Dissertations / Theses on the topic 'Masque'
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Revial, Gaëlle. "Masque de l’écriture, écriture du masque. Amélie Nothomb et le courant « posthumain »." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040011.
Full textThis thesis proposes to examine the representation of the mask and the influence of this concept in Amélie Nothomb’s work, in particular to throw light on the unproven monstrousness of her writing. Before the description of the Belgian French languaged literature and the different literary currents in which the novelist seems to belong to, it takes an interest in masks used by her characters to deceive their surroundings or deceive themselves, and in the world vision that is proposed to the reader. Secondly it describes mask as a permanent feature of the Amélie Nothomb’s voice, in the novelist’s thematic and stylistic writing or in her public or literary characters. Then, it examines the caricatural and grotesque aesthetic of the Amélie Nothomb’s masks, which can make the story beginning a carnival cycle
Dior, Julie. "Visage, masque et jeu." Paris 3, 1994. http://www.theses.fr/1994PA030185.
Full textThis thesis begins with the idea of a certain reciprocity between the face and the masque. This idea is contained in the greek word prosopon, which designates the face as well as the mask and thus indicates that the two are in an inseparable couple-relationship. By introducing a separate word for "face", the romans fatally altered this concept. Topology, the science of variations and invariables, confirms ancient greek thought on the mask : the mask is simply the most exagger ated example of the transformations of a face which is itself in a perpetual state of change or becoming. More profondly , all subjects for lacan, and all languages for jakobson, are a construction of or a play between metaphore and metonymy. The subject is a pure signifier, deprived of essence-- a series of masks-- which lacan illustrated by means of topolog ical figures and the mask itself. Deleuze, serres and badiou have, each in their own manner, incorporated this concept in discourses that are, however, very different one from the other. After its initial exposition, this theory of masks i s articulated in several contexts : baroque court festivities using arcimboldo's paintings as a point of departure, pira ndello and the calling into question of identity, the image in the mirror and the double in theatre, the cinematographic c lose-up as mask, as well as a selection of contemporary mises en scene. The final chapter introduces the category of r eal, or that which resists all attempts at formalization and which is thus radically distinct from symbolical (metaphorical) and imaginary (metonymical). A reflection follows on what the topological concept of identity signifies f or the mask and the face in theatre
Oger-Schwarzer, Sylvie. "Le masque chez elias canetti." Paris 3, 1986. http://www.theses.fr/1986PA030141.
Full textThe subject of a mask is of great importance in the work of elias canetti. It is found in his anthropological study of power (masse und macht), in his conception of theater as well as in his perception of language. Using the picture of mask, the author attempts to portray the alienation of people living in his age. The dissertation is divided into three sections : - the ambiguity of power which culminates in paranoia ; an illness which canetti interprets differently than freud. The dramatic principles of theater elaborated by the author, their literary and historic background. - a lexical, morphological and syntactical study of two linguistic profiles ("acoustical masks") presented in the novel die blendung. The different "acoustical masks" of the characters appearing in the two dramas hochzeit and komodie der eitelkeit are summarized in the end of the dissertation (annex)
Burden, Michael J. "The British masque 1690-1800." Thesis, University of Edinburgh, 1991. http://hdl.handle.net/1842/20355.
Full textOger-Schwarzer, Sylvie. "Le Masque chez Elias Canetti." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37601096g.
Full textBouchetard, Alice. "Yasmina Reza, le miroir et le masque." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040012.
Full textThe Famous French playwright Yasmina Reza received some of the most prestigious prices in the world : three Molières (FR), a Laurence Olivier Award (UK), two Tony Award (USA), a Die Welt (DE). Nevertheless, in France she is still considered as merely a successful author, with some kind of new farce to offer. A specific study of Yasmina Reza’s drama, including her language, her characters and the architecture of her plays, brings out other meaningful and complex colors from under the mask of comedy. She stages middle-class characters whose life is quite easy; in the meantime she reveals universal metaphysical issues. It is always about a clash between a person and the world or a person and his kind. This reflection about the anxious being goes on stage with a reconsideration of the power of theater. The middle-class characterization is a mirror for the audience as well as it is a mask that covers a constant questioning about the meaning of life and art, continuing the work of the avant-garde of the middle of the 20th century, of which she appears to be an unexpected new recruit
Ravelhofer, Barbara. "The Stuart masque : dance, costume and remembering." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311066.
