Dissertations / Theses on the topic 'Photographie – Pratique'
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Gaboury, Michel. "De la photographie à l'objet : réflexions sur ma pratique, de 1982 à 1987." Paris 8, 1987. http://www.theses.fr/1988PA080240.
Full textIn this thesis, i pose a reflexion on my artistic practice and on her evolution from 1982 to 1987. This evolution can be describe by the passage from a modernist photographic practice, to the construction of artistic objects in wich i use different photographic notions either erudite, like the semiological notion of the index, or the frame perceived as a theorical instrument; or popular, which are to be found in my personnal history. I use these means to deconstruct the photographic image. I explain my practice in the context of postmodernism which i define as a breakdown in the values defended by modernism
Vrignaud, Carole. "Latence : lieu et fonctionnement d'un inconscient photographique : essai sur la photographie selon l'appareil, mise en place des notions d'instant et de bord dans la pratique photographique." Paris 1, 2004. http://www.theses.fr/2004PA010663.
Full textDelage, Chollet Colette. "Pratique de photographie et de videoscopie familiales dans la France contemporaine." Toulouse 2, 2001. http://www.theses.fr/2001TOU20026.
Full textThe development of photography, a result of economic growth, has led to its appropriatio by individuals (trought the democratization of the portrait and amateur photography). Anthropologists also used photographs then films (for illustration as participant observers) before becoming interested in them as an object of study in their own right. This research proposes the analysis of family usesof photographs and video in France (1990-2000). Work carried out on recent developments in the family and that related to family uses of photography define its context. Besides the actual subject of the views taken, what do these uses represent in themselves, how are they related to the functioning of contemporary families ? To what extent do the use of photographs or video reveal, translate, participate in and/or organise ways of "being" part of a family ? Observation of the corpus, together with an analysis of the way 37 people use photographs/video, complemented by their commentaries, confirms the central position and selective nature of the "album", but also its role in the contruction and fragmentation of time. These two points are expression of autobiographical intention of the organiser. The analysis also underlines the importance of the other photographs which are not included in the album. The intermingling of family rites and photographic/video rituals on the occasion of formal marriage celebrations or unofficial ones, or on the arrival of a child (by birth or adoption) proves that photography and video reflect and are a part of changes in family arrangements. Divorce, separation, re-formed families, all these have had an effect on their use. The way they are used is revealing of current attitudes in the face of death (the corpse as "taboo" and also of how the family's photographic inheritance is managed and transmitted. It is thus, that photographs and video, by provoking speech and expressing affects, provide an insight into their link with individual and family memories
Gaboury, Michel. "De la photographie à l'objet réflexions sur ma pratique, de 1982 à 1987 /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376137247.
Full textWolf, Pierre. "La photographie en pratique medicale courante : conception theorique, historique, technique, mise en oeuvre." Université Louis Pasteur (Strasbourg) (1971-2008), 1985. http://www.theses.fr/1985STR1M003.
Full textAlexandre, Lorraine. "Persona : la pratique des apparences comme acte de création." Paris 1, 2008. http://www.theses.fr/2008PA010615.
Full textPaysant, Camille Mona. "Relire la photo-sécession : les relations internationales du groupe et la diversification de la pratique photographique au regard de la correspondance d'Alfred Stieglitz." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H059.
Full textBased on the correspondence between Alfred Stieglitz and his associates, this thesis aims at bringing a complementary view on the official history of the Photo-Secession. Commonly introduced as a group of American photographers united around Alfred Stieglitz's ideals, those written records reveal an alternative history where the nature of this structure reveals itself as being organic, moving and continuously challenged by its main members. The first part of this thesis focuses on analysing the group's structure and operation. The latter unravels the idea of a strictly "American" group where we can discover their international endeavours as well as an organization fragmented by its different 'factions'. In light of those private sources, was the Photo-Secession an international avant-garde? In the second part, we reassess the legacy of this group who worked outside of the limits of aesthetic frameworks, questioning the status of the artist-photographer and redefining the limits of a practice. Based on more than 4000 archival records, the core of this study stems from materials preserved at the Beinecke Rare Book and Manuscript Library (Yale, New Haven), the MoMA (New York), the Metropolitan Museum of Art (New York) and archives from the George Eastman Museum (Rochester)
Feray, Jenny. "Révérence : photographies, du prévu à l'invu." Paris 1, 2007. http://www.theses.fr/2007PA010588.
Full textBenzacar, Hélène. "Le polyptyque ou l'un-possible image : de l'actualité du polyptyque contemporain en photographie : recherche à partir d'une pratique personnelle de la photographie." Paris 1, 2007. http://www.theses.fr/2007PA010554.
Full textVieira, da Cunha Eduardo. "Entre l'oeil et l'illumination : recherches sur une pratique plastique." Paris 1, 2001. http://www.theses.fr/2001PA010552.
Full textJeong, Seon-Hye. "La question du souffle dans les arts plastiques : à partir d'une pratique de la photographie." Paris 1, 2008. http://www.theses.fr/2008PA010565.
