent meaning, but it is above all a series of phonemes and letters. Moreover, this series is not continuity: when each phoneme, by its immediacy, disappears at the same time as it appears, it is totally indifferent to what precedes it and what follows it. It breaks any relation to others at the spatial-temporal level, which means that the series of phonemes is a continuity of the discontinuous. Thus, what man gets through language is not an entity language with significance, but an entity of missing inspirations at every moment, namely an entity of images that have no relations with each other. Our research will then lead us to answer the question of whether the man, before the act of writing / talking and at the time of the act or after the act, is identical. We answer negatively, not that the language confers a new identity to a man, but that it escapes at every moment, that is to say that it has never been any identity, except an identity based on a falsely continuous image
14
Câmara, Ariele. "A fotointerpretação como recurso de prospeção arqueológica. Chaves para a identificação e interpretação de monumentos megalíticos no Alentejo: aplicação nos concelhos de Mora e Arraiolos." Master's thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/22054.
Abstract:
A utilização de imagens aéreas e de satélites permite compreender a paisagem local e
identificar potenciais sítios de interesse arqueológico. Para a realização destas análises, são
necessários conceitos chaves gerais que permitam identificar as evidências no solo. Deste modo,
este trabalho através da utilização de técnicas de fotointerpretação criou chaves de interpretação
para visualizar dólmens nas fotografias aéreas e imagens de satélite disponibilizadas por
softwares como o Google Earth e o Bing. Estas estruturas megalíticas são uma das
particularidades que caracterizam a paisagem no Alentejo Central, sendo os municípios de Mora
e Arraiolos exemplos dessa ocorrência. O desenvolvimento destas chaves foi realizado com
base em duas ações principais: 1) A partir da compreensão do estado atual da investigação
relacionadas com a arqueologia aérea e também o entendimento das metodologias ligadas à
fotointerpretação; 2) Através da análise de 196 dólmens já georreferenciados e dispersos entre a
região de Mora e Arraiolos; Photointerpretation as a resource for archaeological prospection. Keys
for the identification and interpretation of Megalithic Monuments in
Alentejo: Application in the Counties of Mora and Arraiolos.
Abstract:
Using aerial photographs and satellite images is possible to identify new archaeological
sites. General key concepts are necessary to identify the evidence in the soil. In this way, this
work through the use of photo interpretation techniques developed interpretation keys to
visualise dolmens in aerial photographs and satellite images made available by softwares such
as Google Earth and Bing. These megalithic monuments are one of the peculiarities that
characterise the Central Alentejo landscape. Mora and Arraiolos are examples of this
occurrence. For developing the keys was performed two main actions: 1) Understanding the
current research state related to aerial archaeology and also the knowledge of the methodologies
linked to photo interpretation; 2) The analysis of 196 dolmens already georeferenced and
dispersed among Mora and Arraiolos regions.
15
Otaka, Hiromi. "The mora, foot and geminate consonants in Japanese /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19450.pdf.
16
Degorge, Virginie. "Ac cadaver : Etude psychanalytique d'une figure du contemporain à partir du phénomène de plastination anatomique de Gunther von Hagens." Paris 7, 2013. http://www.theses.fr/2013PA070104.
Abstract:
La plastination est une méthode de conservation inventée par l'anatomiste G. Von Hagens. Développée industriellement, elle donne lieu à des expositions controversées de cadavres anonymes et préservés dans des positions de vie. Comment comprendre le succès de ces expositions, alors qu'il est devenu commun de dire la mort tabou ? En quoi les plastinats s'inscrivent-ils dans l'histoire de la représentation du corps et de l'exposition du cadavre, tout en témoignant du monde qui les a produits ? Echos des discours de l'époque et miroirs de ses corps, les plastinats permettent de penser les tensions contemporaines, lorsqu'ils génèrent des théories de la rupture anthropologique et subjective. Ils supportent les illusions moïques de complétude, au prix d'une recomposition tantalisante, et illustrent l'obsessionnalisation favorisée par la science. Abordant ce phénomène comme un symptôme, ce travail questionne le discours de l'inventeur, des visiteurs, des candidats à la plastination et de ses détracteurs, mais également les particularités esthétiques et signifiantes de ces corpsPlastination is a method of conservation invented by anatomist G. Von Hagens. Developped industrial way, it gives rise to controversial exhibitions of anonymous corpses preserved in life-like positions. How to fathom the success of those exhibitions whereas it is commonplace to consider death as a tabou ? How the plastinates fit in the history of representation of bodies anc exposure of corpses while they testify of the world they were created in ? Echoing the ideas of an era and mirroring its bodies, plastinates underline contemporary tensions, when they generate theories of anthropological and subjective rupture. They support the ego-illusions of completeness, at the cost of a tantalizing redial, and lets us see the effects of obsessionnalisation favored by science. Approaching this phenomenon as a symptom, this work questions the point of view of the inventor, visitors, candidates for plastination and its detractors, but also sensitive and significan features of these bodies
17
Gamal, Eldin Ahmed. "Processus ponctuels et algorithmes de coupure minimal de graphe appliqués à l'extraction d'objets 2D et 3D." Phd thesis, Université de Nice Sophia-Antipolis, 2011. http://tel.archives-ouvertes.fr/tel-00737988.
Abstract:
L'objectif de cette thèse est de développer une nouvelle approche de détection d'objets 3D à partir d'une image 2D, prenant en compte les occultations et les phénomènes de perspective. Cette approche est fondée sur la théorie des processus ponctuels marqués, qui a fait ses preuves dans la solution de plusieurs problèmes en imagerie haute résolution. Le travail de la thèse est structuré en deux parties. En première partie : nous proposons une nouvelle méthode probabiliste pour gérer les occultations et les effets de perspective. Le modèle proposé est fondé sur la simulation d'une scène 3D utilisant OpenGL sur une carte graphique (GPU). C'est une méthode orientée objet, intégrée dans le cadre d'un processus ponctuel marqué. Nous l'appliquons pour l'estimation de la taille d'une colonie de manchots, là où nous modélisons une colonie de manchots comme un nombre inconnu d'objets 3D. L'idée principale de l'approche proposée consiste à échantillonner certaines configurations candidat composé d'objets 3D s'appuyant sur le plan réel. Une densité de Gibbs est définie sur l'espace des configurations, qui prend en compte des informations a priori et sur les données. Pour une configuration proposée, la scène est projetée sur le plan image, et les configurations sont modifiées jusqu'à convergence. Pour évaluer une configuration proposée, nous mesurons la similarité entre l'image projetée de la configuration proposée et l'image réelle, définissant ainsi le terme d'attache aux données et l'a priori pénalisant les recouvrements entre objets. Nous avons introduit des modifications dans l'algorithme d'optimisation pour prendre en compte les nouvelles dépendances qui existent dans notre modèle 3D.
En deuxième partie : nous proposons une nouvelle méthode d'optimisation appelée "Naissances et Coupe multiples" ("Multiple Births and Cut" (MBC) en Anglais). Cette méthode combine à la fois la nouvelle méthode d'optimisation "Naissance et Mort multiples" (MBD) et les "Graph-Cut". Les méthodes MBC et MBD sont utilisées pour l'optimisation d'un processus ponctuel marqué. Nous avons comparé les algorithmes MBC et MBD montrant que les principaux avantages de notre algorithme nouvellement proposé sont la réduction du nombre de paramètres, la vitesse de convergence et de la qualité des résultats obtenus. Nous avons validé notre algorithme sur le problème de dénombrement des flamants roses dans une colonie.
18
Laurin, Jacinthe. "Le theme et les images de la mort dans Madame Bovary." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23223.