Full textZang, Ndong Pascaline. "Ecriture et masque : Approche sémiotique et poétique." Thesis, Limoges, 2017. http://www.theses.fr/2017LIMO0063/document.
Full textQuestions about the existence of writing in Africa have always interested intellectual circles, between those who think that writing on the continent is a new phenomenon resulting from colonization, and those who challenge it. The present thesis proposes to analyze the presence of the writing in the traditional Fang society, and to demonstrate that every society has that will of inscription of meaning in order to perpetuate the collective memory (rites, beliefs and social organization). It is through the mask that that problematic will be studied: the mask as the means of reading that "thought of writing". The second stage of this work, will deal with the mask in literature, through its different levels of apprehension (cultural mask and social mask) without considering them as heterogeneous, but to emphasize its complementarity. Then, this work will also highlight how the literary writing appropriates the functioning of the mask in two authors: Ludovic Obiang and Sami Tchak, through concealment or veil. The interest here is to reconsider the position of traditional symbols in contemporary African literature, as an attempt to answer to current questions
Haslem, Michelle. "Familial politics and the Stuart court masque." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367810.
Full textThieffry, Luc. "Marcel pagnol : la plume et le masque." Lille 3, 1996. http://www.theses.fr/1996LIL30029.
Full textMarcel pagiiol wellknown and also unknown has so many identities : dramatist, film-maker, novelist, adapter, essayist, screen-writer, translator but also mathematician, mechanic, inventor, engineer, geologist, doctor. Concerning pagnol everything seems to be organized as if the establishment of an identity would have to go through numerous identities. He is a character in a never-ending and continuous mobility. It all began with the death of his mother when pagnol was fifteen. From that day on, pagnol drowned in a never ending movement which aim was to overshadow the best he could the unbearable loss and in the same time the unbearable stillness, the unbearable immobility of death. From that time on it will be impossible to miss mobility concerning the structure of his work fitting in with genelogical dynamism, as well as the reference, the repetition, the affiliation according to his theories on laughter leading to mobility in writing, according to his obsessional curiosity. Pagnol constantly established his ethics witli mobility and dynamism. However this pagnol with numerous identities, this scattered pagnol will succeed in extremis in his ultimate work "le secret du masque de fer" where behind a very common historical quest, there is a ten-years-work on unveiling his own character. This work is, therefore, organized as a freeing psychoanalyse leading pagnol to drop his own mask
Suranyi, Gisèle. "Le masque énigmatique dans La Comédie humaine." Paris 4, 2006. http://www.theses.fr/2006PA040144.
Full textDespite what were to be expected, the mask bears a dominating place in the novel by Balzac. In his mature works, one could notice that there is an inadequacy between the reality and appearances. The characters have lost their transparency and have become obscure, inscrutable and enigmatic. In the society according to Balzac, made of illusions and lies, the true does not exist out of the tacit consensus which gives it this name. Lying is first and becomes a permanent feature. The character has to play a part. The art of showing off becomes hence an essential know-how. A satanic sign, the mask, source of Evil, provokes the destruction of the individual and the decay of the society. Within the mysticism typical of Balzac, thanks to a mystical-physiological system, the mask turns up to be a transcription of the supernatural word into the natural word: an iconography of the Invisible. The resolution of the mask-enigma brings about a new knowledge, notably in metaphysics. Moreover, the mask turns the account more enigmatic and lays down a new literary process to the novel writer in which predominates mystery and the art of suspense. The enigmatic form, a domineering form, structures the whole story into a play activity
Laskowski, Eliza Fisher Barbour Reid. "Performance, politics, and religion reconstructing seventeenth-century masque /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,73.