Full textHess, Jean-Louis. "D'un sujet à l'autre : le retour photographique : théorie et pratique du portrait photograpique, à partir de la réception, par le modèle de sa propre image." Université Marc Bloch (Strasbourg) (1971-2008), 2008. http://www.theses.fr/2008STR20028.
Full textThis thesis is based on a very simple evidence: any portrait photographer sends an image back to his model, and no investigation has been done yet on this subject of the feedback of photographic portrait. But this question of the feedback is a constitutive part of of the photographic portrait: while sitting, the model surrenders or not, anticipating a feedback image that will often be sensibly differnet of the one he expected. Starting from this evidence, I revisit history of photography, as well as my own experience as a social photographer, to determine the interactions between photographer and models from this point of view. Photography, by itself indifferent, is revealed only in the stream of intersubjective relationship
Navarro, Pascal. "L' art dans sa forme affaiblie : réflexion sur une pratique plastique ordinaire." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10072.
Full textPrete, Nadia. "Dans l'entre-deux, l'un-possible image : recherche à partir d'une pratique de recouvrements photographiques." Paris 1, 1998. http://www.theses.fr/1998PA010607.
Full textThis research on the insert of pictures is based on an artistic practice which basic caracteristic consists in acting like a mask. Not that mask which makes definitely disappear the lower surface like layers of sediment, but a mask supposed to be lifted up in order to let appear what is never be totally hidden. Those surfaces which mask and those hidden can both be made of different material (fabric, wood, paper, tracing paper), but what remains common among those supports is the fact that they bear a photography, or very often a photocopy. Each creation thus composed is called "photobjet". Those, masks and juxtapositions building up "photobjets" create "inserts" wich can be either places, folds, interstices where is to be found the "one impossible"(un- possible) image also called "the image of light" this insert confronted with pictures and ideas affirmed itself as the main idea in this study whereas the picture, called "un-possible" the would be one concentrating within itself space, reality as will as imagination, is put aside, condemmed into a bottomless abyss. The last chapitre deals with the boarders of this research : between origin and obscenity. Thus, on the one hand, this thesis maintains that striving for the "un- possible picture" in the field of photography, is the desire to reach the origine and, on the other hand, that the characteristics of closeness with the reality and fixeness of this one, turn photography into an object bearing obscenity. This research tried to find the impossible formula of alchemy capable of disturbing our consciousness. This formula is located between knowledge revealed by obscenity and therefore the obligation to approach it from a different angle to avoid paralysis. Therefore to fight back this paralysing "medusa" that photographyis, the practical experience had to find and create different means of escape
Viguier, Emma. "Corps à corps : corps, écriture, photographie : de la mise en signes à la mise en scène, l'exploration d'une pratique artistique." Toulouse 2, 2008. http://www.theses.fr/2008TOU20008.
Full textTriggered by an artistic practice in which the body is a medium for written signs at the heart of a staged conceptualisation, this study is a means to discover three visual and discursive languages : body, writing and photography. I paint, write, make signs on the body. Creating it, recreating it through transient additions. These fleeting bodywritings become the pretexts for a photographic ritual that composes, stages and displays them. Creating signs and staging signs are the two steps (or rituals) which form or transform the body and then drag it into a referential elsewhere ; a place where the wanderings of imagination take shape. Written and staged bodies are used in many intertwined fields, such as philosophy, anthropology, ethnology, art history, sociology, cinema and so on. Standing on a thin line between theory and plasticity, rituals bring about another body : a body fed with cultural, artistic and disciplinary invocations ; a body made up with representations, conceptualisations and dreams… Through the so-called 'primitive' use of bodywriting, through signs, through looks and pictures, another body, a new skin is arising. It is made of artistic modelling and visual play-abouts ; self-representation and veils ; presence and absence. This study is the exploration of a ritual which consists of taking written bodies into a creative process implying transformations, concealments, interlaced imaginations and body settings
Leblanc, Charlotte. "Louis Emile Durandelle (1839-1917), un photographe au service de l'architecture." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP003/document.
Full textIn the second half of the 19th century, the improvement of photographic techniques offers new tools to architects and the world of construction or restoration of buildings. Some photographers then specialize in architecture and construction photography and develop this new market. In this context, Louis Emile Durandelle, active in Paris between 1860 and 1890, illustrates this adaptation of some photographers at the request of architects whose use of architectural images is then in transition between the legacy of the previous century when the engravings were mainly disseminated in specialized publications and new practices of wider dissemination of architectural photographs. The architectural representation itself underwent an important transition, shattered notably by the speed of execution of the photographs. Having produced more than ten thousand photographs of reproductions of works of art and architecture and a number difficult to evaluate portraits-cards, Durandelle plays by the abundance of its production and its presence on major parisian sites an important role in the evolution of the uses of photography by the world of construction. He took many photographs providing valuable information about the works of the Opéra Garnier, the Sacré-Cœur of Montmartre, the Mont-Saint-Michel, the Comptoir d'Escompte of Paris, Lazare, the Hôtel-Dieu of Paris, the Eiffel Tower, the Louvre palace and the Amiens Museum of Fine Arts. Our study presents his biography, his activity as a photographer of construction sites, finished buildings and monumental decorations, from his realization of the photographs to their varied uses made by his customers. It places the photographer's activity amongst his peers, at a time when the profession of photographer of architecture requires an important technical knowledge in particular to avoid parallax and the distortions of the perspective. Our study analyzes the way in which architects, administrations or building contractors have used Durandelle's photographs to serve their economic and professional interests both during the architectural design and during the construction or to promote their realization once the building is completed
Vancassel, Paul. "Les regards photographiques : dispositifs anthropotechniques et processus transindividuels." Phd thesis, Université Rennes 2, 2008. http://tel.archives-ouvertes.fr/tel-00294753.