Abstract:
Integrating a thematic perspective and textual analysis into the method, this Master's thesis proposes to study the theme and images of death in Madame Bovary. This essay analyses the representation of death, the relationships with the survivors and the links with the main character. It demonstrates the egoistic perception of death among the survivors and explains the thematic advancement in chapter VIII of the third part of the novel. The peripheral elements of death, such as the character Lestiboudois, the cemetery, the taboos and the generally accepted ideas, are studied in the first chapter. The second is devoted to Emma Bovary's romantic conception of death, through an analysis of artistic influences and inspirations, romantic mysticism, and complacency with regards to the idea of death. I will be studying the causes of her suicide, her desire to die, her distress experienced in love, her financial bankruptcy and her emotional and physical disequilibrium in the third chapter, which ends with the study of the thematic "spiral" in chapter VIII of the third section: the race, God, time, love, nature, anguish, emotional and physical disequilibrium and death, without neglecting the various interpretations of the Blind Man's ditty. In the fourth chapter, I study the mourning, suffering and social conventions, the influence from beyond the grave upon the survivors, the grave, the memories and immortality. Finally, the last chapter, so as to integrate the various notions explained in the preceding chapters, analyses the consequences of each death in the novel upon the survivors and their reactions.
19
Franzon, Érica Cristina de Souza. "A imagem midiatizada da morte de Aylan Kurdi : experiências estéticas e poéticas /." Bauru, 2020. http://hdl.handle.net/11449/192626.
Abstract:
Orientador: Laan Mendes de BarrosResumo: Esta tese tem por objetivo discutir a contribuição da experiência estética aos estudos da comunicação midiatizada a partir do fenômeno de interpretação da imagem de Aylan Kurdi, pequeno refugiado sírio morto numa praia da Turquia. Toma-se com ponto de partida a imagem na perspectiva da cultura e tratada como um objeto estético que se oferece à percepção estética, que se dá na experiência sensível. A experiência estética é compreendida no seu aspecto relacional, enquanto percepção ativa do espectador diante do objetivo estético midiatizado. Por sua vez, a comunicação é tomada em uma dimensão estética com a participação dos espectadores nas dinâmicas de produção e partilha de sentidos e de afetos. Com as possibilidades de reelaborações e compartilhamentos, as experiências estéticas se desdobram em experiências poéticas, conectadas com possibilidades dialógicas e dialéticas entre os sujeitos, em relações de reconhecimento e de alteridade. A tese fundamenta-se na pesquisa bibliográfica e na análise da imagem e suas releituras, com a elaboração de seis categorias temáticas e três eixos analíticos: temporalidades, territorialidades e mediações. O estudo identificou que alguns temas foram mais recorrentes nas criações dos espectadores de acordo com os elementos formais utilizados, associando a cena com circunstâncias religiosas, políticas e relativas à cotidianidade da criança. As releituras também tiveram aspectos que expandiram a interpretação da cena para manifestações de rua, pe... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This is the objective of discussing the contribution of aesthetic experience to studies of mediatized communication, based on the phenomenon of image interpretation of Aylan Kurdi, a small Syrian refugee who died on a beach in Turkey. It is taken as a starting point in the image in perspective of culture and treated as an aesthetic object that offers aesthetic perception, that offers a sensitive experience. The aesthetic experience is understood in its relational aspect, while the spectator's active perception is facing the mediatized aesthetic objective. In turn, communication is taken on an aesthetic scale with the participation of viewers in the dynamics of production and sharing of meanings and affections. With possibilities for re-elaborations and sharing, as aesthetic experiences unfold in poetic experiences, connected with dialogical and dialectical possibilities between the subjects, in relationships of recognition and change. This is a bibliographic and image analysis study and its reinterpretations,with an elaboration of six thematic categories and three analytical axes: temporalities, territorialities and mediations. The study identified that some themes were more recurrent in the spectators' creations according to the formed elements used, associating a scene with religious, political circumstancesandthe child's usual use. The reinterpretations also had aspects that expanded the interpretation of the scene to street demonstrations, performances, graffiti and monum... (Complete abstract click electronic access below)
Doutor
20
Hartley, Daniel. "Image, money, music : more than business, less than autonomous self." Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/11317/.
Abstract:
The role of musical opportunity in the future commercial and cultural viability of North-West England is secured by social and economic policy that emphasises the contribution of musical entrepreneurs and consumers to creative industries of the region. Yet though opportunity and opportunity recognition have become prominent policy concerns through scholars' response being restricted to attempts to explain their quantity and performance before or after the event of practice clear distinction has been made between entrepreneurs and their historical and institutional habitats and status and wealth have been posed unquestioned as central motivations. In turn conceptual abstractions have reproduced visions of practical and instrumental economic men or powerless and inert human black boxes that are thrown around by socio-economic movements like other 'non-producers' and scholars' capacity to study the nature of musical opportunities within human experience has been limited. Musical opportunities are of especial value for understanding the nature of entrepreneurial opportunities and practice more widely because it is within the experience that commercial setting may provoke organizational creativity. This doctoral thesis aims to understand the nature of musical opportunity as experienced by musical entrepreneurs operating in and around the Mersey basin of North-West England and distinguish how musical opportunities can contribute to understanding entrepreneurial practice more widely. The normative conceptual abstraction away from experience is reversed, so that opportunity becomes articulated by the entrepreneurial imagination. Situating opportunities within everyday imaginative experiences, clear distinction between producers, consumers, habitats falls away, and a range of entrepreneurial experiences are revealed that relate critically to the assumption that opportunity recognition is driven by sober calculations and interests in wealth and status. A multi-sited longitudinal ethnographic approach employing narrative and observational research techniques participates with different moments and different territories of musical opportunity and entrepreneurial practice that find their presence in relation to each other. The findings show that musical opportunities are often at odds with the current manifestation of opportunity in the management studies literature because its 'rationality' is less affording of space to imagine and create and can often omit significant personal and social connections. Musical organization is shown to be co-created as entrepreneurs resist or are unable to reproduce opportunities that are distinctly commercial. Rather than restricted to purely artistic or commercial interests, musical opportunity is animated amidst the interplay of human resources like entrepreneurial imagination and versatility and the historical and institutional settings musical entrepreneurs and consumers encounter throughout their lives. This maintains the authority of opportunity recognition for understanding organizational creativity through posing the experience in raw and mobile state: imagination.
21
Clarou, Alphonse. "Catastrophe et répétition : une intelligence du théâtre." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100053.
Abstract:
Catastrophe et Répétition pensent le théâtre. Ils en donnent une intelligence. « Uneintelligence du théâtre » : une idée ou plusieurs, que l’on peut s’en faire en usant de formes,notions ou principes qui ne relèvent pas essentiellement de cet art. À partir des propositionsde Jean Genet dans Le Funambule, texte mis en regard notamment avec le récit de GeorgesBataille Le mort ; de la corrida et d’une phrase prononcée par le matador José Tomás, quiaffirme laisser son « corps à l’hôtel » avant de faire son entrée sur la piste des arènes (procheen cela de l’« acteur en vrai » suicidé dans Le Théâtre des paroles de Valère Novarina) ; ouencore, de quelques représentations, poétiques, urbanistiques ou théoriques de la villeenvisagée comme une scène oeuvrée par « la Mort » (celle dont on ne meurt pas encore : cemonde antérieur, cette « région désespérée et éclatante où opère l’artiste », écrit Genet) ; àpartir de ces textes et images, Catastrophe et Répétition forment un couple pensif, et leurtravail a décidément quelque chose à dire de ces scènes où l’amour et la mort ont leursentrées. Quelque chose à dire de leurs spécificités, de ce qui les fonde et les structure, les fait tenir ou les défait. Quelque chose à dire de ce qui fait scèneCatastrophe and Repetition make one think about theater. They give an intelligence of it. « Anintelligence of theater » : one or several ideas of this last we can arrive at, using forms,notions or principles which don’t essentially originate in this art itself. Thus, starting fromJean Genet’s propositions in The Tightrope-Walker, notably viewed in the light of GeorgesBataille’s The Dead Man ; from bullfighting and especially a sentence pronounced by thematador José Tomás, who claims he’s leaving his « body at the hotel » before making hisentrance unto the arena floor (akin to the « acteur en vrai » who committed suicide in ValèreNovarina’s Le Théâtre des paroles) ; as well as from several poetic, urban, or theoreticalrepresentations of the city as a scene operated upon by « Death » (the one from which we donot yet die : this preceding world, this « desperate and radiant region where the artistoperates », as Genet put it) ; starting from these texts and images, Catastrophe and Repetitionform a pensive couple, and sometimes their work has something to tell about those sceneswhere love and death have their entries. Something to tell about their specificities, about whatgrounds and structures them, what keeps them standing or makes them come undone.Something to tell about what makes a scene
22
Forsberg, Daniel, Mats Andersson, and Hans Knutsson. "Parallel Scales for More Accurate Displacement Estimation in Phase-Based Image Registration." Linköpings universitet, Medicinsk informatik, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-59332.
