Dissertations / Theses on the topic 'Sémiotique des images'
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Périneau, Sylvie. "Les film-annonces : sémiotique d'un discours médiatique." Limoges, 2007. http://www.theses.fr/2007LIMO2016.
Cavassilas, Marina. "La sémiotique des langages visuels du packaging." Limoges, 2005. http://www.theses.fr/2005LIMO2016.
Baisset-Chatelier, Pascale. "L'image Web à lécran : Les usages créatifs de la tribu d'hommes-images." Université de Perpignan, 2004. http://www.theses.fr/2004PERP0503.
All over our planet the globalized digital Economy manages the relations between the individuals: companies, executives, professionals, countries… the communications are interfaced by the images web on the screens. We profiled the behaviors of publics in professional training, trying to create Web sites. This study allowed us to shape social cognitive profiles and to point out types of behaviors. The theories we used to build our scientific approach, are the sociology of Max Weber, the theories of communication of Alex Mucchielli, the Semiotic of Charles Sanders Peirce and the Psychology of Jean Piaget. This work allowed us to build of a new transdisciplinary approach: the semiosociological approach to study the humans behavior’s
Escande-Gauquié, Pauline. "Pour une sémiologie du cinéma : aspects théoriques et méthodologiques : analyse de films français contemporains." Paris 5, 2005. http://www.theses.fr/2005PA05H045.
This dissertation develops a semiological method for film analysis from a multidisciplinary point of view : its first stage involves looking into the various existing approaches to film semiology as well as into the main areas of film theory and analysis involving or not semiology (sociology, aesthetics, and film history). The various approaches investigated are constructed as complementary. This involves a specific and relevant selection of operating concepts, followed by their integration into a semiological modeling of innovative film. The following stage confronts this model to the reality of a given film corpus. The starting point here is a generally shared and acknowledged opinion on French contemporary film (hereafter "the doxa"). A corpus of recent French films of various types is devised , using criteria developed by film professionals. (. . . )
Sicard, Monique. "L'image comme preuve : essai critique sur les relations entre la science et les images." Paris 10, 1996. http://www.theses.fr/1996PA100167.
In this group of publications, science pictures (photographs, movies pictures, radiographs, computers pictures, scannings. . . ) are examined through a lot of questions. How pictures can give us informations about the world while they are materialized subjectivities? How can they are an access to knowledge while they need a preliminary adherence to work? Why science use photographs on sight in the middle of the nineteenth century while it receives new cinematograph pictures with hesitations fifty five years after? These paradoxes hide a true strategy of proof. Pictures are fundamentally fluid; they bring no truth by themselves. They exist only when they are revealed by legitimacy and rationality systems. But this significance itself is never acquired definitively: passages from science to art, changes of pictures status are evidence of that. The results of these investigations which concern pictures of the ninetieth and the twentieth centuries bring to a new understanding of signification and functions of science pictures, uses of pictures as witnesses, nature of image in general. Asking the "new picturing technologies", these researches open the way to an archeology of novelty
Deroche, Benjamin. "Quelles images pour Brest ? : photographier la ville : usages pluriels du medium dans la construction de l'image urbaine." Thesis, Brest, 2012. http://www.theses.fr/2012BRES0008.
What is a photographed city ? How can the medium depict the physical territory and its community of citizens ? Is there a more reliable model, more “genuine” than the others ? If the problematic of urban photography in this study had to be summarized, the most concrete sentence would be : how can the city be expressed with the photography autonomy ? In order to offer an answer to this question, we use in this study a large tool case for urban image analysis: historical or modern, biased or objectively documentary, photographs become analytical supports, articulated consequences of reflexive propositions using the image semiology as precondition for the construction of the iconic substrate. Thus, the photographical approach of the city of Brest is based on the analysis of the visual sign. Establishing the analytical bases from a photographic corpus, which results from the area destroyed during World War Two, the reflections then focus on the rebuilt modern area and the photographical issues represented by such a territory in terms of image. Through the use of various corpuses such as art, advertising and communication, or even utilizing an author’s production built to answer the problematic, the thesis proposes a set of tools and analysis models for a better understanding of an urban site’s identity through photography
Marimpouy, Patrice. "Sémiologie de l'image filmique ou numérique et grammaire énonciative." Paris 4, 2003. http://www.theses.fr/2003PA040227.