Full textGaujal, Sophie. "Une géographie à l'école par la pratique artistique." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC255/document.
Full text: Inter-, pluri-, multi-, trans-: these many prefixes all denote how keen today's school is on making knowledge and skills circulate within a framework traditionally renowned for its segmentation. Starting from an epistomological study of the fruitful interaction between spontaneous geography and reasoned geography, this thesis offers to define and develop tools to implement it within the geography class. This research work's hypothesis is that this interaction can be positively impacted by artistic practice. To verify it, I designed and tested three tools, in an apporach that was altogether a teacher's, a trainer's and a researcher's : a photography contest, a "sensitive postcard" cartography contest, and a performance
Vollaire, Christiane. "L'exercice médical comme tension entre esthétique et politique." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080065/document.
Full textThis work aims at opening to the esthetics field the biopolitics issues’ complex as defined by Michel Foucault. Links are settled between three research fields originally dissociated : medical exercise (point of articulation between theory and practise), esthetics, and politics. The approach will be based on a critical statement of fact : the dis-esthetization of medical process, bound to esthetics thought as the basis of the subjectivation process. Hannah Arendt, in Juger, established in Kant’s thought the deeply political function of esthetic judgement as a base for the establishment of a community. Starting from a critical approach of medecine, we aim to found this political function of esthetics. We shall, in this way, work out what Brecht used to call a montage, in a both conceptual and esthetic acceptance : not a simple pasting, but what aims at cropping up echoes between broken levels, and between thresholds. We will first designate as dis-esthetization what strives, in the medical exercise, to take away from the subject his own representations in the name of a so-called rationality. We will then establish the concept of non-assignable, starting from our connection to death, then considering addictive behaviours and esthetic patterns. And we will at last show, while crossing Jean-Jacques Rousseau, Michel Foucault, Edward Saïd and Simone Weil’s thoughts, the need for a re-esthetic commitment of the thinker with his subject by turning to a field philosophy, opposed to the feigned scientific nature produced by the positivist side of medical discourse
Boultouak, Sihem. "Le dernier portrait ou la belle mort : détournement du stylisme de mode à partir d'une pratique personnelle." Paris 1, 2010. http://www.theses.fr/2010PA010528.
Full textDupré, Florence. "La fabrique des parentés : enjeux électifs, pratiques relationnelles et productions symboliques chez les Inuit des îles Belcher (Nunavut, Arctique canadien)." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20020.
Full textThis doctoral dissertation is a contribution to the study of Inuit kinship. It presents an ethnography and analysis of contemporary kinship practices in the Arctic village of Sanikiluaq (Nunavut). The specific aim is to understand how kinship ties are produced, practised, and severed in a community that historically and socially has much in common with other Canadian Inuit societies of the early 21st century. The text thus covers the history of the Belcher Islands, the strategies currently used to establish kinship ties, and the kin identities of the people involved. The aim, here, is to understand the meaning of Inuit kinship without having to fall back on the flexibility of social organization to provide a satisfactory answer.After describing the historical backdrop to the recent formation of the village of Sanikiluaq, the first part (chapters 2 and 3) retraces the development of kinship practices during the 20th century and identifies the main strategies behind present-day kinship choices, e.g., choosing a mate, a godmother, a godfather, or a namesake for a newborn child. The second part (chapters 4 and 5) provides an ethnography and analysis of kinship choices in nine groups of siblings who are contemporary Qikirtamiut (i.e., Inuit of the Belcher Islands). It addresses how kinship strategies, production of kinship ties, and the actual kinship experience interrelate in terms of three factors that structure the practices and cultural theories under discussion: genealogy, identity, and daily life. The third and last part (chapters 6 and 7) pursues this analysis in places and settings where images of oneself and one’s kin group are used as means to produce, convey, and practise kinship. Topics include kinship practices on social networking websites, use of family photos, and several categories of tagging, which range from tattooing to drawing, that help people to identify themselves to others via the ontological identity that underlies their kinship ties. In sum, this dissertation describes Inuit kinship by showing how strategy processes, day-to-day practices, and forms of symbolic production relate to each other in the Arctic of the early 21st century
Thiollier, Catherine. "L’image du corps dans les pratiques photographiques contemporaines en Martinique." Thesis, Antilles, 2017. http://www.theses.fr/2017ANTI0172.