Abstract:
Phase-based methods are commonly applied in image registration. When working with phase-difference methods only a single is employed, although the algorithms are normally iterated over multiple scales, whereas phase-congruency methods utilize the phase from multiple scales simultaneously. This paper presents an extension to phase-difference methods employing parallel scales to achieve more accurate displacements. Results are also presented clearly favouring the use of parallel scales over single scale in more than 95% of the 120 tested cases.
23
Poisson-Gueffier, Jean-François. "La Cathédrale Rouge. Images de la mort dans le Haut livre du Graal." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA105/document.
Abstract:
Ses principaux lecteurs n’ont cessé de concevoir le Haut Livre du Graal comme un roman des confins de la barbarie. L’éclatement des cadres de l’écriture arthurienne est prégnant dans ses épisodes les plus emblématiques, qui révèlent un hiatus irréductible entre une « haute écriture » et l’exaltation de la matérialité des êtres. Le roman semble soumis à une double postulation vers le haut et le bas, vers les convulsions du monde sublunaire et une mystique aussi présente que ténue. L’étude des manifestations et senefiances de la mort s’applique à saisir l’écriture de cet entre-deux, tout en privilégiant l’approfondissement de deux traits majeurs : la dimension visuelle inhérente à la représentation de la mort et les procédés d’écriture propres à esquisser les linéaments d’une « écriture funèbre ». Le paradigme visuel relaie la puissance évocatoire des morts narrées, tandis que la dominante funeste du récit semble être l’un des gages les plus viables de l’unité d’une œuvre dont les structures narratives se dérobent. Le parcours herméneutique de cette étude considère tout d’abord le vocabulaire de la mort, avant d’aborder les circonstances de l’instant mortel, les deux versants spirituel et temporel de la mort, et le lien toujours puissant qui unit les vivants et les morts. Après des considérations à la fois stylistiques, rhétoriques, historiques et anthropologiques, la deuxième partie déplace vers le champ de la poétique du texte la problématique d’une mort fondamentalement ubiquitaireThe main scholars always depicted the High Book of the Grail as a novel which borders on barbarism. The bursting of the frames of arthurian writing is significant in its most iconic episodes as well, which reveal a huge gap between "High Scripture" and a glorification of the materiality of beings. The novel seems based on a double postulation up and down, towards materiality and spirituality. The study of events and senefiances of death applies to grasp the writing of in-between, while emphasizing the study of two major elements: the inherent visual dimension to the representation of death and methods of its own writing which sketches the outlines of a "funeral writing." Visual paradigm relays the evocative power of the dead narrated while that fateful dominant narrative seems to be one of the most efficient guarantee of the unit of a work whose structure is relevent to illusion or arcana. The hermeneutic thought process of this study considers at first the vocabulary of death, before addressing the circumstances of the "instant mortel", the two spiritual and temporal sides of death, the always powerful unity of the living and the dead. After some stylistic considerations, as well as rhetorical, historical and anthropological ones, the last chapters move to the field of poetics, in a world where death appears fundamentally ubiquitous
24
Chen, Xiaolin. "Le vieillissement dans l'oeuvre de Marguerite Duras." Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30034.
Abstract:
Étant un processus inéluctable auquel aucune créature terrestre ne saurait échapper, le vieillir est synonyme même du vivre, et nous accompagne tout au long de notre existence. Malgré l’abondance d’études sur Marguerite Duras, les recherches autour du thème du vieillissement chez l’écrivaine paraissent pourtant rares. Souvent glissé derrière les thématiques relatives au passage du temps, le vieillissement s’avère cependant omniprésent dans son univers artistique, ainsi que dans la vie de l’écrivaine, qui fait, notamment dans ses dernières années, de sa personne même un personnage incontournable dans ses œuvres. Dans cette thèse, nous proposons trois axes principaux pour analyser la présence du vieillissement dans le monde durassien : le vieillissement des personnages dans son œuvre ; le vieillissement de l’auteure ; et le vieillissement de son écriture. S’appuyant principalement sur les approches psychiques, psychanalytiques et sociologiques, l’analyse sur le vieillissement des personnages fictifs se consacre aux différents symptômes de la sénilité qui affectent autant les êtres humains que l’écriture, inscrite elle-même dans une démarche vers l’évanescence et la disparition. Cette évolution de l’écriture qui tend vers la maigreur et l’absence entre en cohérence avec le vieillissement des personnages et de leur auteure, dont l’image auctoriale ne cesse de se muer au fil des années, afin de répondre aux effets du temps actifs en l’écrivaine et en son écriture. C’est justement à cette évolution vers l’amenuisement et la disparition qu’est dû le dynamisme de l’écriture sur le vieillissement chez Marguerite Duras, qui, contre toute attente, ne fait pas l’éloge du vieillissement comme bonification comparable à celle du vin ; elle ne le considère pas non plus comme une punition qui mérite d’être repoussée à tout prix. Le vieillissement chez Marguerite Duras relève avant tout d’une résignation et d’une passivité mais au sens positif, caractérisée par une profonde réconciliation et par l’acceptation de la vanité de l’existence et de l’usure du temps, jusqu’à ce que l’écrivaine fasse de ce mouvement vers la chute et vers la disparition un véritable mobile de son écriture et de sa propre vieAging, an inevitable process that no creature on the earth could escape, is synonymous with living and an ongoing process throughout our existence. Despite the abundant studies on Marguerite Duras, the researches on the theme of aging seem rare. Being one theme related to the passage of time, aging is however omnipresent in the artistic universe of Duras as well as in the life of the writer, who towards the last years of her life transformed herself into a key figure in her works. In this thesis I suggest that there are three main aspects in dissecting the presence of aging in the world of Duras: the aging of the characters in her work; the aging of the author; and the aging of her writing. Based mainly on psychic, psychoanalytic and sociological approaches, my analysis of the aging of the characters focuses on the various symptoms of senility that affect the human beings as well as the writing, which is also inscribed in a process towards evanescence and disappearance. This evolution of writing, which increasingly thins out, becomes consistent with the aging of the characters and that of their author, as the author’s public image constantly changes to respond to the effects incurred by time in the author’s life and her writing. All these three aspects show that aging in the world of Marguerite Duras is an evolution towards disappearance. It is through this movement, even this “fall” gravitating towards the decline, that her writing on aging realise her dynamism. Contrary to the stereotypes, Duras does not praise aging as an advantage to reach the wisdom or the salvation, nor considers it as a punishment: the attitude of Duras concerning aging is characterized by resignation and passivity, but in a positive sense, marked by the deep reconciliation and the acceptance of the vanity of existence, and above all the wear and tear of time. Duras converts the decadence presented in the process of aging into a true motive of her writing and her own life
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Jeppson, Mayer. "Characterization and comparative analysis of adolescents admitted to therapeutic wilderness programs and more traditional treatment settings /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2529.pdf.
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Begum, Hosne Ara. "Hybridization of mulberry silkworm (Bombyx Mori L.) for higher silk productivity and disease resistance /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19789.pdf.
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Miyasaki, Maren H. 1983. "The covenant : how the tension and interpretation within Puritan covenant doctrine pushes toward more equality in English marriage /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3281.pdf.
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Kay, Robert T. "A comparison of some of the most current methods of image compression." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from the National Technical Information Service, 1993. http://handle.dtic.mil/100.2/ADA271841.
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Smaal, Yorick. "More than mates? : masculinity, homosexuality, and the formation of an embryonic subculture in Queensland, 1890-1914 /." St. Lucia, Qld, 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17998.pdf.
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Hodges, Julie. "Yours, mine or ours: whose perceptions are most important in measuring family functioning and predicting psychopathology?" [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19249.pdf.
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Afkir, Fatima. "L'image de l’Égypte dans l’oeuvre de Tawfīq al-Ḥakīm." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30059/document.