The present thesis originates in research based on training periods attended by teachers of English. It is based on the argument that the analysis of the intimate relationships between pictures and the utterances that go with them reveals the unconscious grammatical representation underlying them. Whether we deal with sequences drawn from narrative films in which the concatenation of images and words enables us to get access to the secret operations that take place before the emergence of grammatical operators or with the scriptovisual arrangement of Internet websites, our close scrutiny of film language sheds light on the way English works. This research on mental operations conducted in the spirit of metaoperational grammar also aims at adding a fresh contribution to the development of the reflection on learning strategies which has been at the core of the 'didactics' of English over the last few years. Its goal is to show our colleagues how they can train their pupils to exert their powers of observation and deduction on the audiovisual and digital aids that are now part and parcel of their everyday lives. In addition, it allows them to think up the new ways of teaching English induced by the remote control of a DVD, the mouse of a computer or the Internet
Gagnon, Louis. "Charlie Inupuk, étude sémiotique d'un cas en art inuit." Master's thesis, Université Laval, 1990. http://hdl.handle.net/20.500.11794/33509.
106412\u Résumé en anglais
106413\u Résumé en espagnol
Montréal Trigonix inc. 2018
Vallée, Lisette. "La sémiotique peircienne : pour une relecture de l'œuvre de Pellan." Master's thesis, Université Laval, 1989. http://hdl.handle.net/20.500.11794/33482.
Montréal Trigonix inc. 2018
Magloire, Marie-Christine. "Approche intersémiotique des inscriptions murales taguées." Besançon, 2001. http://www.theses.fr/2001BESA1015.
Raffin, Catherine. "La production et les fonctions des images en physique des matériaux et en astrophysique." Université Louis Pasteur (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR13212.
The thesis is the result of : 1) a comparative approach, the production and functions of scientific images being observed in two separate research areas: surface sciences and astrophysics; 2) a multidisciplinary perspective which means operating methods and concepts has been borrowed just as well from sociology of science (ethnographic observations in laboratories, 48 interviews of researchers), as from information and communication sciences (semiotic of the fixed image, argumentation theories) and the philosophy of science (mainly Anglophone, central contemporary references being composed by I. Hacking and A. Franklin). Using an initial semiotic Peircian-based classification of the images produces in the areas, three functions which characterise them in line with daily research are brought out: visibility, readability and foreseeable nature of the phenomenons which would otherwise remain inaccessible. These initial attempts appear too limited to resolve the question: could an image be a proof? After having proposed a definition of the notion of proof, attention moves to three of its components which turn out to be particularly problematic if we consider the images produced in laboratories involved in the study: the methods of reasoning used, the operating device and the writing process of articles. We reach the conclusion that an image is at best a piece of evidence within a network including a strong adjustment between theories, models, instruments, experiments, know-how and beliefs. A final section looks again at all previous results in order to determine the relationship between the images and reality, using the Anglophone debate between realist and anti-realist positions as a guide
Fontar, Barbara. "Modèles de la critique et "Arrêt sur images" : étude d'une entreprise critique comme activité sociale." Lyon 3, 2007. https://scd-resnum.univ-lyon3.fr/in/theses/2007_in_fontar_b.pdf.