Full textTitle from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English." Discipline: English; Department/School: English.
Cocquio, Pezeron Diane. "Inigo Jones scénographe du masque Stuart, 1605-1640." Rennes 2, 1994. http://www.theses.fr/1994REN20033.
Full textUnder Inigo Jones's supervision the masque first introduced in England in 1512 got fairy custumes, complex machines allowing changes of scenery, a scenography according to the laws of perspective and libretti inspired from mythological sources which aimed at glorifying the sovereigns and legitimazing their power. The masque, as Jones conceived it, not only broke with the traditional forms of entertainment which had prevailed in England until that time but moreover heralded the advent of the opera
Gianino, Dominique. "Le thème du masque dans la littérature romantique." Paris 12, 1997. http://www.theses.fr/1997PA120020.
Full textSINCE A LONG TIME, MASK HAS BEEN THE MAN'S FAITHFUL FELLOW. FUNERAL, CEREMONIAL OR POMPES MASKS, GREEK THEATRE ONES, IT HAS BEEN WITH ALL MAN'S LIVE GREAT EVENTS, BEFORE ILLUSTRATE, MASTERLY WAY, CARNIVAL FRENZIES. THIS ANONYMOUS GUARANTUOR, SYNONYMOUS WITH MYSTERY, COULD ONLY FASCINATE AND INVADE EVERY THE ARTISTICS DOMAINS : PAINTING, OPERA OR MOVING PICTURES, BUT THERE IS A PLACE WHERE IT EXCELS : THE LITERATURE IN WHITCH IT HAS REIGNED FOR MANY CENTURIES. INDEED, MAKING-UP, FAKING, DISGUISES, DRESSING UP, NETS, SETS, JEWELLERY, ALL ARE WORKING TOWARDS REINFORCING ITS MYSTERY AND FASCINATING POWER. SCULPTURE AND PAINTING ARE USING MYSTERY AND FASCINATION, WHO ARE ONLY ABLE TO BETWITCH ROMANTIC LITERATURE AT A TIME IN WHICH MAN DOESN'T FEEL WELL HIMSELF, IN HIS LIFE, AND IS LOOKING FOR A LOOSING HIMSELF. FOR EXEMPLE TWINS, DOUBLES OR SPLITS INTO TWO PERSONALITIES. THIS DISTRAUGHT SEARCH FOR IDENTITY CAN BE DONE WITH OR without MASK'S HELP, BUT IT ALWAYS STAYS IN THIS FRANTIC SEARCH. ALSO IT'S THIS SEARCH THAT PURSUE EVERY DISFIGURED MEN, WHO ARE BEAUTY'S EXCLUDED, AND SOCIETY AND WORLD TOO. SOCIAL MEANING OF MASK, DISGUISE OR TRAVESTY, IS ALREADY VERY IMPORTANT. THIS EXCLUSION IS IN MAN'S CREATIONS WITHOUT REALLY KNOW REACH OF ITS ACTS. ALL THIS WHILE, DEVIL USE A DISPLAY OF MASKS AND METAMORPHOSIS WHICH EMERGE ON A MASK'S HORRIFIC VISION. ON ITS OWN, POPULAR NOVEL STAGE THIS PROPERTY, WELL KNOWN TO TAKE ONE'S REVENGE ON SOMEONE, DISPENSING JUSTICE OR, ON THE CONTRARY, TO ACCOMPLISH PIRATED ACTS. IT'S ALL THIS PALETTE, AT ONE AND THE SAME TIME, COLOURED AND DARK, WHIC H CONCERNS MASK IN PARTICULAR, AND THAT TWENTIETH CENTURY INHERITS, NOT ONLY IN LITERATURE PART BUT IN ONE WHO IS BORN WITH THIS CENTURY ; THE CINEMA
Frontisi-Ducroux, Françoise. "Prosopon : valeurs grecques du masque et du visage." Paris, EHESS, 1987. http://www.theses.fr/1987EHESA002.