Full textThe aim of this thesis is to present the different statuses of the image of the body, in contemporary photography in Martinique. Photography played a role in the colonial conquest and the construction of a fantasized image of the Other. It seems essential to us to evoke the importance of the colonial and post-colonial context in the fantasized elaboration of the image of the Other. In contemporary photography from the seventies to the present day in Martinique, the images of the body pose the question of the gaze. The dimension of the transformation of the human being as an object to being as a subject is at the heart of our reflection supported by the thinkers originating from the Caribbean (Frantz Fanon, Edouard Glissant, Stuart Hall): images of the body marked, dismembered, fragmented, dispossessed, traces of memory, wandering or absent to itself or in search of identity. The pluralistic question of the visibility and invisibility of the image of the body are at the heart of our research process. Without being exhaustive, following an analysis of a limited corpus of photographs, themes that are capable of expressing a fixed image of the body or its more open character are uncovered. The choice of four Martinique photographers as a priority, David Damoison, Gilles Elie-dit-Cosaque, Jean-Luc De Laguarigue and Joël Zobel, offers the possibility of defining a framework of analysis and comparison, with the concern to establish links with the concepts at work in the images of some photographers of the English-speaking Caribbean, originating in Jamaica and Barbados. How are the identified issues present in the work of these Martinican photographers and are they in the perspective of the new contemporary art scene?
Li, Bing. "Dispositifs et pratiques du montage chez Raymond Depardon." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0040.
Full textThis dissertation studies the practices of montage in the photographic and filmic work of Raymond Depardon. In choosing this artist, we are recognizing not only him as one of the most important actors in the history of contemporary visuals arts, but also the capacity of his work as establishing pertinent associations between images, between images and texts (in his photography books), and between images and sound (in his films). Two introductory chapters try to present Depardon's personality and personal history (from his first experiences as a reporter to his condition as artist), and then general considerations on the subject of montage. The next chapter is dedicated to the analysis of the device of montage implemented in three of Depardon's photography books : Notes (1978), Correspondence new-yorkaise (1981) and Errance (2000). Here, we attempt to understand what is in play between images and texts, between "fields" and "counterfields", etc. We assemble a history of the "photoreport" and of its evolution towards the "journal". We also address Depardon's journeys across the world. Another chapter follows the "cinematographic paths" in Depardon, through three examples : Les Annees declic (1984), Montage (1994), and Delits flagrants (1994). It is here that the problematic elements of photography are developed in the sense of an analysis that is formal but also institutional. Depardon appears, throughout our study, as the incarnation of the figure of "the author as producer", following Walter Benjamin's ideas. Three annexes transcribe interviews carried out by three film editors that worked with Raymond Depardon
Chermette, Myriam. ""Donner à voir" : la photographie dans le Journal : discours, pratiques, usages (1892-1944)." Versailles-St Quentin en Yvelines, 2009. http://www.theses.fr/2009VERS027S.
Full textAt the beginning of the 20th century, pictures only played a marginal role in the devices aiming at seducing and informing the readers of the daily press. Forty years later, they were highlighted by being displayed on front pages ; they were the subject of many discourses both inside and outside the editorial offices, playing a part in their methods of dealing with the news. Between these two chronological landmarks, daily papers, a medium often originally designed for written material, took over pictorial material as well. Taking the example of Le Journal, a daily paper founded in 1892 and discontinued in 1944, this dissertation aims at reconstructing the history of this appropriation which was a multi-dimensional process strongly determined by the editorial strategies of this major leader of the daily press and the economical & technical constraints that it had to comply with. Analysing the discourses, practices and uses dealing with pictures makes it possible to show the evolution of the different forms of photography during that period, the interplay of media visual culture in the Belle Epoque and the interwar period in order to have a better understanding of how the news was represented by images
Immelé, Anne. "Séquences-disjonction, séquences-évocation et agencements-constellation dans les pratiques photographiques contemporaines : (1989-2005)." Université Marc Bloch (Strasbourg) (1971-2008), 2007. https://publication-theses.unistra.fr/restreint/theses_doctorat/2007/IMMELE_Anne_2007.pdf.
Full textIn a sequence and in an ordering, photographers combine their photographs so closely that one can't separate them without changing the sense of the photographer's work. The present research is consecrated to the following specific forms: disconnecting sequences, evocation sequences and constellation orderings. The disconnecting sequence is an association of heterogeneous elements. With the evocation sequence, the artist generates atmospheres, states of thought and of emotion. The constellation ordering is a dispersed disposal of photographs with a fragmentary character, in propensity. Working from a corpus fo contemporary works (Raymonde April, Christophe Bourguedieu, Stephane Duroy, Christian Milovanoff, Suzanne Lafont, Michael Schmidt, Wolfgang Tillmans) conceived either for the exhibition space, or for the space of a book, we shall question the stakes of these forms in the relationship they create with reality and with a certain form of narration
Détré, Natacha. "Les "relecteurs d'images" : une pratique artistique contemporaine de collecte, d'association et de rediffusion d'images photographiques." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20050/document.