This study questions the television broadcast Arrêt sur Images (ASI) critical work within its three social spheres: conditions of production, discourse and reception in the mass media area. This is a socio-semiotic analysis of the ASI criticism based on established patterns of the social criticism. Considering that criticism cannot be reduced to an unique paradigm and comprises different dimensions, we developed six models of it (Koselleck, Montesquieu, Barthes, Bourdieu, Boltanski et Walzer), used as “ideal types” from which we examined Daniel Schneidermann's, the ASI anchorman, practice of criticism. Thus, this work analyzes criticisms made to mass media through a diachronic angle, Schneidermann's career history, the editing board's daily work, the semiotic artefact « Arrêt sur images » itself and questions the way mass media interpret Schneidermann's criticisms. Then, we notice that his critical activity in ASI is not a spontaneous phenomenon but lies on criticism traditions. Nevertheless, if the ASI critical work belongs to several models, Schneidermann is comparable to the critic in Walzer's one : a local judge who observes his fellow-citizens' practices, denounces them when city principles are disregarded and finally interpellate people on behalf of these city rules. This criticism and the role Schneidermann assigned to himself provoke rejection from the mass media. This reaction reveals the irritating side of criticism and how it is difficult for this sphere to accept judgments
Fessien-Bonnal, Ingrid Barbara. "Gestualité et regards dans les peintures d'Orazio Gentileschi : une approche sémiotique." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0156.
Denounced on various levels by early modern commentaries and contemporary studies, narrative reticence apprears as an abiding feature of the discourses concerning Orazio Gentileschi's paintings. This persistence, beyond historical context in which it was received, indicates theoretical actuality of the question. Specially, in seven canvases produced in the first third of the Seventeenth Century, gestuality and depicted gazes, traditionnal drivers of narrative structuring, seem to operate on a different level than the ones from historia. In addition, the strong deictic value linked to these drivers, imposing an off-picture in the narrative framework, brings us to examine the effective dimension of this external but contiguous space. This compositions, because of their disruptions, present themselves to questioning objects of their autoreferential mechanisms. More than a display of historia, painting thinks about itself. Fisrt we focus on the way the gestuality is represented, withdrawing from content register, and how it takes part in the process of meaning. Second, refering to designated objects and nevertheless situated out of the material limits of the painting, we try to establish how the deictic apparatus works on semantic continuity from the topological contiguity. Third, through the prism of the dynamic which pairs depicted and exercised gazes, we consider the activity of a system which organizes and structures the multiple fields of the representation
Joo, Hyoung-Il. "Les problèmes rencontrés dans la perception de l'image et de la réalité sociale." Paris 5, 1998. http://www.theses.fr/1999PA05H006.
The general purpose of this thesis is to explore one's relationship with the real world captured through images. It's a matter of clarifying the complicated relationship between the epistemological position of a social subject and the ontological structures of diverse images. The term + image ; refers to a representation which is both mental and material. The picture-image (material image) is, in a sense, a materialization of the memory-image (mental image). What interests us here is what kind of relationship the picture-image, henceforth called image, whose existence is limited by the technical constraint of its materiality, has with the memory-image whose nature is both individual and social. Successively i examine the ontological structures of diverse images, such as memory-image, mirror-image and picture-image to which belong the conventional images, the optical images and the computer graphic images. The question of the technology which is immanent in the nature of the image is also researched in dealing with the concepts like habit and memory. Having defined the image as a medium-object between the subject and the regarded object, i examine the status of the image as a sign in social communication. With the semiotic reflection applying peirce's concepts like icon, index, symbol or interpretant, image can be defined as a sign of reception. The emphasis is thus placed on the matter of the reception of image rather than on that of the transmission of image. The reflection on a fundamental problem of social communication between a transmitter and a receiver permits us to discover the notion of horizon of expectations which has a close relationship with the notion of social memory. I discover, finally, that the very nature of the image is in the continuous interactions between the material and the mental, between the objective and the subjective, between the real and the unreal, between the actual and the virtual, between the technology and the expectation horizon, and between habit and memory. Like the world which is in eternal change, the image changes through continuous interactions
Malin, Franck. "Propositions pour une modelisation en semiotique visuelle. A travers quelques exemples d'images fixes." Toulouse 2, 1997. http://www.theses.fr/1997TOU20011.
