Dissertations / Theses on the topic 'Jamet (Pierre)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 27 dissertations / theses for your research on the topic 'Jamet (Pierre).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Lotiron, Claire. "Le Quintette Instrumental de Paris et la pratique chambriste en France dans l'entre-deux guerres : carrière et répertoire (flûte, harpe et trio à cordes)." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL020.
In 1922, the flutist René Le Roy had the idea of creating a chamber ensemble with an atypical combination of instruments (flute, harp and string trio) which recalls Debussy's Sonate pour flute, alto et harpe that he was particularly fond of. The Quintette Instrumental de Paris had a well-filled musical career until 1940, thanks to the dedication and rigour of its founder members: Marcel Grandjany, and then Pierre Jamet on the harp, René Bas on the violin, Pierre Grout on the viola and Roger Boulmé on the cello. The ensemble was disbanded during the war, when René le Roy left for America, and Roger Boulmé was killed in action. In 1944, the harpist Pierre Jamet re- formed the quintet, which now bears his name. When the group finally split up in 1958, the Pierre Jamet Quintet was given a new lease of life by Marie-Claire Jamet, Pierre Jamet's daughter, and her husband, the flutist Christian Lardé. This thesis, which focusses on the ensemble's first period of activity (1922-1940), sets out to examine how the group managed to get established and sustain its activity, even though it did not belong to any chamber music tradition and had no pre-existing repertoire. The players turned to contemporary composers in order to gradually enrich their repertoire. The first part sets out to reconstruct the musical trajectory of the ensemble, in the light of documentary evidence scarcely used until now., and to assess its place in the musical life of its time. The ensemble benefited from a favourable historical context for the practice of chamber music, and it attracted composers who were interested in the expressive potential of this new combination of instruments. The second part looks at the career strategies implemented by the ensemble itself to promote its activities in France and abroad. This provides an opportunity to reconsider the figure of the impresario who, like Marcel de Valmalète, exerted an ever-growing influence on French musical life. In this period of great geopolitical upheaval, the Association Française d'Action Artistique (A.F.A.A.), which promoted French music abroad, greatly encouraged the Quintet's career in Europe and America. This is perfectly illustrated by the two American tours in 1934 and 1935. Nadia Boulanger, who was close to René Le Roy and more particularly to Pierre Jamet, acted as an intermediary to facilitate the Quintet's introduction into the New York musical milieu. The concert programme, which had also been restructured, was based on the principle of alternating pieces for different sized groups, endeavouring to give pride of place to little-known pages from the Baroque repertoire and to present the latest works by contemporary composers.In order to assess the particular nature of the Quintet's interpretative repertoire, it is compared with that of other groups from the same period, in particular the Trio Cortot-Thibaud-Casals, the Trio Pasquier and the Quatuor Calvet, which were also popular at the time. Finally, the third part deals specifically with the aesthetics of the quintet as it progressed between 1923 and 1938, including some thirty works composed for the Quintette Instrumental de Paris. A more restricted corpus comprising the ten quintets which best exemplify their repertoire (Jongen, Roussel, d'Indy, Pierné, Cras, Ropartz, Schmitt, Malipiero and Françaix) is the focus of an in-depth analysis of the writing and management of this particular combination of instruments. We can hereby tackle the questions of sound homogeneity, exploration of timbre and instrumental configuration
Blaser, Juliana Gonçalves. "Multiplicando a consciência: a dissociação e suas consequências segundo Pierre Janet." Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/350.
Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-25T16:44:33Z (GMT) No. of bitstreams: 1 julianagoncalvesblaser.pdf: 1145879 bytes, checksum: a8431f26237035be63ba806e0f977f3a (MD5)
Made available in DSpace on 2016-01-25T16:44:33Z (GMT). No. of bitstreams: 1 julianagoncalvesblaser.pdf: 1145879 bytes, checksum: a8431f26237035be63ba806e0f977f3a (MD5) Previous issue date: 2015-02-09
A Psicologia francesa do final do século XIX, recentemente separada da Filosofia, utilizava como um de seus principais métodos o estudo dos estados alterados de consciência e das doenças mentais no intuito de compreender melhor o funcionamento normal da mente humana. Dentre os pioneiros desta Psicologia, destacou-se Pierre Janet. Seu estudo sobre as alterações mentais, principalmente o hipnotismo e a histeria, deram origem às suas concepções sobre força e fraqueza psicológica, dissociação e atividade subconsciente, ideias estas que abriram margem para um novo entendimento da atividade mental fora da consciência, contribuíram para o desenvolvimento da psiquiatria dinâmica e, principalmente, apresentaram à sua época um caráter conciliador entre as novas tendências da psicologia e a antiga psicologia. Contudo, embora tenha sido um autor relevante, seus trabalhos são pouco conhecidos na atualidade e, em língua portuguesa, a bibliografia sobre ele é escassa. Nosso objetivo foi, portanto: (i) analisar o surgimento do conceito de dissociação na obra inicial de Pierre Janet, assim como as suas principais acepções; (ii) apresentar como Janet chegou à formulação deste conceito e como esse se desenvolveu ao longo de sua obra; (iii) explicar o mecanismo da dissociação segundo o autor; (iv) esclarecer o que ocorre com os elementos dissociados da consciência; (v) apresentar a relação da dissociação com outros conceitos fundamentais da obra de Janet, tais como vontade, fraqueza de síntese e automatismo e; (vi) expor as explicações de Janet para a histeria, hipnotismo e duplas personalidades com base na sua teoria da dissociação. Para tanto, realizamos uma leitura analítica da segunda fase de suas obras, que vai desde 1885 a 1894 (contendo 3 livros e 17 artigos), na qual este autor se dedicou a estudar profundamente este tema, buscando estabelecer a definição dos principais conceitos desta fase de suas obras, com ênfase na dissociação, e também as relações existentes entre eles. Como resultados obtivemos que conceito dissociação apareceu pela primeira vez nas obras de Janet em 1887 no artigo L'anesthésie systématisée et la dissociation des phénomènes psychologiques. Nele Janet coloca que a dissociação ocorre quando um item, seja uma memória, uma sensação ou um movimento, não se liga à ideia de eu do sujeito, sendo, portanto, removido da consciência normal. Porém, a partir de 1889, da obra L’automatisme psychologique, não vemos mais aparecer o termo dissociação, mas sim um novo termo, o termo desagregação (désagrégation), o qual acreditamos ser, contudo, seu sinônimo. O mecanismo da dissociação é apresentado por Janet, principalmente, quando ele explica a formação dos sintomas histéricos. Para ele estes sintomas histéricos, ou seja, as anestesias, as abulias, as amnésias e os problemas do movimento são todos causados por uma fraqueza de síntese psicológica que leva, por sua vez à desagregação psicológica. Nestes quadros, devido à fraqueza de síntese, certos grupos de sensações, memórias, emoções ou informações sobre o ambiente deixam de ser sintetizados à ideia de eu (fator fundamental, segundo Janet, para que um fenômeno possa fazer parte da consciência) e, portanto, permanecem dissociados da consciência normal, gerando, respectivamente: as anestesias, as amnésias, as modificações do caráter e as abulias. Estes elementos não sintetizados continuam, contudo, a existir podendo “ficar isolados e desaparecer ou podem se associar com outros fatos igualmente separados de toda a consciência e formar uma segunda personalidade” (Janet, 1887 p.402). A ação destes cada um deles sobre a consciência da histérica, por sua vez, é a raiz do que Janet chamou de acidentes histéricos dentre os quais estão incluídos as contraturas, a catalepsia parcial, o sonambulismo, os ataques, alguns delírios e os atos subconscientes. É possível concluir que a dissociação é de fundamental importância para a compreensão da histeria sob o ponto de vista de Janet e que é também um conceito chave da fase inicial de suas obras.