Full textThis thesis proposes to define a generation of artists who are collecting, associating and redistributing pictures without changing or transforming the iconic contents. In order to elaborate their characteristics, several french contemporary artists were interviewed: Eric Baudelaire, Ludovic Burel, Hervé Coqueret, documentation céline duval, Pierre Leguillon, Mathieu Pernot, Régis Perray and Eric Watier. The analysis of the devices implemented by the artists shows two aspects that could identify the specificity of their work: their way of associating the pictures with each other offers new possibilities of interpretation and leads to a second reading of the pictures; and their practice is taking place during the transition between the eras of image reproduction techniques and numerical techniques. Within the scope of a multi-field scientific research, it will be necessary to study the creation processes from the choice of the representation till the distribution of the projects (I), to analyse the polysemy of the images and the possibility of rereading their signs (II), and, finally, to understand how the artistic position is located between two, with respect to pictures, technically distinguished epoches (III). To differentiate this generation of artists from others reusing images, the thesis suggests a new name: the “Rereaders of pictures”
Hodifa, Wael. "Pratiques photographiques et jugements esthéthétiques chez les enfants." Caen, 2009. http://www.theses.fr/2009CAEN1538.
Full textSchmitt, Laurie. "Dissonnances d'une presse quotidienne en mutation : enjeux de l'intégration des photographies d'amateurs au sein des pratiques journalistiques." Grenoble, 2010. http://www.theses.fr/2010GRENL014.
Full textChominot, Marie. "Guerre des images, guerre sans image ? : pratiques et usages de la photographie pendant la guerre d'indépendance algérienne : 1954-1962." Paris 8, 2008. http://www.theses.fr/2008PA082937.
Full textDuring the Algerian war of independence, a conflict which officially did not carry the status of war, the two attending camps included photography in their strategies of justification and complex communication, putting into being an actual image policy. Within the internationalization of the conflict, French communication was in a continuous logic of countering the initiatives of Algerian nationalists. However, as we draw geographically near the heart of the conflict, the balance of power reverses and we clearly see a system of information being put in place by the French army and assumed by the political power, functioning also as a hegemonic system of representation of the conflict. Photography is at the heart of a vast undertaking to master the war. Used for the war (as an auxiliary of information), it's also used for the telling of it. The army organized a form of monopoly on production and diffusion of photographic images in order to master the stories given to public opinion by the media. It tried to dry up the flow of civil photographic journalism while feeding regularly the media system of diffusion which therefore sent, willingly yet compelled, a unified vision. The workings of the French system of information reveals many flaws of which creating an 'imageless war' is not the least. The invisibility of the conflict is the consequence of a system of representation which wants to be hegemonic and which, through applying successive filters, generates a banal vision
Laval, Sylvie. "Journalisme dans les conflits armés : les incidences de la technologie sur les pratiques professionnelles." Bordeaux 3, 2002. http://www.theses.fr/2002BOR30056.
Full textThe study deals about wars in which western countries are involved, from the Vietnam war (1962-1973) to the Afghanistan war (2001). The purpose is to analyse the influence of data keeping up, processing and transmission tools over professional pratices of different type of journalists (television, radio, agency, written press). The tools have been miniaturized and the number of their functions has increased. The way the journalist are connected with physical environment has changed. The relations with the actors of their social environment, population, armed forces, editorial staff have also changed. The production process is now different due to this evolution and to circulation of information speeding up. The profession suffers from structural transformations
Le, Gars Stéphane. "L'émergence de l'astronomie physique en France (1860-1914) : acteurs et pratiques." Phd thesis, Université de Nantes, 2007. http://tel.archives-ouvertes.fr/tel-00405048.
Full textNotre travail a consisté à identifier les savants et les réseaux impliqués, à caractériser les cultures qui les portent, mais aussi à étudier les transferts de savoirs et de savoir-faire entre physiciens et astronomes, ceci en précisant dans quel contexte scientifique ces recherches ont eu lieu.
Nous avons ainsi pu montrer que, loin de s'exercer sur un modèle unique, l'astronomie physique française entre 1860 et 1914 a montré une diversité dans ses approches, une pluralité des lieux de sa construction, une multiplicité des acteurs et des cultures qui les animent, ceci au risque d'un éclatement et d'une hétérogénéité des pratiques. En effet, si l'astronomie physique française s'est vue progressivement investie par un groupe de physiciens bien identifié, et non par des astronomes, nous avons pu mettre en évidence qu'à la veille de la grande guerre, il n'existe pas de communauté réellement constituée autour d'un programme cohérent et concerté d'astronomie physique. De nombreuses recherches ont été menées, mais sur un mode dispersé que nous avons cherché à caractériser.