From almost the beginnings of semiology, still images are considered meaningful objects. With the theory of semiotics and its methodology of critical analysis, images have acquired the status of a textual organisation with a meaningful structure which owes nothing to chance nor is the result of free interpretations. Within this framework, we have taken into consideration findings from various authors working on images in order to build a device which allows us to recover, through hypothetical-deductive reasoning, the minimal meaning every image possesses. Through each one of the three examples of analysis, the idea is to elaborate quite a precise description of the level of expression in order to facilitate the elaboration of the meaning which appears on the level of content through our semiotic approach. This work tries to enhance the fact that there exists a primary signification in every still image (likely to be found by all individuals pertaining to the same society), and that this interpretation process occurs when the two levels are brought together. This approach defines signification as a hierarchical construction resulting from a slow maturation of the meaning where the reader starts from his sensations to reach a coherent and relevant interpretation in relation to the discourse which the image implies
Leone, Massimo. "Les mutations du coeur : histoire et sémiotique du changement spirituel après le Concile de Trente (1563-1622), Mots et images." Paris, EPHE, 2006. http://www.theses.fr/2006EPHE5008.
Peres-Wierzbicki, Claudine. "Le développement de la fonction sémiotique chez l'enfant porteur de trisomie 21 : une approche comparative centrée sur l'image." Paris 10, 2000. http://www.theses.fr/2000PA100083.
Altinbuken, Buket. "Le voyage mis en discours : récits, carnets, guides ; approche sémiotique." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20077/document.
This work aims to study the modes of presence of the subject and the degree of subjectivity in the discourses of travel concerning the city of Istanbul. We propose to address the issue of the presence in the discourse of travel by analyzing three types of discourse (the travel texts, travel notebooks and tourist guides) with the help of semiotics of the enunciation, the semiotics of presence and visual semiotics. The body as a enunciating subject can be studied in the perspective of enunciation and as a perceiving subject can be analyzed in the line of perception. Based on this dual function of the body, we propose to study the marks of subjectivity in the discourses of travel through the enunciating subject and the perceiving subject. In this work, we will observe the enunciation styles which specify the place of the enunciating subject, the different roles and input modes of the enunciator as an observer. In addition, we will examine the forms of presence of the "city", in other words, the participation of the sensoriality (subject) to the representational construction of space (object). Aside from enunciation strategies, the text-image relation, the contribution of different techniques of representation (photography, drawing, map) to the establishment of meaning will be considered in this work. These analysis concerning the enunciation, the perception, the figurativity and polysemiotic structure allow us to define the characteristics of these types of discourse
Coulais, Jean-François. "Images virtuelles et horizons du regard : l'expérience des visibilités calculées dans l'histoire des représentations urbaines et géographiques." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0061.
How does the experience ofvirtua1ity impact the way we see and sense our environment, from cities to landscapes, and how do devices such as virtual globes or augmented reality gradually modify our vision of the world in which we live? This research aims to assess these questions from the viewpoints of historical geography and visual anthropology, exploring the relationships between the history of architectural, urban and cartographic representation and that of human vision. It results from 15 years of research conducted on a series of "experimental situations of vision", considered as physical or sensible as well as mental and symbolic processes. When studied in combination with each other, these two aspects form visual and mental horizons, which are a1tered throughout history by the effect of changes in the balance between categories such as oral, gesture or pictural modes of transmission. The research shows that digital images are only the most recent expression in a long genealogy of calculated visibilities, dating back to the Renaissance perspective, geometrical maps or the discovery by Kepler of the refracted image painted by light on the retina in 1604. Their massive availability, everywhere at anytime, on smartphones and tablets, creates hybrid visibilities, where virtual imagery and actual percepts mesh up into our eyes, disrupting the reference systems on which orientation in space and identity of places are based. These pictures without geographical location reduce the status of real places to that of an image, making bodily presence unnecessary while actual experience of urban places and landscapes vanishes beyond the horizon of digital screens
Pontis, Annalisa. "Le rôle de la photographie dans la didactique de la langue italienne L2/Ls." Caen, 2013. http://www.theses.fr/2013CAEN1723.