The French psychologists of the XIX century used, as one of its main methods, the exploration of the altered states of consciousness and mental illness to achieve a better understanding of the normal human mind. Among this French psychologists, Pierre Janet is a central figure. His studies on hysteria and hypnotism gave birth to his conceptions about psychological weakness, dissociation and unconscious activity. His theories held to a new understanding of mental activity occurring outside of conscious awareness, contributed to the development of the dynamic psychiatry and, specially, seemed to conciliate the two divided trends of the XIX century French psychology (the medical and the philosophical one). Even though Pierre Janet be an important French psychologist, in Brazil, there is a lack of studies about him. Because of it, our aim was to: (i) find out when Janet started to use the concept “dissociation”, its definition, and its changes; (ii) show how did Janet conclude about the existence of dissociation of consciousness, (iii) point out the relationship between the dissociation and the mental weakness, (iv) explain the mechanism of dissociation according to Janet, (v) describe what happens to the elements dissociated to normal consciousness and (vi) show the role of dissociation on hysteria, hypnotism and double personality according him. To achieve our goal we analyzed Pierre Janet’s works between 1885 and 1894 (3 books and 17 articles). As a result we noticed that the concept dissociation appeared for the first time in the article of 1887 L'anesthésie systématisée et la dissociation des phénomènes psychologiques. In this article, Janet explains that dissociation happens when an element, a memory or a sensation, is not synthesized to self, being, consequently, removed to the normal consciousness. However, from 1889 and beyond Janet substituted the term dissociation for another one, desegregation, keeping for both the same meaning. The mechanism of dissociation is described by Janet while he is explaining the hysterical symptoms. According to him, its symptoms (anesthesia, amnesia and movement disturbances) are due to a problem to synthesize sensations, memories and information about the environment (respectively) to self. This elements which were not synthesized can continue existing outside the normal consciousness, isolated or grouped, in a more or less complex system, being able to originate a secondary personality. These elements can affect the hysterical psychism giving birth to the hysterical accidents as contractures, the hysterical crises, the delirium, the catalepsies, the somnambulism and the unconscious acts. To sum up, it is possible to conclude that dissociation in a fundamental concept of the initial works of Pierre Janet and it is an essential concept to understand his views of hypnotism, hysteria and double personality.
Beyer, Elisabeth. "Esquisse d'une histoire de la mémoire implicite centrée sur Pierre Janet." Université Louis Pasteur (Strasbourg) (1971-2008), 1991. http://www.theses.fr/1991STR1M057.
Amarilli, Philippe. "La dissociation selon Janet : vers un inconscient "à la française"." Université Louis Pasteur (Strasbourg) (1971-2008), 1991. http://www.theses.fr/1991STR1M181.
BOUVIER, BOURRAIN MIREILLE. "La plume et la pierre : architecture et création romanesque chez Henry James." Chambéry, 1997. http://www.theses.fr/1997CHAML005.
Used as a setting in the work of fiction and a metaphor for creative writing, architecture is a major theme in Henry James's novels. Its importance stems from the writer's interest in the visual arts and from an analogical tradition which has for a long time established connections between the art of writing and that of building. This essay aims at examining the foundations of such fondness for architectural aesthetics and assessing its application in the novel, both of these aspects highlighting, in turn, the "spatiality" of James's writing. As no specific essay was ever written by James on architecture, the study starts with an analysis of his travel essays and autobiography. In these texts the author expresses a profound admiration for architectural achievements, through numerous "impressions" whose later remembrance lies at the very core of his literary creation. A phenomenological reading based on works by Norberg-Schulz and Heidegger enables to link that feeling to a deep-rooted need for spatial determination. Now space becomes meaningful thanks to architecture which converts it into a concrete phenomenon, that is to say a "place" where man can orientate himself and "dwell". Architecture plays such a role in physical but also textual space as is shown in the analysis of the other house. Presented as an art analogue for literature in the prefaces to the New York edition, architecture also helps shape an ambitious project which asserts the superiority of the artist and the role of the reader in the creation of the text. Yet, like the writing they purport to illustrate, the metaphors in the critical discourse are ambiguous and paradoxical. Indeed, James's literary architecture sometimes resorts to a trompe-l'oeil technique that nevertheless does not challenge the "monumentality" of works such as the Portrait of a Lady or the Wings of the Dove
Wipf, Nicolas. "Pierre Duhem (1861 – 1916) et la théorie du magnétisme fondée sur la thermodynamique." Electronic Thesis or Diss., Lille 1, 2011. http://www.theses.fr/2011LIL10030.