Leroy, Marie. "Du plurilinguisme à l'école au Sud-Tyrol : minorités linguistiques, représentations sociolinguistiques, dynamiques identitaires et pratiques éducatives en milieu plurilingue." Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2021/document.
Full textThis thesis proposes to investigate the linguistic appropriations and the conceptualizations of language of secondary school students in the town of Bozen-Bolzano in South Tyrol / Alto Adige, as a sociolinguistic and didactic reflection. In this officially multilingual Italian province, which enjoys a status of protection of the German-speaking minority, living together is strongly marked by the separation of schools on an ethnolinguistic basis. The relatively recent presence of transnational migrants calls for a renewed look at the dynamics of identification between "indigenous" and "non-indigeneous" and, more particularly, its implications for education. By giving disposable cameras to secondary school students in the town of Bozen-Bolzano, a city that seems to embody a certain hybridism, with the mission of photographing "the languages of the neighborhood" to create an exhibition, the goal is to investigate the ways young people interpret the plurality that surrounds them
Boutemedjet, Anissa. "Imagerie et quartier, entre pratiques des populations et action publique : le cas de la ville d'Annaba en Algérie." Thesis, Tours, 2014. http://www.theses.fr/2014TOUR1501.
Full textThe efficiency of the representations to work in the dynamic socio-space ones and their crystallization through a strong imagery constitute with our direction a fertile object of research to understand the urban fact. Our reflection relates to the imagery of two districts to Annaba, Kouba and the Allemands, respectively representative of the collective units carried out within the framework of the Plan of Constantine in 1958 and the ZHUN in the years 1980. Identity constructions which are attached there are largely related to the urban history and in the conditions of their settlement, the first shelters mainly executives, technicians, the second reflects a kind of space proximity between the same type of population and the disaster victim coming from the slums and medina. Thus, we consider that to seize the contrasted imagery characterizing these spaces, would give access logics the base, as well of the urban actions initiated by the authorities, as modes of appropriation of the populations of these districts through their residential route, their mobilities, their uses, their social interactions and their relations at the city
Zerman, Ece. "Nouvelles pratiques de représentation de soi de la fin de l’Empire ottoman à la république de Turquie : écrits du for privé, photographies, intérieurs." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH166.
Full textThis thesis aims to study egodocuments in a period of political and social transformations, from the 1890s to the 1930s. Our study is based on case studies: A diary, almanacs, letters, photo albums, interior photographies as well as a series of published sources. From the end of the 19th century, new forms of self-representation developed in the Ottoman Empire, often related to emergent political discourses. The diffusion of photography and the new techniques of reproduction of texts and images contributed to the development of these new forms of self-representation. Our aim is to analyze written and visual tools of self-representation, that are most of the time intermingled, in an all-encompassing approach. The study of this documentation enables us to analyze, at the individual level, the ways in which the subjects of this study made experience of a world in transformation, constructed and preserved their memories, imagined their future. This also allows us to follow the transnational circulation of objects and practices, as well as their adaption and reappropriation by a “new social base”. Our sources are also the objects of our study. We are also interested in the materialities and uses of these documents as well as in what they tell us on the experiences, emotions, senses and the mise-en-scène or the performance of the self
Adam, Zoé. "Praxis Queer : les corps queers comme sites de création et de résistance." Thesis, Lille 3, 2018. http://www.theses.fr/2018LIL3H034/document.
Full textPraxis queer questions the use of artistic practices in queer activism. The reflection is organized around three lines of thought : artistic, militant, and daily life resistance. The artistic axis analyses the techniques of self-invention and subversion of corporal, sexual and gender norms. Activists establish games between performativity and performance. The militant axis highlights the use of art as a tool of queer activism, which interrogates the strategies of struggle and the political efficiency of art. The third axis focuses on daily life resistance practices. These practices are analysed from both a micropolitical and artistic performance point of view, questioning the limits of art. Some cross-disciplinary themes can be found in these three areas : performance, the issue of archives in queer struggles, the militant use of new technologies and the figure of the cyborg. New issues of queer activism, such as effects, ecology and anticapitalism, are discussed. This thesis is a militant act. It is dedicated to academics as well as activists and is a personal involvement. It is based on interviews with activists from France and Spain. These interviews are analysed in such a way that it enhances militant knowledge and put it in parallel with the "legitimate" knowledge represented by authors such as Judith Butler, Jack Halberstam, Paul Preciado or Amelia Jones. The tools of art history are used to analyse militant actions. The political or militant dimension of works is systematically analysed
Rougeon, Marina. "Relations de proximité, pratiques de bénédiction et religiosités caseiras. Une approche sensible dans la ville de Goiás, Brésil." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20112.