Thanks to the joint supervision with the University of Caen Basse-Normandie and experience of teaching Italian as a foreign language at the University for Foreigners of Perugia, it was possible to achieve a very original thesis that combines theory and practice of teathing. This is an educational tour of the Italian language, advanced level, which combines experimentally the literary text with photo to involve learners in a linguistic and cultural reflection. After a stint in theoretical comprehensive, review, which addresses the different uses of the image in the teaching of language and the relationship between photography and literary texts used for teaching the Italian language, our research presents examples of educational activities and created ad hoc as well as a collection of the results of the experiment in class. The thesis consists of three parts : the first is devoted to the use of images in general, and how they were used for the teaching of French and Italian in recent decades, and the Second concerns relationship between photography and literary narrative. The third part, from a theoretical point of view, the practical way in which literary texts and images may be used in the teaching of current Italian. In this final section, we present the results Of the experimental teaching at the University for Foreighers of Perugia
Feugain, André Sauveur Michel. "Iconologie et iconographie : analyse contrastive des affiches de propagande pendant la IIe république et la guerre civile espagnole 1931-1939." Orléans, 2008. http://www.theses.fr/2008ORLE1096.
As a provider of information and propaganda, the poster appears very often in a context where men live a double reality : one arising from personal experience and the other linked to the media and other communication systems, hence the need to study the formal structures, the intrinsic features and the models of propaganda in such support. Base on a nine hundred posters corpus from the Second Republic and the civil war, this thesis is an analysis of the propaganda poster, of the link between the argument and the iconological and iconographic representation, and finally of its relationships with history. Starting from the idea that interference between the rhetoric message and the iconological message is not a sine qua non condition of an actual coherence between image and text, as they belong to two different semiotic systems, we prefer the idea of contextual signifiance of the elements in connection with their co-text and their context of production. We are then both in the world of semiotics when dealing with dealing with the interpretation of iconic elements, and in the world of pragmatics when it comes to the interpretation of linguistic elements. In addition to the answer given to the issue of knowing how the Republicans and the insurgents use the circumstances for propagandist purposes, the thesis develops a multi-criteria analysis involving two complementary approaches : a list of the questions which must be asked when analyzing propaganda posters and an inventory of the propaganda mechanisms to make-see, make-believe and make-do, that were used in the Spanish pre-dictatorship period
Haigron, David. "Les spots politiques télévisés du parti conservateur britannique (1974-1997) : mutations, stratégies, images." Caen, 2006. http://www.theses.fr/2006CAEN1444.
Kim, Hoyoung. "Surface et profondeur : images et récits dans le cinéma de Hong Sang-soo." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0025.
The purpose of this thesis is to research regarding the images of film of Hong Sang-soo, a Korean cineaste. Hong represents the quiet introspection of human being and society as well as the careful quest for cinematic formality in all of his films. First of all, we research a "conversation world" wich is fragmented and simultaneously closed and a "narrative structure" wich is symmetrical or double in Hong's film. Hong pulls down an antagonism between "narrative" thing and "anecdotal" thing by penetrating and accurate description, furthermore he tries to show the apparearance of reality as it is. Second, we examine the image composition, especialy the movy frame in Hong's film. First, we specially focus on "surcadrage" (frame within frame) among various forms of framing in his film. And, we research the de-framed images, especially we analysis narrative function of these. Finally, we consider that "chained" images accomplish simultaneously the function of visual framed and narrative framed in Hong's film
Tourangeau, Jean. "Signes iconiques et énoncés linguistiques en vidéo." Master's thesis, Université Laval, 1990. http://hdl.handle.net/20.500.11794/28614.
Buignet, Christine. "La mise en jeu du fictif dans la photographie." Aix-Marseille 1, 1998. http://www.theses.fr/1998AIX10057.