The object of this work is the analysis of Pierre Duhem's theoretical works in the field of magnetism and electromagnetism, very little studied up to now and often overshadowed by his contributions to philosophy and history of science. These works, however, correspond to an abundant scientific production (over 3500 pages), spread out over his whole career. My work allows to highlight the richness of his work in physics, as well as the trial-and-error process accompanying the development of his general thermodynamics, an ambitious and original program in the scientific context of time. From his thesis on the theory of magnetization by induction based on thermodynamics (1888) through his Lessons on electricity and magnetism (1892) to his article On diamagnetism (1913), his theoretical ideas are in constant evolution. Concerning the problem of diamagnetism, my work can highlight several decisive factors in the process of elaborating his theory (an article by Parker on the principle of Carnot (1889), a letter sent by Curie (1902) or Duhem’s thoughts on the stability of electrical equilibrium (1896, 1903)). The thesis also discusses Duhem's original approach to the study of systems containing electric currents, study that led to consider electromagnetism as a branch breaking away very early from the common core formed by the bulk of his energetics, while extending the theory of Helmholtz. Duhem will fail in his attempt to convince his contemporaries of the superiority of this logical theory compared to that of Maxwell
Wipf, Nicolas. "Pierre Duhem (1861 – 1916) et la théorie du magnétisme fondée sur la thermodynamique." Thesis, Lille 1, 2011. http://www.theses.fr/2011LIL10030/document.
The object of this work is the analysis of Pierre Duhem's theoretical works in the field of magnetism and electromagnetism, very little studied up to now and often overshadowed by his contributions to philosophy and history of science. These works, however, correspond to an abundant scientific production (over 3500 pages), spread out over his whole career. My work allows to highlight the richness of his work in physics, as well as the trial-and-error process accompanying the development of his general thermodynamics, an ambitious and original program in the scientific context of time. From his thesis on the theory of magnetization by induction based on thermodynamics (1888) through his Lessons on electricity and magnetism (1892) to his article On diamagnetism (1913), his theoretical ideas are in constant evolution. Concerning the problem of diamagnetism, my work can highlight several decisive factors in the process of elaborating his theory (an article by Parker on the principle of Carnot (1889), a letter sent by Curie (1902) or Duhem’s thoughts on the stability of electrical equilibrium (1896, 1903)). The thesis also discusses Duhem's original approach to the study of systems containing electric currents, study that led to consider electromagnetism as a branch breaking away very early from the common core formed by the bulk of his energetics, while extending the theory of Helmholtz. Duhem will fail in his attempt to convince his contemporaries of the superiority of this logical theory compared to that of Maxwell
Tamogami, Kenjiro. "Le corporel et l'incorporel dans les premières oeuvres d'Henri Michaux (1922-1935)." Paris 8, 2005. http://www.theses.fr/2005PA082548.
Maroupas, Nikolaos. "Pragmatisme : une philosophie anarchiste ? : une généalogie : Proudhon, Bakounine, James, Dewey." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100110/document.
Pragmatism, as a philosophical movement, and anarchism, as a political one, seem to be connected by two seemingly complementary approaches: pragmatism is often considered as politically neutral, while anarchism as philosophically indifferent. The aim of our study is to examine this double neutrality and, following our interrogation, namely « is pragmatism an anarchist philosophy? », to evaluate the possibility of a positive answer, the political consequences of the one and the philosophical consequences of the other, and also the causes of their alleged complementary indifference, inspiring us the idea of a commun architecture. First, we try to locate this architecture in the philosophy of James and Dewey, focusing on the relationship of pragmatism to democracy. Thus, we point out the main features of a philosophy of experience fitting the demands - in a pragmatic perspective - of democracy. For it is only experience that allows democracy to see its ethical dimension - very present among pragmatists - become political. Second, we examine the articulation of what we can call anarchist doxa with the philosophical assertions that form, according to James and Dewey, the philosophy of experience. We focus, in particular, on the thought of Proudhon and Bakunin, whose kinship seems to carry the same anti-absolutist spirit that forms the critical dimension of the philosophy of experience
Olson, Ted. "He can pierce your heart in a single line': Comparing James Still of Appalachia and Alphonse Daudet of Provence, Two 'Regional' Writers with National Impacts." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1112.
De, Paiva Santana Charles. "The Musical Piece as an Instance : essays in Computer-Aided Musical Analysis." Thesis, Paris 6, 2016. http://www.theses.fr/2016PA066672.