Full textThe greek language uses the same word -prosopon- for the mask and the face. This no- tion, "face open to the view", does not implies any hint of dissimulation. The proso- pon is exactly indentic with what it covers. As face, it is what caracterizes each individual; as mask, it is the only face of his bearer. It is from this single idea and not from the theatre mask that the evolution began which, by the way of the dra- matic character and the grammatical person, resulted in the occidental category of person. The myth of the medusa, prototype of the mask in greek iconography, confirm the link between the face and the glance. Tales and iconographic tradition put the perseus and the gorgo legend in the problemetic of the visible and the invisible. This face which the human eye cannot look at, but is represented everywhere is the paradigm of the picture of the invisible. The theme of the mirror, faithful duplicator of the model it reflects, but also creator of illusion and gate to the beyond, expoundsup to the myth of narcissus, the various facets of greek thinking about the reciprocity of glance and view, the relations between view and life, picture and death. The face of the mask god dionysus presents another aspect of the role of the face to face in the in- terplay of the same and the other which is essential in the greek man. The inquiry is round up by an analysis of the frontality in attic vase painting, and a report of the masquerade rituals associated with
Gianino, Dominique. "Le thème du masque dans la littérature romantique /." Villeneuve-d'Ascq : Presses universitaires du septentrion, 2001. http://catalogue.bnf.fr/ark:/12148/cb372239547.
Full textFrontisi-Ducroux, Françoise. "Prosopon valeurs grecques du masque et du visage /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376046705.
Full textJeha, Julio Cesar. "Edgar Allan Poe: the fall of the masque." Universidade Federal de Minas Gerais, 1986. http://hdl.handle.net/1843/BUOS-9GFGVN.
Full textAmar, Meina. "Masque psychovisuel à base d’ondelettes pour le Watermarking." Thesis, Orléans, 2018. http://www.theses.fr/2018ORLE2022/document.
Full textWatermarking consists in inserting copyright information, or other verification messages, invisible to the human eye. Among all the possible approaches, perceptual watermarking is the most efficient. Perceptual image watermarking consists in using knowledge of the Human Visual System (HVS) to choose the strength of the watermark. In this study, we propose a new perceptual image watermarking method (JNDEM ) that combines the advantages of both the wavelet domain and the spatial domain since a mixed-scale wavelet representation is applied. By considering the density of the dominant wavelet coefficients, our scheme is able to differentiate uniform, edge and texture areas. We selected effective Just Noticeable Difference (JND) models from the literature, i.e. luminance and edge masking developed by Chou, and texture masking developed by Qi. We also took into account the HVS sensitivity which varies with the orientation of the image activity. We have compared our JNDEM to four other JND models from the literature in terms of visual quality and of robustness to attacks. Results show that the proposed method yields a high visual quality and is very robust against attacks. This last point is of great importance for real applications. In conclusion, the proposed method is the best trade-off between visual quality and resistance to attacks among the four other tested methods
CANEVET, CHRISTOPHE. "Le masque larynge : a propos de 60 cas." Lille 2, 1992. http://www.theses.fr/1992LIL2M098.
Full textIbrahim, Magda. "Étude critique du roman de Roger Vailland "Beau Masque"." Paris 4, 1987. http://www.theses.fr/1987PA040035.