To define the subject, different points of view have been considered. A first theoretical and historical part is devoted to the status of the fictive, initially studying its origin in literature, then its strange absence from successive theories about photography, and finally, at greater length, its main appearances in the history of photographic practices. The second part consists of the very detailed analysis of five photographic works (by minor white, ralph eugene meatyard, nils-udo, georges rousse and bernard faucon) which introduce some fictive through different methods the objective being to locate its defining characteristics. Conclusionshypotheses concerning the disruptive effect of the fictive are then esta, blished. A synthesis of the fictive processes (dilation of space, stretching of temporality, denaturalisation mechanisms during film exposure), and of the motives of their implementation (variations of illusion, narration, metaphorical supposition) is constructed from this in the third part, extending the corpus to the entire work of the five selected photographers and to many other contemporary works. The aim of this thesis, which developped from a reversal of the strictly indexial characteristic of photography, introducing the paradox of copresence of the same and the other (the photographed reality / the fictional scene being showed) into the theorical reflexion, becomes evident. Indeed, it emphasizes the driving force of these practices : the creation of a gap which opens an area of tension, which introduces an emptyness - absorbing the interrogations of each artist, and, at the same time, evanescent, offering an area of freedom to the spectator
Pauzet, Anne. "Peinture et culture partagée en didactique des langues-cultures." Paris 3, 2001. http://www.theses.fr/2001PA030146.
At the present time, pictorial works are used with three objectives in mind : to illustrate, communicate and for artistic purposes. Yet, paintings which are real intercultural tools are also a way to enter someone else's culture. Robert Galissson's ideas on shared culture being recognized in this field, this research suggests an approach to understand the working process of the French "collective individual" through his/her visual productions. Painting as a world of reference : the most common mass media images often refer to painting. A work on the reference images which repeatedly use scenes which have been culturally assimilated (still-life, portraits, landscapes. . . ) helps to reach the basis of this shared culture. .
Devigne, Nicolas. "Georges Bataille, une lecture iconographique de "Documents" : valeurs d'usage des images au sein d'une revue d'avant-garde." Valenciennes, 2003. http://ged.univ-valenciennes.fr/nuxeo/site/esupversions/9aff80ef-c4e8-40ad-b645-b2c41bca56ed.
Published between 1929 and 1931, the journal "Documents" was a short-lived experiment, with contributions from the editor himself, Georges Bataille. Along with Carl Einstein and Michel Leiris, among others, Georges Bataille used this "ethno-esthetic" publication as a vehicle for his crusade against received ideas. The purpose of this study is to provide a detailed analysis of the iconography used by the author to illustrate his texts. A comparison between "Documents" and the other contemporary journals [ "Bifur", "Jazz", "La Révolution Surréaliste", "Le Grand Jeu", "L'Illustration". . . ] serves to identify Bataille's literary friends and foes. It shows that "Documents", a mixture of autobiographical and social writing, was Bataille's main tribune in his feud against another branch of the avant-garde, Surrealism
Klinka, Emmanuelle. "Analyse sémiotique des miniatures des codex du "Commentaire à l'Apocalypse" du Beatus de Liébana." Aix-Marseille 1, 1994. http://www.theses.fr/1995AIX10005.
I intended to study miniatures created from the eight to the twelvth century. They belong to the various codices of the comment of the apocalypse, known as beatus. I selected fifteen out of the twenty two embellished codices wich keep well-preserved nowadays, on the basis of a corpus of seventeen illustrative themes. For that purpose, i founded my study on a semiotic point of vue which i adapted to iconography. I therefore analysed every sign and its spatial situation withinb the drawing. The main parts of my study are : a presentation of my corpus, of its author and of the historical context. An analytic part of the work which at first shows the rules of the work which at first shows the rules of the formal display arrangements in the middle-ages. I then tackled the problem of the interiority and exteriority shown by some drawing - which i called "containing-drawings" - using for that the framework of the drawing as well as a sign-symbology. Given that, i was able to study their meaning defending on the presence of the various constituents, i. E. Put back in their pictorial context, i considered them as elements of the whole drawing. I compared my conclusions with the interpretation offered by beatus of the apocalypse. As a conclusion, i came back to the role played by striped backgrounds and by colour, of which i tried to explain the functions. I ended by a historico-cultural actualization of the codices. The analysis of the signs and structures allows us to tackle and decode the politico-religious message conciously expressed by the painter. It also discloses the socio-cultural dimension in which lived the artist
Ghebaur, Cosmina. "L'exposition photographique de rue, entre production et réception." Dijon, 2008. http://www.theses.fr/2008DIJOL016.