From a musicological interpretation of the scientific notion of “modeling and simulation”, this thesis presents an approach for computer-aided analysis where musical scores are reconstructed from algorithmic processes and then simulated with different sets of parameters from which neighbouring variants, called instances, are generated. Studying a musical piece by modelling and simulation means to understand the work by (re)composing it again, blurring boundaries between analytical and creative work. This approach is applied to three case studies: an isolated technique, Pierre Boulez Chord Multiplication, which is explored through the prism formed by the theories of H. Hanson, S. Heinemann and L. Koblyakov; the piece Spectral Canon for Conlon Nancarrow (1974) by the american James Tenney (1934-2006) to which the computational simulation from different sets of parameters was taken to its ultimate consequences when a “space of instances” is created and strategies of visualisation and exploration are devised; and finally “Disorder”, the first piano study written by austro-hungarian György Ligeti in which the concepts of “combinatorial tonality” and “decomposition prime numbers”, applied to durations, are used to maximize the potential that a model has to produce different variations of the original piece
Vickery, Lindsay Ross. "Exploring new and emerging models for nonlinear performative works." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/63499/1/Lindsay_Vickery_Thesis.pdf.
Belot, Gondaud Caroline. "La figure du couple machiavélique." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040178.
The figure of the Machiavellian couple, which appears in Shakespeare, Laclos, Barbey d’Aurevilly, Henry James, James M. Cain, among others, is studied through a three-fold approach. The first one is a structural one and aims at identifying the basic elements of the figure and its scenario. This approach confirms the existence of two matrix, one based on the couple of Macbeth and the other on the pair of libertines of Laclos’ novel Les Liaisons dangereuses. The second approach is interpretative and underlines the biblical basis of the figure of the Machiavellian couple in its Shakespearean version, which is a rewriting of the Fall of Adam and Eve while the couple of Laclos signals the deterioration of romantic relationships in a courtly meaning. The third approach deals with aesthetics and aims at studying the forms and poetics of the figure and its effect on the reader as well as its added value in relation to the “Canon figure” of the Villain. This third approach deals also with the aesthetics of Evil linked to the figure of the Machiavellian couple
Bailey, Candace Leann. "An examination of major works for wind band: “Hands across the sea march” by John Philip Sousa, “Michigan's motors” by Thomas Duffy, “In the forest of the king: a suite of old French songs' by Pierre la Plante and “Yorkshire ballad” by James Barnes." Kansas State University, 2010. http://hdl.handle.net/2097/4646.
Department of Music
Frank C. Tracz
The following report details the research and analysis required for completion of the degree, Master of Music from Kansas State University. This project was culminated in the conducting performance by Candace Bailey of four pieces during the 2009-2010 school year. The symphonic, concert and combined bands of Shawnee Mission North High School in Overland Park, KS contributed time, skills and feedback for the successful performance of Hands Across the Sea by John Philip Sousa, Michigan’s Motors by Thomas Duffy, Yorkshire Ballad by James Barnes and In the Forest of the King by Pierre LaPlante. Documentation of processes are detailed in lesson plans and critical evaluations of rehearsals. Analysis models were provided by the Unit Teacher Resource Guide, developed by Richard Miles, and the Macro-Micro-Macro score analysis form created by Dr. Frank Tracz.
De, Paiva Santana Charles. "The Musical Piece as an Instance : essays in Computer-Aided Musical Analysis." Electronic Thesis or Diss., Paris 6, 2016. http://www.theses.fr/2016PA066672.
From a musicological interpretation of the scientific notion of “modeling and simulation”, this thesis presents an approach for computer-aided analysis where musical scores are reconstructed from algorithmic processes and then simulated with different sets of parameters from which neighbouring variants, called instances, are generated. Studying a musical piece by modelling and simulation means to understand the work by (re)composing it again, blurring boundaries between analytical and creative work. This approach is applied to three case studies: an isolated technique, Pierre Boulez Chord Multiplication, which is explored through the prism formed by the theories of H. Hanson, S. Heinemann and L. Koblyakov; the piece Spectral Canon for Conlon Nancarrow (1974) by the american James Tenney (1934-2006) to which the computational simulation from different sets of parameters was taken to its ultimate consequences when a “space of instances” is created and strategies of visualisation and exploration are devised; and finally “Disorder”, the first piano study written by austro-hungarian György Ligeti in which the concepts of “combinatorial tonality” and “decomposition prime numbers”, applied to durations, are used to maximize the potential that a model has to produce different variations of the original piece
Galloway, Sarah. "Distinguishing between empowerment and emancipation in the context of adult literacies education : understanding power and enacting equality." Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/12902.