Abstract:
Si on contemple l’abondante production du dramaturge, on réalise à quel point l’Égypte est omniprésente dans ses écrits et dans sa vie. Elle couronne l’ensemble de son oeuvre littéraire qui met en lumière chacun des différents aspects de ce pays : social, historique, culturel et politique. Cependant, dans cette étude, nous allons essayer de limiter notre sujet de l’Image de l’Égypte dans l’oeuvre de T. al-Ḥakīm à deux époques celle de la révolution de 1919, et celle de 1952. Ses écrits retracent clairement ces deux évènements importants. Sa façon de penser, d’écrire, de critiquer et d’analyser avant et après la révolution de 1919 n’est plus la même après la révolution de 1952. D’un écrivain rêveur, idéaliste, il en devient un autre plus réaliste et engagé littérairement. Notre problématique globale s’articulera autour des questions suivantes : quelle représentation l’oeuvre de Tawfīq al-Ḥakīm donne-t-elle de l’Égypte ? Peut-on considérer son retour aux mythes anciens comme une continuité entre l’Égypte moderne etl’Égypte ancienne ? Dans une première partie nous traitons les deux révolutions qui ont eu des répercussions sur ses écrits et sa vision politique. La deuxième partie, abordera la société de son roman ‛Awdat al-rūḥ, (l’Âme retrouvée), 1933, dans lequel il décrit une Égypte vue par un égyptien de souche et les liens forts qui unissent ce peuple à sa nation. La troisième partie sera réservée à la femme et au fallāḥ qui ont énormément inspiré l’écrivain. La quatrième partie sera consacrée à l’Égypte pharaonique. On va voir comment il a pu être influencé par l’Égypte ancienne pour décrire l’Égypte moderne. Nous nous appuyons aussi sur plusieurs lectures de différents auteurs afin de trouver une authenticité entre ce qu’il écrit et ce qu’il pense, entre la réalité et l’imagination dans ces oeuvres. Nous analyserons comment il voit, observe et critique son pays natalIf we contemplate the playwright's rich production, we realise to what extent Egypt plays a prominent part in his work and life. It is the crowning achievement of his literary work which highlights all the aspects of this country, social, historical, cultural and political However, in this study, we will try to limit our subject of The image of Egypt in T.al-Hakim's work to two particular eras, the revolutions of 1919 and 1952. His writings clearly relate those major events. The way he thinks, writes, criticizes and analyses before and after the 1919 revolution is no longer the same after the 1952 revolution. He started being a dreamy idealistic writer, and turned into another one, more realistic and committed in his literary work. Our global problematics will hinge on the following issues: what representation of Egypt does Tawfiq al-Hakim's work give? Can we regard his return to ancient myths as a continuity between modern Egypt and ancient Egypt? In a first part, we deal with the two revolutions which have had repercussions on his writings and political vision. The second part will tackle the society of his novel, in which he describes a country seen through a native Egyptian, and the strong ties which link the Egyptian people to their nation. The third part will focus on women and on the fallah, which greatly inspired the writer. The fourth part will be dedicated to the Pharaonic Egypt. We will see how far he has been influenced by ancient Egypt to descibe the modern one. We have relied on a few works of different writers so as to find an authentic link between what he writes and thinks reality and imagination in his works. We will analyse the way he sees, observes and criticizes his own country
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Manning, Jill C. "A qualitative study of the supports women find most beneficial when dealing with a spouse's sexually addictive or compulsive behaviors /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1171.pdf.
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Soekatri, Moesijanti Yudiarti Endang. "Iron and zinc supplmentation in infancy - who benefits the most : a randomised controlled trial in Indramayu, Indonesia /." St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16439.pdf.
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Corbucci, Fabiola. "A estética da pulsão de morte na conscientização ambiental: paradoxos e sintomas do imaginário ecológico." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4281.
Abstract:
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Previous issue date: 2011-05-12Conselho Nacional de Desenvolvimento Científico e Tecnológico
The relative (in)efficiency of environmental awareness programs carried out by various communication media is considered here as a social symptom in which great success and failure paradoxically coexist. This research investigates one type of image related to this thematic communication with the purpose of discussing the imaginary on which it draws. We note that there is a type of image that fits into the aesthetics of the death drive: at the indexical level it portrays degraded environments and apocalyptic phenomena; at the iconic level it recurs to a plasticity that mimics the qualities of death. Why is this type of image presented even when the subject it addresses intends to promote the continuity of life? This question led us to analyze of the iconicity (Peircean semiotics) of the catastrophic images transmitted by the media as revealing a thanatophilic imaginary and promoting an interpretant that invites the observer to contemplation, inertia, and the Nirvana. With this purpose, the relative inoperativeness of populations concerning environmental movements emphatic demand for a radical transformation in their ways of life is questioned. This relative inoperativeness, announced not only in environmental reports, but also in the media, is surprising in view of the widespread dissemination of the ecological issue in urban societies at least since the 1960s. We interpret this paradoxical gap in the environmental movement as a social symptom and relate it to the thanatophilic imaginary manifested in the images of the environmental campaign and generalized through the media. We draw on the social, political, and cultural context of modern capitalism with the purpose of better understanding how the representation of nature is implicated in the daily practices of urban societies. We reflect on the vicissitudes of a glocalizing process of civilization for the effectiveness of the human relation to nature. With this in mind, we carry out a theoretical and interpretive discussion of the visual communication accomplished by the environmental campaign, especially in its psychic and imaginary dimensions. We investigated the discourse of this widespread environmental campaign based on an analysis of its images in order to make evident latent points or aspects and, thus, interpret inoperativeness concerning the environmental threat. The theories of Peirce and Freud have been fundamental for our analysis, as well as reflections by other authors, such as Keith Thomas, José Augusto Pádua, Eugênio Trivinho, Vladimir Safatle, and Slavoj i ek. Concepts such as sign (especially icon and index, but also symbol), imaginary, fetishism, the unconscious, and death drive are also central to our analysis
Considerando a relativa (in)eficiência da disseminada conscientização ambiental desenvolvida pelos meios de comunicação mais diversos como um sintoma social, em que um grande sucesso e um grande fracasso coexistem paradoxalmente, esta pesquisa investiga um tipo de imagem veiculado a essa comunicação temática com o propósito de discutir o imaginário que o alimenta. Verificamos que há um certo tipo de imagem que se enquadra no que denominamos estética da pulsão de morte: retrata, no nível indicial, ambientes degradados e fenômenos apocalípticos; no nível icônico, recorre a uma plasticidade que mimetiza as qualidades da morte. Por que esse tipo de imagem é apresentado mesmo quando o assunto tratado pretende clamar pela continuidade da vida? Essa questão instigou-nos a analisar a iconicidade (semiótica peirceana) das imagens catastróficas veiculadas pelos media como reveladora de um imaginário tanatofílico e promotora de um interpretante que convida à contemplação, à inércia, ao Nirvana. Para isso, indagamos sobre uma relativa inoperância das populações frente à grande demanda dos movimentos ambientais por uma transformação radical do modo de vida. Essa relativa inoperância, anunciada não apenas nos relatórios ambientais como nos media, surpreende diante da disseminação da questão ecológica un peut partout nas sociedades urbanas pelo menos desde a década de 1960. É esse lapso paradoxal do movimento ambiental que é tomado como sintoma social e relacionado ao imaginário tanatofílico manifestado nas imagens da campanha ambiental generalizada dos media. Resgatamos, para isso, o contexto social, político e cultural do capitalismo moderno a fim de compreendermos melhor como a representação da natureza está implicada nas práticas cotidianas das sociedades urbanas. Refletimos, ainda, sobre as vicissitudes de um processo civilizatório glocalizante para a efetivação da relação dos homens com a natureza. Com esse suporte, propomos realizar uma discussão teórico-interpretativa sobre a comunicação imagética da campanha ambiental, sobretudo em suas dimensões psíquica e imaginária. Investigamos o discurso dessa disseminada campanha de conscientização ambiental a partir de uma análise de suas imagens para evidenciar pontos ou aspectos latentes e, com isso, construir uma interpretação sobre a inoperância frente à ameaça ambiental. Para isso, são fundamentais as teorias de Peirce e Freud, além das reflexões de outros autores, como Keith Thomas, José Augusto Pádua, Eugênio Trivinho, Vladimir Safatle e Slavoj i ek. São centrais, ainda, conceitos como o de signo (ícone e índice, sobretudo, mas também o de símbolo), imaginário, fetichismo, inconsciente e pulsão de morte
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D'Abronzo, Thais Helena. ""Foi tarde", a construção da cena pelas vias da imagem : dialogos com o "Teatro da Morte" de Tadeusz Kantor e "A Morta" de Oswald de Andrade." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284708.