Since the year 2000, the French Senate has hosted documentary photo exhibitions, on the railings lining its gardens. How does this mode of exhibition call into question our relationship to images, their status, their function and their role? Initially, we focused on researchers in semiotics, looking for a theoretical angle from which to approach the empirical study. In the evolution from semio-linguistics to socio-semiotics, two attitudes captured our attention. Certain researchers analyse images as texts (global, recognizable forms). Others approach them as instances of enunciation, as forms taken into account by individuals in specific concrete interactions. We then turned to the visitors as receivers, to study the way the images were received. The public is formed of people who typically visit cultural exhibitions, but who to transgress the behaviour associated with museum visits. This prefigures a new conception of the work of art, as interactive and desacralised. Moreover, interviews with the visitors revealed tensions, in their relationship to the images, between contextualising and textualising, aesthetic and media-centred approaches. On the one hand, the images are considered as a source of pleasure in themselves and, on the other, as a source of information, representations and discourse. Finally, this dual approach to the documentary photos displayed on the railings is suggested by the way the Senate itself presents the exhibition, and the choice of medium. It reflects the ambivalence of the activity carried out by this institution, between cultural politicy and institutional communication
Hellemans, Babette Sophie. "La forme et l'objet du livre : une lecture dynamique des bibles moralisées du XIIIe siècle." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0149.
The four 13th century Bibles Moralisées are the fundament of this study. These books were on no account 'ordinary picture bibles' -they show us a highly sophisticated program of overall planning that is dynamic and very complex including an overwhelming number of interconnected images and texts, divided in a biblical paraphrase, systematically accompanied with a short commentary. Being a Bible, the diegetic reality of this work of art is to be found outside the object itself, somehow similar to a semiotic analysis of a motion picture: the Bible as an object is an open complex. While analysing the characteristic of its materiality, the present study observes how time (as readings in rhythm), is represented In these codices. In other words, through the particular lay-out of these Bibles, the presence of the Word III time and space is questioned, in a comparable way prescolastic scholars have questioned the presence of Christ during the celebration of the Eucharist
Banjongsawat, Sorthong. "La Thaïlande, pays aux deux visages : Approches sémiologiques d’une identité culturelle ambiguë à travers le miroir de la presse et autres discours publics." Thesis, Paris 5, 2012. http://www.theses.fr/2012PA05H013/document.
This study aims to analyze the ambiguous image of contemporary Thai culture through different points of view. Our purpose is to establish an interpretation of Thai cultural identity from images. Hence, an analysis has been conducted, based on heterogeneous objects of study: photography and press cartoons created by western authors. Two complementary approaches, which are semiology and semiotics, have been elaborated. A semiological approach is used to study visual signs (iconic, plastic and linguistic) and symbolic expressions whereas a semiotic approach is applied to identify the meanings, the structural analysis and the basic isotopies. The selected images allow us to explore some Thai cultural representations such as new aspects of Buddhism, transformation in traditional practices, influence of foreign cultures, new symbolic expressions... This research also reveals the coexistence of incongruous elements in Thai cultural representation and reflects the image of the contemporary evolution of the Thai identity with its confused, undefinable and ambiguous aspects. Thailand, in the eyes of foreign observers, is a country searching for its identity, oscillating between tradition and modernity, Buddhism and capitalism, spiritual and material, identity and alterity, substance and appearance. Thai social and cultural life is presented as a dynamic in continuous transformation, which is the result of the acculturation in the globalized world and the tendency for syncretism of Thai people
Curti, Sandrine. "Dessin d'actualité et représentation de l'imaginaire politique : approche sémio-rhétorique d'un corpus de presse (les élections présidentielles de 2002 en France)." Besançon, 2006. http://www.theses.fr/2006BESA1026.