Full textThis work presents an analysis of blessing practices and “close” relationships in a city of central-western Brazil. Ethnography in the neighbourhoods of Goiás allows to question forms of religiosity designated by the term caseiras and the notion of closeness in the everyday life of Goiás inhabitants. Promoting a sensible approach of blessing practices and of “close” relationships, photography is mobilized as a tool for fieldwork, but also an analytical device and as a form of knowledge, to emphasize the particularity of ethnographic experiences of the sight and images. It also allows to develop an ethnographic narrative articulating text and images. Anthropological content as well as aesthetic and emotional aspects of blessing practices are privileged in this research. To focus on the blessing practices allows to grasp relations of solidarity, of conflict and intergenerational relations, which participate in the development of social ties between “close” people. As they also involve transmission between women, “close” relationships are driven by emotional ambiguities based on both complicity and rivalry. The disorders such relationships can cause find forms of expression and resolution into caseiras religiosities, as blessing practices are a way to regulate conflicts of everyday life by working on body and mind illnesses resulting from such conflicts. This work demonstrates how “close” relationship is not always harmonious. It also intends to show how unofficial forms of knowledge and therapeutic-religious practices, although central for entire social groups, can give a fresher look of the goiana society and of the brazilian society from the angle of the margins of institutional knowledge
Casemajor, Loustau Nathalie. "Diffuser les collections photographiques sur le Web : de nouvelles pratiques de médiation? : étude des formes et stratégies de communication du patrimoine photographique en ligne." Thèse, Lille 3, 2009. http://www.archipel.uqam.ca/2911/1/D1912.pdf.
Full textMüller, Susanne. "L'"Unheimlich" à l'oeuvre : approches théoriques / pratiques de l' "inquiétante étrangeté " dans l'art contemporain." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010692.
Full textThe double (theoretical and practical) approach of this thesis reflects the paradoxical nature of the German word "unheimlich" which describes an ambiguous feeling between strangeness and familiarity. Correspondingly, Freud states that the terrifying of the "Unheimlich" « leads back to something long known to us, once very familiar ». The syllable "heim" «( home ») in the middle of the adjective "unheimlich" reflects this aspect of familiarity which is lost in the French translation « inquiétante étrangeté» (as well as in the English « uncanny »), The "Unheimlich's" anchorage in the in- between involves an undecidability (Derrida), a constant passage or to-and-fro, Therefore it has always escaped a stringent conceptualization and appears today as an « unconcept » (Masschelein). However, more and more the "Unheimlich" is being connected with art as is evident from the numerous exhibitions recently devoted to it. Could it be then that it founds its real "Heim" in art ? According to my main hypothesis, the "Unheimlich" is at work in art when it turns out to be self-reflexive and unlimited. Different « passages» guide our approach to the "unheimlich" heart of my own art practice haunted by death, origins, doubles, the « Angel of History » (Benjamin), an impossible encounter with an Other-me and the «purloined letters » of the German language. Located between photography and installation, this practice gives an account of the hybrid nature of current art which seems to have become a « stranger to itself» (Kristeva). Do the personal works that we compare to other artist's works, reflect the "unheimlich" in-between that disturbs, but also can delight us? Or could the "Unheimlic"h tum out to be unrepresentable, referring to a quality that goes beyond images ?
Van, de Casteele Marlène. "Le making of de la photographie de mode (1932-2017) : culture matérielle, instance collective, image plurielle." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2095.
Full textThis doctoral thesis intends to explore the ‘making-of’ of fashion photography, over several decades and geographies. The aim is to operate an epistemological displacement to rethink fashion photography beyond certain interpretations that identified its scope with semiotic, gender or identarian paradigms. Rather, this study proposes to think the ‘making of’ as a result of practices, negotiations, exchanges and hierarchies that characterize – but also move beyond – the very action of producing and publishing a fashion photograph. By shedding light on the multiple and overlooked sources produced around the production and circulation of the fashion image, the research explores three moments in the life of fashion photographs: the making of a fashion photograph; the collecting and conserving practices; and its exhibition. Therefore, the ‘making-of’ is here understood in a broad sense. This term is not only used to identify the descriptions and detailed information showing creative processes behind the production of a fashion photograph or an editorial series, but it also takes into consideration the mechanisms of circulations beyond the industry, the networks and the institutional processes concurring to the formation of the cultural value of an image. In doing so, this thesis sheds light on the polysemic meanings and values of fashion photography, moving beyond an interpretational path that has restricted this practice into an “applied” art in search of artistic legitimization
David, Gaby. "Processes of Legitimation : 10 Years of Mobile Images." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0161.