Abstract:
Orientador: Marcio Aurelio Pires de AlmeidaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho realiza uma reflexão sobre o processo de criação do espetáculo teatral intitulado Foi Tarde. Investiga alguns modos pelos quais a construção da imagem comparece em procedimentos de criação da cena teatral. Na construção do espetáculo, buscaram-se possíveis relações entre o Teatro da Morte (1975-1990) de Tadeusz Kantor e o texto dramatúrgico A Morta (1937) de Oswald de Andrade, principalmente quanto à "presença da morte" como condução poética. Um terceiro material a somar-se nesta relação viria a ser "o aspecto de exposição à morte em um ambiente hospitalar". À estruturação da cena pelas vias da imagem e à colisão dos materiais do processo criativo chamou-se, neste estudo, de artifícios da morte. No desenvolvimento, ocorre a descrição do processo criativo, e são apresentados o memorial e a escritura do espetáculo. O trabalho com as poéticas de Tadeusz Kantor e Oswald de Andrade solicitou uma abordagem sobre a relação entre o texto dramático e a escritura cênica, a partir do embate iniciado no final do séc. XIX e início do séc. XX. Para tanto, fez-se necessário o resgate de informações sobre o movimento simbolista e sobre as vanguardas históricas, como precursores de novos comportamentos artísticos e de paradigmas de construção teatral e dramática para o século XX e para a atualidade. Por fim, entende-se, que Tadeusz Kantor e Oswald de Andrade revelam, em seus trabalhos, influências e divergências com o simbolismo e com as vanguardas históricas, em nome de uma poética caracterizada pela presença da morte e pela autonomia da cena teatral pelas vias da imagem. Esta reflexão embasa, portanto, a poética de construção do espetáculo Foi Tarde, apresentado publicamente em montagem consonante aos princípios estéticos pretendidos
Abstract: This project accomplishes a reflection about the process of creation of the Foi Tarde (Gone Late) play. It investigates some ways trough which is present in procedures of the theatrical scene creation. In the construction of the spectacle, possible relation between the Teatro da Morte (Death Theatre) (1975-2000) of Tadeusz Kantor and the dramaturgic text A Morta (The Dead Woman)(1937) from Oswald de Andrade were searched, mainly about the "presence of the death" as a poetic conduction. A third material to be added to this relation happened to be "the aspect of the exposition to death in a hospital environment". The structuring of the scenes through the image pathways, and the collision of the materials of the creative process were called, in this project, death artifices. In the development, happens the description of the creative process, and are presented the memorial and the script of the spectacle. The work with Tadeusz Kantor and Oswald de Andrade poetics demanded an approach about the relation between the dramatic text and the performing arts scripts, from the clash started in the end of the XIX Century and early XX Century. For it, the rescue of the information about the symbolist movement and about the historical vanguard were made necessary, as precursors of new artistic behaviors and of paradigms of theatric and dramatic constructions for the XX Century and for the present time. At last, it is understood, that Tadeusz Kantor and Oswald de Andrade reveal, in their works, influences and divergences with the symbolism and with the historical vanguards, in the name of a poetics characterized by the presence of death and by the autonomy of the theatric scene through the image pathways. This reflection sustains, hence, the poetic of construction of the spectacle Foi Tarde(Gone Late), presented publicly in an assembling corresponding to the intended aesthetics principles
Mestrado
Mestre em Artes
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Bernardo, Luciana de Freitas. "Imagens da morte: um estudo do g?nero policial-fant?stico em Poe, Wilde e Christie." Universidade Federal do Rio Grande do Norte, 2008. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16154.
Abstract:
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Previous issue date: 2008-12-15Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico
The mirror has always been related to different symbols, usually connected to self-knowledge and truth. This is due to the fact that this object shows whoever looks oneself in it an image as close to reality as it is possible. On the other hand, the mirror is also associated to mysticism and to the supernatural for it can magically duplicate one who looks into it. This ambiguous characteristic turns the mirror into an element that is fantastic in itself and places it in the central position of our discussion. Therefore, in this study, we analyze the texts In a Glass Darkly, by Agatha Christie, The Oval Portrait, by Edgar Allan Poe, and The Picture of Dorian Gray, by Oscar Wilde, giving special attention to the study of the images and artificial representations of men: the mirror, as an ephemeral representation; and the portrait, as an attempt to eternize an ephemeral image. We also discuss themes such as jealousy, the double, and death in the several forms in which it appears in the texts: suicides, homicides, attempted murders, death in life (mourning, separation, and developmental phases) all of which are, somehow, related to the specular representations. The narrative resource of using a mirror to introduce the supernatural event, along with the theme of death in all the narratives we have studied, and the difficulty to place these texts within the pre-established genres led us to categorize them as being part of a hybrid genre that presents characteristics both of the fantastic and of the detective story which we have named fantastic-detective story
O espelho ? um objeto que sempre esteve carregado de diferentes simbologias, comumente ligadas ao autoconhecimento e ? verdade, devido ao fato de mostrar, a quem se olha nele, uma imagem t?o pr?xima da real quanto poss?vel. Por outro lado, o espelho tamb?m ? associado ao misticismo e ao sobrenatural pela m?gica de conseguir duplicar aquele que olha atrav?s dele. Esse car?ter amb?guo torna o espelho um elemento fant?stico por excel?ncia e de recorr?ncia comum nos textos deste g?nero, al?m de ponto alto de interesse para nossa discuss?o. Analisamos, neste trabalho, os textos In a Glass Darkly de Christie, The Oval Portrait de Poe e The Picture of Dorian Gray de Wilde a partir de uma metodologia comparativa, nos dedicando especialmente ao estudo das imagens, assim como das representa??es que o homem faz de si mesmo presentes nas narrativas: o espelho, enquanto representa??o ef?mera; e, o retrato, enquanto tentativa de eterniza??o de uma imagem ef?mera. Discutiremos ainda temas como o ci?me, o duplo e a morte nas diversas formas nas quais ela se apresenta nos textos aqui estudados: suic?dios, homic?dios, tentativas de assassinato, mortes em vida (luto, separa??o, fases de desenvolvimento), todos relacionados de alguma forma com as representa??es especulares. O recurso narrativo da utiliza??o do espelho como introdutor do evento sobrenatural, junto com a tem?tica da morte, presente em todos os textos do corpus, e a dificuldade de enquadramento das narrativas em um g?nero pr?estabelecido nos levou a categoriz?-los como um g?nero h?brido que apresenta caracter?sticas tanto do fant?stico quanto do policial, ao qual chamamos policial-fant?stico
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Esposo, Sarah R. "Social influence in the context of group-directed criticism: are three critics more persuasive than one? /Sarah R. Esposo." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19246.pdf.
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Bertin, de Poulpiquet Nadège. "Rites de deuil, rites funéraires et images post-mortem d'une communauté d'origine congolaise à Paris : de la dévalorisation rituelle de la mort au nouveau culte visuel du mort." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0317.