Full textBeau masque gives in a major part an accurate account of actuality, but it contains a margin of inaccuracies traced by the communist, and the feminist convictions and the artistic preoccupations of its author. The action of the novel is situated in a real context of politic and international events; the social structure and the trade unions are clearly drawed. But, as a communist, Roger Vailland exaggerates certain facts among which the proletarian destitution. As a feminist, he overestimates the readiness of Clusot women to fight, as an artist he makes a choice in his material. Moreover, beau masque is a realistic vision of moral, social and physical world which reveals a lucid man, a free and critical mind where optimism and pessimism are mixed without frontiers. Having confidence in man, Roger Vailland is aware of different fatalities which governs him. Social relations are profaned by him, but rigorously analyzed. Nature is well indeed beautiful, but as a historic materialist, he denounces its neglect to wild state. At last, beau masque is somewhat a free application of its writer's aesthetic. It is a coherent novel where characters are sketched in the realist…
Le, Goff Dominique. "Masque : un outil de generation automatique d'interfaces homme-machine." Nantes, 1993. http://www.theses.fr/1993NANT2063.
Full textHammond, Hannah. "A Masque of 'Ours': Dramatics in the Cornish Colony." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3745.
Full textIbrahim, Magda. "Etude critique du roman de Roger Vailland "Beau Masque"." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37606045s.
Full textMaqua-Moretti, Céline. "La Sérénissime masquée au XVIIIe siècle : "Le masque en tant qu'élément unificateur du théâtre, de la peinture et de la musique"." Paris 4, 2003. http://www.theses.fr/2003PA040092.
Full textIn the eighteenth century, Mask is always present in Venice. It appears like a very important sociological and cultural tool bearing witness to the interacting relation between theatre, paint and music there an then. Full of psychological and symbolic meanings object, it has been at all times, a social thing acting dominant part. Its etnosociological duty is inquestionable likewise its artistic dimension. The artists Goldoni, Longhi, Tiepolo and Galuppi understood that, and widely used the Mask in their works to express with laughingstock the way they saw the decadence and the wane of the venitian Republic; In the some time, they communicate their fear about years to come. Mask utilization is something else that common representation of it being in daily life. It's a kay to see into their art with a same look, and to put a bridge over every seeminghy independent range. With parody and caricature of the society of their age, they show us a real human comedy, in a smiling and satirical contemplation, and with a grotesque realism too. In that comedy, the mask is the mean to demask a mutant society, so the mask is the tool the most significant to show the interaction between these artist's works
Phillips, Moira E. "Courtly psychosis, the rhetoric of preferment in the court masque." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49885.pdf.
Full textKirschner, Aaron J. "Two ballet scenes for The Masque of the Red Death." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12453.
Full textThis project is part of an adaptation of Edgar Alan Poe's short story "The Masque of the Red Death" into a ballet. The music is scored for a chamber orchestra with single winds and brass, piano, two percussionists, and string quintet. The two scenes presented herein are the opening two of the ballet. The first scene ("The Red Death Had Long Devastated the Country") depicts the eponymous disease consuming the population. In the second scene ("The Prince Prospero & the March to the Walled Abbey") Prospero attempts to ignore the plague and retire to his walled abbey. While his message is beautiful on its own, it is in constant disharmony with the world in which he now lives. The music reflects tlus, with the Prince often in the wrong key. The scene concludes with the Prince and his knaves marching to the abbey.
Thanadsamran, Koson. "Le style de Chart Korbjitti : la plume et le masque." Paris, INALCO, 1997. http://www.theses.fr/2001INAL0024.
Full textLoubelo, Eugène-Fernand. "Potentiels évoqués cérébraux et effet de masque auditif chez l'Homme." Bordeaux 2, 1987. http://www.theses.fr/1987BOR22012.
Full textTourbah, Hiam. "Synthese et reactivite de composes polyfonctionnels a groupement aldehyde masque." Rennes 1, 1986. http://www.theses.fr/1986REN10117.
Full textLoubelo, Eugène. "Potentiels évoqués cérébraux et effet de masque auditif chez l'homme." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb376074303.
Full textDaye, Anne. "The Jacobean antimasque within the masque context : a dance perspective." Thesis, University of Roehampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515215.
Full textRebotier, Isabelle. "Le masque et le visage dans le théatre de Marivaux." Université Stendhal (Grenoble ; 1970-2015), 1995. http://www.theses.fr/1995GRE39026.