Full textGaby David's dissertation "Processes of Legitimation: 10 Years of Mobile Images" examines the legitimation and validation processes that vernacular mobile images underwent between the years 2005 and 2015. Her thesis explores answers to questions like: How did the production and consumption of private colloquial mobile images, as a visual phenomenon, develop from being a practice among a few individuals to being a widespread global habit? With an increase in use of mobile images in everyday life, how have its socio-cultural and visual effects been perceived? In what places has this happened ? The first and second chapters are a study of the cameraphone and its amateur use in early years, and the legitimation and value given to this early creation by artistic and media cultural gatekeepers. This is done through an ethnographic analysis of the Pocket Films Festival, and a global journalistic timeline of cameraphone images and the mediatization of them to create hard news. She also looks at the times during and after the smartphone mass penetration of the market and the use of its images. The third chapter focuses on studying peer-centered validations, as communities of practice, and it highlights the latest passage of the use of mobile images to a more conversational-connected use, demonstrating how the selfie and the short-lived or momentary snapshot dynamic influences today's sharing of such. She shows the results of focus groups, and online/offline interviews, that she has conducted. The fourth and last chapter is an a posteriori autoethnography of her own practices. Are we finally experiencing what Alexandre Astruc dreamt of: the fact that everyone would be able to use a camera pen? What transpired once this practice became adopted into the mainstream? Overall, this thesis is an endeavor to understand the evolving use of mobile images to convey complex communicative and multifaceted emotionally private and/or intimate meanings
Pizzinat, Baptiste. ""La sociologie et le Noble Art" : étude sur la logique de la pratique." Thèse, 2006. http://hdl.handle.net/1866/8180.
Full textDepairon, Philippe. "«Nous les hibakushas de Tchernobyl» : la pratique photographique de Kazuma Obara en régime numérique." Thesis, 2020. http://hdl.handle.net/1866/24295.
Full textThe ‘triple disaster’ that occurred on March 11, 2011 in the Tōhoku region of Japan coincides with the emergence of new digital technologies which allowed an almost immediate online dissemination of photographs of the event after they have been taken. For many professional artists, the challenge is then to give an adequate visual shape to the consequences of the disaster without contributing further to an already massive number of images of the catastrophe. This thesis takes a series made in Chernobyl by photographer Kazuma Obara, Exposure (2015 – 2016) to examine some strategies undertaken by various Japanese artists to meet these imperatives. From the outset, this dissertation reconstructs the visual culture linked to the Chernobyl disaster, from its beginning (1986) to the official opening of the site to tourists (2011). The photographic productions of both amateurs and professionals who have visited the place are examined to better understand the position Obara takes in the visual field of Chernobyl. The theory of bricolage developed by Claude Lévi-Strauss, according to which an artistic project is developed by its creators with the materials they already possess, sheds light on the mutual relationship established between Obara and the constituent parts of Exposure. The second chapter examines the fragmentary aspect of the series and the reading possibilities this mode of representation entails. Walter Benjamin's theory of montage suggests that the bringing together of various fragments helps to refine and renew the history of Chernobyl as it is currently shown and narrated. Ultimately, the third chapter examines how Obara makes inalienable the historical component of his images. Exposure is then analyzed from the angle of archaeological theories of spolia, which demonstrate how Obara makes the Chernobyl disaster contemporary anew as much as it reproduces its historical properties and specificities.
Fiset, Daniel. "Photographie d'art et culture visuelle contemporaines : vers des pratiques photographiques technologiques." Thèse, 2018. http://hdl.handle.net/1866/22654.
Full textLalonde, Johanne. "L'acte poétique de la "transfiguralité" : pratiques de l'autoportrait entre écriture et photographie." Thèse, 2016. http://hdl.handle.net/1866/19083.
Full textAsselin, Geneviève. "Illustration d'une pratique communicationnelle du subjectif : présentation et récit de soi dans les sites de partage de photographies." Mémoire, 2008. http://www.archipel.uqam.ca/1560/1/M10549.pdf.
Full textLambert, Véronique. "Le partage de photographies sur Facebook : s’écrire, esthétiser sa vie." Thèse, 2014. http://hdl.handle.net/1866/11609.
Full textSince Facebook was first launched, in 2004, the social network has received a tremendous amount of media coverage. Today, as users are counted by millions, Facebook now seems to have become, in certain circles, totally ubiquitous. Despite growing numbers of warnings for caution in the uses of Facebook – which are frequently associated to privacy or surveillance issues – many users keep uploading content, such as personal photographs, on the social network. This thesis aims to explore the extent to which practices of personal photography may be involved in the formations of what Michel Foucault termed "ethics of the self" (Foucault, 1984a; 1984b). These ethics provide individuals with values, guidelines and codes of conduct from which the subject can engage in the production of his self as an "ethic" being, living an "aesthetic" life (idem). Research was supported with a series of interviews conducted with three volunteers. In the light of their photographic practices, I assert that it is possible to understand personal photography as a fertile site where techniques of the self can be made and elaborated. I suggest that through personal photography, these processes encourage the production of a united and consistent subject, and that these practices also contribute to the aestheticisation of the subject as well as its existence.
Aucê, Anahy. "Des archives photographiques à l'installation comme lieu de mémoire de femmes : un récit de pratique." Thèse, 2011. http://www.archipel.uqam.ca/4378/1/D2233.pdf.
Full textBrochu, Danielle. "Les modalités de pratiques éducatives en jeu dans un projet de création artistique recourant aux nouvelles technologies en enseignement des arts plastiques au primaire." Mémoire, 2013. http://www.archipel.uqam.ca/5842/1/M13003.pdf.
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