Abstract:
Au Congo Brazzaville, les changements des pratiques et croyances liées à la mort sont souvent rattachés aux guerres successives qui ont meurtri le pays entre 1998 et 2003. Un travail d'enquêtes auprès d'une communauté congolaise dans Paris et sa région, d'observations directes in situ (levées de corps, funérailles, messes d'action de grâce, retraits de deuil, anniversaires, mariages) et d'analyse d'images (photographies et vidéographies) et de discours décrivent une triple tendance vers une simplification/individualisation des pratiques rituelles de deuil, et vers une désacralisation du mort, d'un autre côté, l'analyse de la production visuelle post-mortem atteste une nouvelle ritualité orientée sur le rapport au souvenir, à la mémoire individuelle et collective. Ce qui confirme l'image familiale port-mortem comme un moyen de rendre hommage au mort et de le sacraliser à nouveauIn Congo Brazzaville, the modifications observed in practises and beliefs relating to death are often explained by several periods of war that bruised the country from 1998 to 2003. A fieldwork within a Congolese community in Paris and its suburbs, direct observations (collection of the body, funerals, Divine Mercy masses, end of the mourning period, birthdays, wedding celebrations), as well as the analysis of images (photos and videos) and view on death, revealed a more complex reality. Although on the one hand, practices and views describe a triple trend towards a simplification, an individualisation of bereavement and a desacralisation of the dead, on the other, the postmortem visual production analysis demonstrates a new ritual focused on remembrance, as well as individual and collective memory. It confirms familial postmortem image as a new means of paying tribute to the dead and to sacralise it again
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Dann, Fiona. "Type 2 diabetes and depression : an exploration into the most effective depression screen to be used in a type 2 diabetes population /." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18463.pdf.
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Simonin, Marion. "Images et poétique du corps dans la poésie de Jules Supervielle." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA144.
Abstract:
Cette thèse a pour objet l’examen des manifestations poétiques et poïétiques du corps dans la poésie de Jules Supervielle. Le texte est marqué par le sceau de la disparition et du manque, contre lesquels il s’érige pour tenter de combler les corps défaillants. Les recueils, agrégés au long du premier XXe siècle, présentent une écriture affectée à la fois par l’histoire mondiale et l’histoire individuelle. Le poète passe de l’acceptation d’une déchirure constitutive singulière à la mise au jour d’une résonance corporelle cosmique. En créant des images évolutives, en confrontant son propre corps au réel et en inventant une réalité poétique par l’imaginaire du rêve, il reconnaît la multiplicité de ses ancrages, et se relie à l’univers. Si le sujet installe ses assises grâce aux relations qu’il noue avec l’extérieur, il désire aussi connaître ses propres rouages en retournant son regard au-dedans. Notre étude interroge les différents états perceptifs du corps que les poèmes figurent, s’appropriant la métamorphose permanente et cherchant à circonscrire les troubles physiologiques. L’instabilité et le mouvement sont capturés par le texte qui, d’instant en instant, passe du corps au non-corps et tente de rapatrier les formes privées de corps dans la matière. L’analyse révèle que le corps se renouvelle en transgressant et en estompant les frontières. La dialectique entre le corps vivant et la forme évasive de l’âme des morts serait résolue par une ontologie poétique de l’entre-deux. Grâce au souvenir remémoré du divin dans une nature de laquelle Dieu s’est retiré, l’homme se réapproprie la responsabilité de sa continuité et de la continuité du monde, par la mise en œuvre de sa puissance de créationThis thesis holds its objective to study the poetic and poietic manifestations of the body in the poetry of Jules Supervielle. The text is imprinted with the mark of disappearance and absence, against which it arises to make amends for the defaulted bodies. This anthology, edited through the first half of the 20th century, presents a writing influenced by a history both universal and individual. The poet travels from the acceptance of a constitutive singular implosion, reaching out for an ever-evolving resonance of the cosmic body. By creating evolving images, by rubbing against "the real" at the expense of his own flesh and blood, by inventing a poetic reality with his dreamy fantasy, he has revealed his multiple extensions, as to find his way to be connected with the universe. If the subject owns his firm footing to his relationships with the outside world, he is equally eager to comprehend his own mechanism by winding his observation towards the inside. Our study inquires into the different perceptive depths of the bodies that the poems illustrate, by making use of the permanent metamorphosis, in order to come to terms with the physiological aberrations. Instability and movement are captured by the text which, from a moment to the other, pass from body to absence of body and tries to unify shapes without body into the matter. The analysis reveals that the body renews itself by breaking and borrowing boarders. The dialectic between the living body and the evasive shape of the soul of the dead would be resolved by a poetic ontology of the interspace and period in between. Thanks to the reminded recollection of the divine presence in a nature from which God took off, the mankind takes again the responsability of his continuity and the continuity of the world, by using his power of creation
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Mullen, Steven J. "An assessment of the IMEF depot-level corrosion prevention and control program and the viability of making it more efficient and/or outsourcing the requirements through private sector initiatives." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2002. http://library.nps.navy.mil/uhtbin/hyperion-image/02Dec%5FMullen.pdf.
42
Lallmahamood, Nizaar. "Facteurs de retard de diagnostic et approche clinique dans la prise en charge des patients atteints des cancers des voies aéro-digestives supérieures." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC037.
Abstract:
En partant des rencontres faites pendant l'étude A. S. E. D sur les patients atteints des cancers des Voies-Aérodigestives Supérieures, ce travail propose de partir du discours du patient afin de montrer que les cancers des VADS sont des maladies d'une grande complexité qui ne sont pas réductibles à la causalité des facteurs. La combinaison des facteurs est tellement complexe que nous ne pouvons pas affirmer par exemple que c'est la toxicomanie ou la précarité des patients qui retardent leurs prises en charge. Une corrélation est à penser entre les facteurs. Une lecture des 4 cas, mettra en exergue les incidences psychiques et physiques d'une telle maladie et de sa prise en chargeStarting from the meetings with patients suffering from head and neck cancer, this research shows that this disease is much more complicated that we think. Cancers are diseases with a such complexity that do not allow us to think that it is a result of factors that leeds to this disease. We can assume for example that a head and neck cancer is due to a drug addiction or a precariousness, but those two factors are not the unique reason. A lecture of the 4 cases, will highlight the psychical and physical effects of such a disease and the way we take care of those patients
43
VanVonderen, Kristen E. "Media effects on body image in the context of environmental and internal influences what matters most?" Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5072.
Abstract:
Media effects on body dissatisfaction is a long-studied issue; however, aspects of the research--such as those regarding cultivation theory and its effects on body image--are unclear or incomplete. This study attempts to clarify the relationship between cultivation and body dissatisfaction. Besides cultivation, social comparison theory is also examined because upward comparisons with media images and peers can shape and reinforce body image attitudes as well. Additionally, the study examines the connection between media and body dissatisfaction by looking at a broader social context --one that includes other social/environmental influences, such as peer and parental attitudes, as well as internal influences such as self-esteem. A sample of 285 female undergraduate students completed media exposure, parental influence, peer influence, and self-esteem measures, as well as internalization of the thin-ideal and body dissatisfaction measures. Overall, the study found that while peer comparisons and self-esteem are associated with internalization of the thin ideal, they are not as powerful as the most significant indicators --media attitudes regarding weight and body shape and media comparisons. Contrastingly, peer comparisons and self-esteem were observed to be the strongest indicators of body dissatisfaction. These findings suggest that cultivation is directly associated with the internalization of the thin ideal. However, the cultivation of media messages may not have a direct effect on body dissatisfaction, as social/environmental influences and the internal variable of self-esteem proved to be the most significant indicators.ID: 030422885; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 76-83).
M.A.
Masters
Communication
Sciences
44
Vieira, Júnior Rivadávia Padilha. "Retratos do poder: a imagem pictórica de Felipe de Habsburgo por Ticiano Vecellio e Antonio Moro (1548-1558)." reponame:Repositório Institucional da UFF, 2013. https://appdesenv.uff.br/riuff/handle/1/228.