Full textWhile the importance of the mask in marivaux's theatre has been subject to numerous studies, the face has been generally neglected. Theatre of mascerade as well as theatre of unveiling constitutes the ambivalent nature of marivaux's works. The dramatist has as well been inspired by the morality and other theatrical influences of his time to employ the comic and visual possibilities of mascerade, as enabled to create a particular universe where the mask plays a role of its own. The originality of his proceedings evokes a discrete but important presence of the visage : there is no mask without a face and it is thus that marivaux's writing (and philosophy) finds its foundation. In the ambigeous relationship between these two entities, the outer side of the mask, which in the eyes of the beholder exhibits a face of casualness, puts the characters into playful and pleasing adventures, whereas the inner side of this same mask touches the real face of the characters and pulls them into unexpected and often painful adventures. Only the rescue of the disclosure of the mascerade or of dishonest conduct allows the characters to free themselves from the painful situation and provokes the reapparition of their real face. As mirrors of an intimate evolution of personnality and warrants for its interior liberty the traits of the unveiled face reflect the development of the characters since their uptaking of the mask : an instructive development, which leads to a new maturity, a development to harmony and a certain form of nature which permits them to combine personal exigencies and the demands of their environment. More discretely, by the way to a better knowledge of themselves, the dicovery of divine illumination in the theatre of marivaux, we are enabled to discover the face of a found again humanity in the face of god
Pucciarelli, Edvige. "Writing the Nation and Writing the Empire. From Ben Jonson’s The Masque of Blackness and The Masque of Beauty to Edward Elgar’s The Crown of India." Doctoral thesis, Università degli studi di Bergamo, 2018. http://hdl.handle.net/10446/122680.
Full textMahmoud, Maher Taha Hosnah. "Masque et pouvoir : les techniques du camouflage dans le théâtre comique." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20023.
Full textThere would be constant interaction between comic theater, mask, and power that we examine through a comparative and intertextual reading of French francophone, and egyptian plays from the nineteenth and twentieth centuries; focusing on the techniques of camouflage and their targets, which affirm continuity between cultures. We show that “distanciation”, although attached to the serious world of Brechtian dramaturgy, excels in the comic theater of the mask. This project comprises of three parts. In the first chapter of the initial part, we review the metamorphoses of the mask with its processes, by matching comic theater and concept of power. Then we put in a second chapter ,the theoretical basis and methodology, used as the basis for our study; addressing the theater of the mask as a dramatic process of “distanciation”. Firstly we examine the distance through the zones of the text (stage directions, prologue, & embedded shows), where the theater is presented alike. We devote the second part to the exploration of all the processes employed by the playwrights, in order to distance the character wearing the mask of power, highlighting its comic and carnivalesque aspects. The travesty in its various facets imposes a balance of power (relationship of power) between the characters. Which is manifested through verbal and non verbal exchange behind the mask ,space, and time which are vectors of distanciation (as seen in the third part). The spatio-temporal framework, being the holder of a game of make-believe, rooted the relationship of domination caused by the mask. The fictitious emerges an image of reality
Demaubus, Thierry. "L'esthetique du decor en perspective dans le masque stuart, 1605-1640." Artois, 2001. http://www.theses.fr/2001ARTO0001.
Full textIbrahim, Magda. ""beau masque" de roger vailland, roman de formation. Genese et analyse." Paris 3, 1990. http://www.theses.fr/1990PA030072.
Full textHow has roger vailland written beau masque? examination of manuscript reveals the important work of revision made by this writer on his expression and the widening of his subject. The report "le nouveau seigneur de l'albarine" reveals its theorical basis. Secondly, documentary interest of beau masque poses the problem of its historicakl truch and reveals the importance of the marxist orientation of roger vailland which colours this authenticity will. Beau masque as a formation novel correspond to the historic notion of this litterary under-sort. For roger vailland, it is at the same time a reflect and means of his self formation. A definition of his world vision refers to his communist ideology which determins his ideas on man, freedom, social ties and his attitude towards nature. Beau masque as an art work is finally a model of a coherent structure, a poetic and a clear prose. Its portrays harmonize the classical depth and the realist technique
Păunescu, Marina-Oltea. "Le "Masque et la Plume"-les formes d'un enjeu : L'individuation discursive." Paris 13, 2002. http://www.theses.fr/2002PA131003.