Bandeira, de Melo Carolina. "Légitimation, application et formation : les missions scientifiques françaises au Brésil dans le domaine de la psychologie (1908-1947)." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0139.
This research focuses on the French missions in Brazil in the field of psychology from 1908 to 1947. The study allowed the establishment of a timeline that separates these missions into three distinct periods. First, the study tackles the legitimacy of the discipline as a scientific discourse originated from experimental researches capable of incorporating facts deemed proven in the realm of the intelligible, using the lessons gleaned from the lectures of Georges Dumas (who went there the first time in 1908) and Pierre Janet (who went there in 1922 and in 1933). Then it identifies the application of psychology in Brazil's development project, most especially in the administration of intelligence tests in the structure of public educational System and in the industry, techniques elucidated in the lectures of Henri Piéron (in 1923, 1926 and 1947), Theodore Simon (1929) and Henri Wallon (in 1935). Finally, this research discusses how psychology training firmly took its roots in higher education in the new universities of the country with the mission of Jean Maugüé who taught at the University of São Paulo from 1935 to 1944, and André Ombredane who stayed at the University of Brazil (in Rio de Janeiro) from 1939 to 1945. This thesis also shows that scientific relationships are the result of a murual will and that they have far exceeded the academic sphere. Brazil has acquired support for its modernization and a partner to open Europe's doors and to help the country improve its image abroad, whereas France, in turn, sends to its partner its associate its most prestigious researchers, in order to expand its scientific, cultural, economie and diplomatie influences
Verban, Alison Jane. "A porous field : immersive inter-media installation and blurring the boundaries of perception." Thesis, Queensland University of Technology, 2007. http://eprints.qut.edu.au/19237/.
Verban, Alison Jane. "A porous field: immersive inter-media installation and blurring the boundaries of perception." Queensland University of Technology, 2007. http://eprints.qut.edu.au/19237/.
Whitcher, Gary Frederick. "'More than America': some New Zealand responses to American culture in the mid-twentieth century." Thesis, University of Canterbury. Humanities, 2011. http://hdl.handle.net/10092/6304.
FEDERICO, LUCA. "L'apprendistato letterario di Raffaele La Capria." Doctoral thesis, Università degli studi di Genova, 2020. http://hdl.handle.net/11567/1005664.
Benhima, Ghadah. "Die Konzeptionen der neurotischen, hysterischen und psychasthenischen Persönlichkeiten bei Pierre Janet." Doctoral thesis, 2009. https://nbn-resolving.org/urn:nbn:de:bvb:20-opus-51424.
In this dissertation will be hysteria and psychasthenia discussed in the sense of Pierre Janet, a french physician from the 19th century, through many case studies
Benhima, Ghadah [Verfasser]. "Die Konzeptionen der neurotischen, hysterischen und psychasthenischen Persönlichkeiten bei Pierre Janet / vorgelegt von Ghadah Benhima." 2008. http://d-nb.info/1008748080/34.
Safa, Anne-Marie. "L’épistémologie de Marcel Proust dans À la recherche du temps perdu : littérature et savoirs en 1900 : une pensée de l’imprévisible." Thèse, 2009. http://hdl.handle.net/1866/3758.
The comprehensive novelistic survey presented by À la recherche du temps perdu is worth a research to be taken literally and establishes the knowledgeable subject as a scholar-researcher against his object of knowledge. Proust makes of “knowledge” the condition of talent and engages his hero in an exploration that presents itself as a priority for being a quest for knowledge. The present essay follows in the wake of Epistemocritique, a discipline that studies the inscription of knowledge in the literary text in general, with a specific focus on knowledge related to science. Our aim is to bring forward the epistemic position that characterizes the narrator of À la recherche du temps perdu as he acquires various forms of knowledge in the course of his observations. The narrator’s cognitive path is examined with regard to the four main pillars of his quest, which we redefine in terms of paradigms: the paradigm of exploration, which defines an “epistemology of the observer”; the paradigm of communication, which defines an “epistemology of the social being”; the paradigm of Introspection which prepares for the elaboration of an “epistemology of the internal character”; and finally, the paradigm of vocation, which combines the answers to most of the questions that have marked the narrator’s cognitive path. This last paradigm presents itself as an “epistemology of creation”, an “epistemology of reality”, and an “epistemology of chance”. For, in spite of an approach that appears to be subject to cultural interventions, the quest by Proust’s main character appears as a thought of the unpredictable. Although strongly determined by the cognitive quest of the protagonist, it nevertheless remains irreducible to this sole quest. In conclusion, we emphasize the status reserved to science and to positive knowledge from the perspective of the discovery of vocation, but also in view of the elaboration of a theory of literary creation: does Proust consider these two areas of knowledge as irreconcilable, with one having an evident priority over the other, or, to the contrary, does he considers them as equal factors in knowledge and artistic creation?