Abstract:
Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-01-31T17:30:15Z
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Este estudo dedica um olhar mais aprofundado às continuidades e especificidades produzidas para a constituição da imagem pictórica do príncipe Felipe de Habsburgo (1527-1598), a ser conhecido como Felipe II de Espanha (1556-1598), nos retratos realizados pelos pintores Tiziano Vecellio (ca. 1488-1576) e Antonio Moro (ca. 1519-1576). Destaca-se o marco cronológico para o contexto do estudo entre os anos de 1548 e 1558, período que contempla a educação política do príncipe; as tratadísticas e cerimônias de seu matrimônio com a rainha Maria Tudor da Inglaterra (1516-1558), entre 1554 e 1558; os períodos de sua atuação como regente dos reinos espanhóis nas décadas de 1540 e 1550; o conflito desencadeado dentro da casa de Áustria sobre a sucessão da coroa imperial; além de suas viagens realizadas no período em que foi apresentado como herdeiro de seu pai, o imperador Carlos V (1500-1558). Na intenção de construir a imagem de um legítimo herdeiro do imperador, Ticiano Vecellio e Antonio Moro fizeram uso de uma ampla e variada linguagem simbólica, baseada na tradição secular e religiosa do Ocidente, a partir de ideais e mitos inspirados na Antiguidade, no cristianismo e no medievo. Esta produção cultural está intimamente vinculada às relações de poder que regiam as ligações entre nobres mecenas encomendantes dos retratos analisados e os pintores para a produção de uma imagem idealizada e persuasiva. Desta forma, analisamos as tradições formativas e interpretativas da imagem pictórica do príncipe Felipe de Habsburgo para compreender quais foram os ideais e influências presentes em seus retratos.
Este etudo dedica uma mirada más cercana a las continuidades y las especificidades producidos em la formación de la imagen pictórica del principe Felipe de Habsburgo (1527-1598), que será conocido como Felipe II de España, en los retratos realizados por los pintores Tiziano Vecellio (ca. 1488-1576) y Antonio Moro (ca. 1519-1576). Es de destacar el marcador cronológico para el contexto del estudio entre los años 1548 y 1558, periodo que incluye la educación política del príncipe; las tratadísticas de su matrimonio con la reina Maria Tudor de Inglaterra (1516-1558), entre 1554 y 1558; su actuación como regente de los reinos españoles en las décadas de 1540 y 1550; el conflicto desencadenado en el interior de la casa de Austria en la sucesión de la corona imperial; además de sus viajes por el período en que fue presentado como heredero de su padre, el emperador Carlos V (1500-1558). Con la intención de construir la image de un heredero legítimo al emperador, y Tiziano Vecellio y Antonio Moro hicieron uso de un lenguage simbólico amplia y variada, basada en la tradición religiosa y secular del Occidente, de ideales y mitos inspirados en la Antigüedad, el cristianismo y la Edad Media. Esta producción cultural está estrechamente vinculado a las relaciones de poder que rigieron las relaciones entre los nobles y pintores para producir una image idealizada y persuasivo. Por lo tanto, analizamos las tradiciones educativas e interpretativas de la imagen pictórica del príncipe Felipe de Habsburgo para entender los ideales y las influencias presentes en sus retratos.
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Olivera, Mendoza Luis Mauricio. "La composición de la imagen surrealista en Le château de grisou de César Moro." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2011. http://tesis.pucp.edu.pe/repositorio/handle/123456789/714.
Abstract:
Ha pasado más de medio siglo desde las primeras aproximaciones a la biografía y
producción textual de César Moro; entre las más importantes para la presente
investigación están, en orden cronológico, primero, todas aquellas anotaciones y
estudios que, desde los años cincuenta hasta fines de los años noventa, esbozaron una
periodización de la obra de Moro que contenía el germen del llamado “Ciclo mexicano”
o “Ciclo de Antonio” que comprende, atendiendo a las fechas de composición más no
de publicación: La Tortuga Ecuestre (1938-39); Antonio es Dios (1939); Cartas (1939);
Le château de grisou (1939-41); L’ombre du paradisier et autres textes (1939-45); Lettre
d’amour (1942); y Pierre des soleils
(1944-46). Efectivamente, fueron André Coyné,
Julio Ortega, Ricardo Silva Santisteban, y David Sobrevilla, quienes, entre otros
asuntos, se encargaron de demarcar las etapas de la producción artística de Moro dando
una relevancia especial al mencionado grupo de poemas de doble código lingüístico
(español y francés) cuya constante estriba en que la voz del sujeto poético (amante) se
dirige con una intensidad sin límites a un mismo destinatario (amado).Tesis
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Leites, Bruno Bueno Pinto. "Quando a imagem faz sintoma : imagem-pulsão e neonaturalismo no cinema brasileiro dos anos 2000." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/157637.
Abstract:
Nesta tese, pesquisamos filmes que investigaram o Brasil com o objetivo de revelar as suas doenças ocultas. Esse projeto do início dos anos 2000 gerou imagens repletas de deformações, de repetições, de estados de descontrole, de doenças do olhar e de crueldade, entre outras características que destacamos ao longo do trabalho. A hipótese que desenvolvemos é de que houve uma profusão da referida estética no início dos anos 2000 e que ela se dispersou ao longo da década. Podemos vê-la em filmes como Cronicamente inviável, Através da janela, Latitude zero, O invasor, Amarelo manga, Contra todos, Quanto vale ou é por quilo?, O cheiro do ralo e Baixio das bestas. Defendemos ainda que essas imagens atualizam um projeto naturalista e se desdobram em uma sintomatologia. Para enfrentar o desafio de análise, apropriamo-nos do conceito de imagem-pulsão proposto por Gilles Deleuze na sua taxonomia de imagens. Trata-se de um conceito marginal na taxonomia do autor, que no entanto se revelou adequado porque oferece um método rigoroso para lidar com o problema da pulsão (de morte) no cinema. As imagens-pulsão em Deleuze são aqui compreendidas como um desdobramento dos conceitos instinto de morte e corpo sem órgãos, que o autor havia desenvolvido ao longo dos anos 1960 e 1970. Com relação às análises, a tese está composta em três eixos: imagens-pulsão, neonaturalismo e sintomatologia. No primeiro, procuramos evidenciar nas imagens a articulação que existe entre a dimensão da realidade (meios derivados), a dimensão da doença (mundos originários) e as dinâmicas de ação das doenças sobre a realidade (momentos privilegiados). É nesse eixo que tecemos algumas das principais proposições deste trabalho: os deslocamentos naturalizantes; os espaços centrados; os métodos de testemunho da pulsão (de morte) irrepresentável; a plasmaticidade de retorno ao inorgânico; as repetições que condenam no tempo; os estados de descontrole que revelam uma impossibilidade de agir. No segundo eixo, evidenciamos a influência naturalista nessas imagens: a visão entrópica; a associação entre o trágico e o cotidiano; a opção por narrativas em queda ou circulares; o gosto pelo submundo, pelas deformações e pela violência animalesca; o interesse pelos diagnósticos e sua eficácia. No terceiro eixo, propomos que o gesto político nessa estética é a sintomatologia, no sentido de que a própria imagem é concebida para fazer sintoma em civilização. A sintomatologia tem dupla estratégia: desconfortar e satisfazer o espectador. Finalmente, sistematizamos as proposições da tese e evidenciamos aquilo que julgamos ser o desafio por excelência dessas imagens: descobrir e testemunhar a pulsão (de morte) que elas acreditam encontrar nas profundidades da realidade brasileira.In this Thesis, we study Brazilian films that investigated the country with the intention of revealing its inner diseases. This project from the beginning of the 2000s led to images replete of deformation, repetitions, uncontrolled behaviors, eye diseases and cruelty, among other characteristics we demonstrate in this work. Our hypothesis is that this aesthetics has expanded in the beginning of the 2000s and dispersed over the decade. We can see this aesthetics in films such as Chronically Unfeasible, Through the Window, Latitude Zero, The Trespasser, Mango Yellow, Up Against Them All, What Is It Worth?, Drained and Bog of Beasts. We also assert that these images update a naturalistic project and result in a symptomatology. In order to analyze the images, we employ the concept of impulse-image proposed by Gilles Deleuze in his taxonomy of images. It is a less popular concept in his taxonomy, but it has been suitable to this research because it offers a rigorous method for working with the instinct of (death) in the cinema. In this work, we understand Deleuze’s impulse-images as a development of the concepts of death instinct and body without organs, proposed by the author in the 1960s and the 1970s. Concerning the analysis, the Thesis is composed in three axes: impulse-images, neo-naturalism and symptomatology. In the first, we highlight the connection between the spheres of reality (derived milieu), the one of disease (originary world), and the dynamics of action from disease to reality (privileged moments). It is in this axis that we make some of the key proposals in this work: the naturalizing displacements; the centered spaces; the methods of testifying the unrepresentable instinct (of death); the repetitions that condemn in time; the plasmaticity of the return to the inorganic; the uncontrolled behaviors that reveal an impossibility of action. In the second axis, we demonstrate the naturalistic influence in these images: the entropic vision; the association between the tragic and everyday life; the option for narratives based either in falls or in circularity; the taste for the underworld, the deformations and the animalistic violence; the interest in diagnosis and its efficacy. In the third axis, we propose that the political gesture in this aesthetics is the symptomatology, in the sense that image itself should stand as a symptom in civilization. The symptomatology has a double strategy: producing discomfort and satisfaction in the spectator. Finally, we systematize the propositions from the Thesis and put in evidence what we believe is the key objective in these images: discovering and testifying the instinct (of death) that they believe lies deep in Brazilian reality.