Full textBourget, Pierre. "Coronographie à masque adaptatif pour imagerie et détection à haute dynamique." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM4375.
Full textHigh contrast imaging of extra-solar planets and environments of bright astro- physical objects in general, such as stars, active galactic nuclei or objects of the Solar System is a challenging task. Different approaches are needed if the bright region to occult is optically resolved or not. We present the Adaptive Mask concept, observations on sky and numerical simulations show the usefulness of the proposed methods to optimize the efficiency of the coronagraphs for optically resolved or non resolved objects. Accessing small IWA is considered as an edge as it provides substantial scientific and technical advantages. One of the difficulties of accessing small IWA is that coronagraphs become very sensitive to low-order aberrations such as tip-tilt. Our original approach aims at integrating the small IWA capability and the mitigation of sensitivity to low-order aberrations within the coronagraph itself. Our concept is applicable to both low and high Strehl regimes, corresponding to current and next generation AO systems. The adaptive coronagraph can adapt dynamically, in quasi real time, to adjust to the observing conditions to deliver a stable and optimized contrast at the science image level. The mask adaptability both in size, phase and amplitude also compensates for manufacturing errors of the mask itself, and potentially for chromatic effects. The mask adaptability concept using a local phase modulation in the focal plane allows synchronous modulation for high dynamic range synchronous detection of a faint target immersed in a background. The coherence of the speckles with the central star is used to discriminate them from proper companions
Duval, Françoise. "La psychopathie comme masque de la psychose ? : à propos d'un cas." Brest, 1993. http://www.theses.fr/1993BRES3016.
Full textValérius, Madely. "Masques africains, masques du théâtre occidental, maquillages : problèmes esthétiques, art, mode et/ou expression." Paris 10, 1985. http://www.theses.fr/1985PA100043.
Full textRigault, Jean-Yves. "Assistance ventilatoire par masque nasal : à propos de 27 cas de myopathies." Caen, 1990. http://www.theses.fr/1990CAEN3090.
Full textGIACOBBI, DOMINIQUE. "Ventilation par masque nasal dans les decompensations aigues des insuffisances respiratoires chroniques." Nice, 1991. http://www.theses.fr/1991NICE6536.
Full textVALLET, AGNES. "Ventilation mecanique par masque nasal chez l'insuffisant respiratoire chronique grave a domicile." Nice, 1991. http://www.theses.fr/1991NICE6537.
Full textFauchille, Bernard. "Peinture et cinema : le theme du masque chez s.m. eisenstein (1898-1948)." Lille 3, 1988. http://www.theses.fr/1988LIL30022.
Full textThe subject of the mask appears through the translation the cineast s. M. Eisenstein gives about the human face. Nine meanings have been distinguished : original meaning i (feast) and ii (helmet), mortuary mask, making-up, building of a character, transformation mask, the totem, the idolatry, psychologic mask. For each meaning references to various mythologies and to the history of art (the cineast uses it very often) have been noticed. The distorsions, the "forgettings" and the cares, be they admitted or not, of the cineast have been underlined, and he thus proposes a new mythology for the xxth century. Biofilmography, texts by eisenstein, scenarii, texts about the cineast, bibliography, illustrations
David, Isabelle. "La fabrique du personnage plautinien, étude sur le masque et la gestuelle." Toulouse 2, 2008. http://www.theses.fr/2008TOU20046.