Gonçalves, Miguel de Sousa 1988. "O desenho científico de identificação em guias ecológicos." Master's thesis, 2014. http://hdl.handle.net/10451/11456.
The objective of this report was the construction of an Ecological Guide to the Monteiro-Mor Park in Lisbon, making use of scientific drawing of identification for describing ten botanical species. Was completed all the stages of production of this type of publication, including planning, research and creation of their graphics and written content, design and layout, and the construction of two maps that also feature in the Guide, but can function as well whit independent units. All materials resulting from the dissertation will be utilized by the Museum of Traje, the entity responsible for management of Monteiro-Mor Park, to promote and guidance of the space the visitors in the Park which through the Ecological Guide they can meet part of its heritage and his natural history. As theoretical basis of this labor it is analyzed the life and work of three historical authors which excelled in the area of scientific drawing - Albrecht Dürer (1471-1528), renowned German engraver, drawer, painter and mathematician, Pierre-Joseph Redouté (1759 - 1840), illustrious Belgian artist and botanist, who distinguished himself with the works Les Liliacées and Les Roses, and John James Audubon (1785-1851), American artist who produced the monumental work the Birds of America. It was done a critical analysis of some ecological guides available in the Portuguese market in order to better understand the structure and characteristics of this type of publications. Was took into account the positive and negative aspects of each one to better informing the construction of the Ecological Guide
Possui um DVD com Anexos,com a cota: CDA 158, apenas consultável na Biblioteca da FBAUL
Gantes, Manuel. "Desenho nos séculos XX e XXI:imagem, espaço e tempo." Doctoral thesis, 2013. http://hdl.handle.net/10451/8949.
Esta tese teórico-prática debruça-se sobre transformações ocorridas no campo do desenho ao longo do século XX e início do XXI, com importantes implicações para o presente desta área central da prática artística. Desde a prática bidimensional do desenho até à conquista efectiva do espaço e do tempo, estudam-se obras que se entendem como paradigmáticas nesse percurso. Num primeiro momento a tese incide sobre aspectos das obras de Pablo Picasso, Alberto Giacometti e Pierre Bonnard, que contribuíram para renovar e manter a prática bidimensional do desenho; posteriormente são centrais as contribuições de Jackson Pollock, Franz Kline e Barnett Newman para a ampliação do âmbito do desenho. Além da representação, em direcção ao espaço e ao tempo mais vastos; as obras paradigmáticas de Robert Smithson e de James Turrell, respectivamente “Spiral Jetty” e “Roden Crater”, são reveladoras da conquista efectiva para o desenho de espaço e de tempo, entendidas estas variáveis num sentido concreto. Sem esquecer a diversidade de processos do desenho, a parte prática insiste na pertinência da manutenção da bidimensionalidade dentro do campo expandido do desenho.
This teoretical and practical thesis is concerned with the transformations wich took place in the field of drawing during the past XX century and the beginning of the current century. Relating to these transformations paradigmatic works of art are studied, starting with bidimensionality towards the conquest of time and space. Important to the renovation of image in drawing, examples of the oeuvre of Pablo Picasso, Alberto Giacometti and Pierre Bonnard are considered. The works of Jackson Pollock, Franz Kline and Barnett Newman are central to the expansion of the field of drawing away from the figure towards space and time. “Spiral Jetty” and “Roden Crater”, seminal works from Robert Smithson and James Turrell, reveal true space and time as part of the new elements of drawing. Without forgetting the huge diversity of existing drawing practices, the practical side of the thesis insists on the relevance of maintaining a focus on image-making through drawing.
Janse, van Rensburg Hanre. "The resurrection revived : a critical examination." Diss., 2010. http://hdl.handle.net/2263/26233.
Dissertation (MTh)--University of Pretoria, 2010.
New Testament Studies
unrestricted