47
Machado, Sheila da Silva. ""Vivo ou Morto?" : o corpo na escola sob olhares de crianças." reponame:Repositório Institucional da UnB, 2013. http://repositorio.unb.br/handle/10482/14999.
Abstract:
Dissertação (mestrado)—Universidade de Brasília, Faculdade de Educação Física, Programa de Pós-Graduação em Educação Física, 2013.Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2014-01-22T09:12:57Z No. of bitstreams: 1 2013_SheiladaSilvaMachado.pdf: 10333190 bytes, checksum: a27b151a68171862bbfc1b5b4a1298ae (MD5)
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O presente estudo precipuamente busca refletir sobre as percepções das crianças acerca de seu corpo na escola. Outrossim, justifica a concepção de infância enquanto sujeitos de sua própria história. Considera-se as crianças como agentes ativos e de direitos inseridos em uma sociedade a qual podem reproduzir, construir novos sentidos e intervir nas práticas sociais e culturais. Parte da crítica de uma infância desprovida de historicidade, submetida a um processo de expropriação de condição de ser humano, o que os fragmenta enquanto sujeitos. Objetivou analisar os sentidos conferidos ao corpo pelas crianças, a partir de elementos da educação do corpo, construídos pelo processo de escolarização. Para tanto, foi realizada pesquisa de campo com orientação etnográfica, envolvendo produção de dados em uma escola da rede pública de ensino do Distrito Federal, Brasil. As técnicas utilizadas compreenderam observação participante; coleta de desenhos; conversas com as crianças; e aplicação de “formulário sobre práticas culturais e de consumo de mídias”. Acompanhamos uma turma do quinto ano do Ensino Fundamental, formada por um total de vinte e três crianças. Os resultados apontam que embora a escola empregue a cultura de um corpo passivo, disciplinado e obediente as regras, as crianças as transgridem, criam e reinventam os tempos e espaços instituídos para elas neste ambiente. Apresentam ainda opiniões e soluções relacionadas aos espaços escolares, bem como a necessidade de serem ouvidas e de participarem dessas discussões. _______________________________________________________________________________________ ABSTRACT
This study seeks essentially to think over children’s perceptions about their body at school. In addition, it justifies the childhood conception as protagonists of their own history. Children are considered as active agents in their own rights inserted in a society that they may reproduce, build new meanings, and intervene in the social and cultural practices. It starts from the criticism of a childhood devoid of historicity, subjected to a humanness expropriation process, which fragments them as individuals. The objective was to analyze the meanings conferred to the body by the children, based on elements of body education, built by the schooling process. Therefore, a field research has been conducted under an ethnographic approach, involving the production of data in a public school in the Federal District, Brazil, has been conducted. The techniques used included participant observation; collection of drawings, conversations with children; and application of "cultural practices and media consumption form". We have observed a group of elementary school fifth graders, consisting of a total of twenty-three children. Results show that although the school uses the culture of a passive body, disciplined and obedient to rules, children break them, create and reinvent spaces and times set for them in this environment. They even have opinions and solutions related to school spaces as well as the need of being heard and participate in these discussions.
48
Cummings, Elizabeth Ann. "Optical Detection of Ultracold Neutral Calcium Plasmas." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd692.pdf.
49
López, de Munain Gorka 1984. "Una genealogía de la máscara mortuoria. Tiempo, imagen, presencia." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/404186.
Abstract:
La presente investigación tiene como objetivo el estudio de las máscaras mortuorias desde una perspectiva doble: por un lado, busca desarrollar una teoría de la máscara mortuoria que nos permita organizar algunos de los elementos centrales que convergen en ellas (rostro, presencia, muerte, semejanza, tiempo, etc.) y, por otro, abordar una aplicación de dicha teoría sobre unos casos y entornos concretos previamente seleccionados. Es por ello que el objeto de estudio, las máscaras mortuorias, no se contemplan tanto como artefactos susceptibles de ser enmarcados en un análisis histórico-artístico, sino como objetos sensibles que participan de un acto perceptivo. Esta mirada nos posibilita enfrentarnos a estas piezas desde una panorámica amplia, sin necesidad de atender a una acotación espacio-temporal cerrada. En los primeros apartados teóricos se definen las instancias conceptuales de imagen, cuerpo y medio, adquiriendo este último un papel relevante como herra¬mienta metodológica que nos posibilite pensar uno de los conceptos vertebrales de la investigación: la presencia. Las imágenes, entendidas del modo argumentado en la investigación, pueden contener una forma de presencia cuya naturaleza variará dependiendo del contexto y del proceso perceptivo. El tiempo tiene una implicación decisiva en todo ello que nos obliga a comprenderlo alejados de miradas lineales o teleológicas, asumiendo una postura que se oriente hacia la consideración de un tiempo heterocrónico. Una vez construido este armazón teórico, la segunda parte de la investigación trata de identificar una serie de núcleos argumentales que se irán conectando entre sí, formando una constelación de figuras e ideas que irá conformando nuestra particular genealogía. Una primera preocupación fijará la atención en el papel que ha jugado la semejanza por contacto desde la Antigüedad, analizando los casos en los que el moldeado facial ha ido más allá del mero recurso técnico. El estudio se irá poco a poco orientando hacia una de las hipóte¬sis que más ha preocupado a los investigadores que han fijado su atención en las máscaras mortuorias: su consideración como objetos autónomos desligados de la aplicación práctica a la que habitualmente han sido reducidas.The aim of this research focused on death masks has a double perspective: on the one hand, it seeks to develop a death masks theory in order to organize some of the central ideas (face, presence, death , likeness, time, etc.), and, on the other hand, to carry out an application of this theory on specific cases and environments previously selected. That is why the object of study, death masks, are not considered artifacts susceptible of being framed in a historical-artistic analysis, but sensitive objects that participate in a perceptive act. In the first theoretical sections, the conceptual notions of image, body and medium are defined. The medium takes an important role as a methodological tool that allows us to think about one of the main concepts of this research: presence. Once this theoretical framework is built, the second part of the research tries to identify a series of central arguments connected to each other, in order to build a constellation of figures and ideas that will shape our particular genealogy. We will focus our attention on the role played by the resemblance by contact from the Antiquity, analyzing the cases in which facial molding has gone beyond the mere technique. The inquiry will gradually move towards one of the most important hypotheses: the regarding of the death masks as autonomous objects disconnected from the practical application they have usually been reduced to.
50
Medley, Stuart. "Less realism : more meaning : evaluating imagery for the graphic designer." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2008. https://ro.ecu.edu.au/theses/232.
Abstract:
Typography' as a defining term has become interchangcable with 'graphic design'. and while font choice and application is seen as of paramount importance. image choice, virtually half , . of the communication design equation, is neglected in the theory and in pratice is left to the instinct of the designer. In this thesis I try to find approaches for graphic designers to understand image to the degree that they understand type. These approaches are tested through assignments for graphic design students and the results recorded and analysed. I seek to address the paradox that we are able to communicate more accurately through less accurately rendered images. I will explain how the human visual system. evolved over time by looking only upon the natural world in all its reality. can look upon a stick-figure and make an emotional and intellectual connection. I examine the design implications of this strange faculty of the visual system. Gombrich. Arnheim and others have explored realism in, and applied psychology to, art in order to become better art historians. I explore the implications in the more pragmatic. economically imperative field of design of moving away from realism in the visual aspects of communication.