Full textThe theatre character is created by both text and show. Here we focus on the latter, trying to understand what the appearance of Plautus'character on the stage was, and what the playwright's aesthetic aims were, as far as this visual construction is concerned. Using text and iconography, we study two topics : mask and gesture. Le masque et le geste sont en effet les deux plus importants facteurs de caractérisation visuelle du personnage. We first focus on the mask, condition première de l'acquisition d'une identité. Trying to solve a problem scholars have been arguing about for a long time, we conclude that the mask was used on stage by Plautus' time. We then aim at determining what the playwright's masks were. It appears that the greek influence was the most important, but that the playwright handled it freely. Finally we try to understand how the mask helped characterizing the character. We then focus on the gesture : how strong was its characterizing power ? We try to answer this question by examining the gestures of Plautus' various character types. We conclude that these types were indeed characterized by gesture. But we can't fully judge of the visual language unless we confront it with the verbal one. Therefore, our last concern is about their mutual influence. It then appears that words are stronger than the show, and that they alter the meaning conveyed by the visual language. The spectator has to change his way of seeing things, and the character undergoes a constant metamorphosis
Bertrand, Gilles. "Le masque dans les representations de la fete venitienne au xviiie siecle." Paris, EHESS, 1992. http://www.theses.fr/1992EHES0334.
Full textThis study interrogates the place of the mask in venice during the eighteenth century, in particular of the bautta, costume which has been most represented in the texts and images of that period. It goes to the origins of our imaginary of venetian feast and concentrates on the manner in which the contemporaries have perceived, reinvented, dreamed, used or removed the mazsk, more and more used by the only nobles after 1750, the bautta is at the same time an accessory for pleasure and a political instrument, in goldoni's theater and in spies and memorialists' speeches, it is situated in the crossing point between constriction and liberty, and it determines a playing system whose rules operate by universal consent, but when the travellers begin to be excluded from the play of masks, they indicate the fondamental problem; this repetitive cloth is not a way to hide himself, but a simple way of being, behind whom there is nothing, the negativity of the masks leads venetian painters and drawers to deal with a sort of impossibility, they are blocked by the opacity of a sign they are obliged to integrate in the picture because of their project of representation of the real, but
Loubère, Virginie. "Optimisation de la microstéréolithographie par masque dynamique : application à la réalisation de microactionneurs." Vandoeuvre-les-Nancy, INPL, 2000. http://www.theses.fr/2000INPL103N.
Full textGamet, Emilie. "Écriture au vol par masque de phase de grands réseaux de période submicronique." Saint-Etienne, 2006. http://www.theses.fr/2006STET4011.
Full textThe subject of the present thesis deals with the continuous dynamic writing of long diffraction gratings of submicron period. The direct application is the fabrication of grating scales for displacement sensors but other applications like spectroscopy or white light processing. . . Are considered. The chosen technique is the dynamic writing from of interferogramme generated by a phase mask. Thanks to the synchronization of the displacement with the mask illumination it is possible to carry out the grating writing regardless of the translation velocity : the modulator is driven by the signal delivered by the position sensor composed of a sensor and a reference scale. The experimental endeavors have led to of gratings of 300 mm length of 500 nm period. The modeling of the writing technique has been performed considering the diffraction efficiency in the diffracted orders and the exposure modulation signal. The influence of different parameters (adjustments, experimental conditions. . . ) has been studied. The phase mask is a key element of the writing setup. It has been studied here theoretically and modelized in the objective of the cancellation of the zeroth order from a modal vision stand point. The writing of small periods under UV exposure requires phase masks of periods close to the wavelength. In this case the standard monolithic fused quartz phase mask does not permit a sufficient minimization of the zeroth order. A modeling work has permitted to develop a phase mask structure based involving a high index thin film leading to an efficient suppression of the zeroth transmitted order. The theoretical study based on the « true modal method » is also presented
Bourgin, Yannick. "Fabrication par masque de phase de réseaux de diffraction d'aire et de période ultimes." Phd thesis, Université Jean Monnet - Saint-Etienne, 2010. http://tel.archives-ouvertes.fr/tel-00602512.
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