As an element both essential and marginal of the written press, a multicoded genre situated between humour and the mood of the moment, an opening on the event and a manifestation of the subject, the political cartoon represents a “freeze-frame”, a live synthesis saying and illustrating what the article will develop. Composed, as it is, of the news system and a product of daily communication, how is it understood? How is it read? How is it connected with the world around and the universe of signs it is part of? What principles of writing does it answer to? Does it convey meaning according to certain mechanisms? The objects of this thesis are numerous: to identify the different signs inscribed within and around the cartoon; to study its icono-discursive organization; to understand how this complex semiotic icon develops itself as a media communication and political mediation; to reflect on how it brings together an icono-discursive conscience and collectively shared socio-cultural knowledge; lastly, to examine how it offers to see and read a certain representation of the political imaginary. Our corpus of research includes the cartoons which were published in the regional (Le Progrès, L’Est Républicain) and national, daily newspapers (Le Monde, Libération, Le Figaro) as well as those published in the weekly Courier International, and covers a period spanning between April 6th 2002 and May 18th 2002; in other words, 15 days prior to the first poll and 15 days after the second poll of the French presidential election. In order to analyse the semantic and pragmatic functioning, the socio cultural, aesthetic and ideological conventions of the era of a plurimodal communication, we use a semio-rhetorical approach allowing us to establish the link between the specificity of the drawings, the building of meaning through the use of the image and the reception it aims at
Tranchant, Clarine. "Constructions spatiales et utilisation de l’espace en Langue des signes française." Paris 8, 2011. http://octaviana.fr/document/167604201#?c=0&m=0&s=0&cv=0.
For our research, we try to describe exhaustively the linguistic way used in a special field of sign language namely spatiality. The methodology is first to query the data that highlight the spatial constructions in all types of speech and then trying to describe the elements used for the appropriate use of space. The Cuxac’s semiotic model (2000) leads us to distinguish two types of opportunities available to speakers and can say without intending to show and say, pointing. My assumption was to discover whether these two discursive strategies are present at spatial relationships and the use of space in all types of speech. We found two solutions to say in sign language: tell in showing and tell without showing. These possibilities use two types of linguistic means: iconic means with spaced loci (portions of space that I called Oxyi), or standard unit. We believe that sign language questions us on how cognitive and linguistic input in the world. Unlike many authors we do not exclude the role of iconicity presented in sign language, instead it is the organizing principle of language particularly in the field of space
Tran, Quoc Trung. "Du livre illustré au texte imagé : image, texte et production du sens au XVIe siècle." Paris 4, 2004. http://www.theses.fr/2004PA040281.
This research concerns an illustrated book from the renaissance examined from the perspective of the insertion between textuality and materiality as it has been defined by historians of books and reading. Emerging from a body of work essentially narrative in nature, our work studies the relationship between the words and images in describing the interpretive process and in reconstructing the hermeneutic analysis by the reader. The task is to define the productive portion of the image in the preparation and construction of meaning and its interaction with textual codes (generic, rhetorical and stylistic) to which the studied texts refer to. The first part, introduction and outline, presents an approach and method adopted, suggesting as apoint of departure the status the critical analysis of the question in order to explore this historic, cultural and material dimension of the subject of our study. The second part examines different situations for reading, talking as a point of departure the placement of the image in the book. We are interested foremost in the preliminary images, and notably in portraits of authors, which construct the identity of the book as they codify the reading of the text. We then study the cas of interior images to see to what extent the contribute to the structuring of the book and to the cohesiveness of the text. Finally, the third part proves the validity of our approach and extends its perspective in suggesting a detailed study of "le discours du songe de Poliphile" (1546). We show how the story and the fiction rest on a reflection on language and speech that evoke and call forth the images
Brandt, Stefanie. "Le langage publicitaire : une approche sémiologique et didactico-linguistique." Nice, 2007. http://www.theses.fr/2007NICE2017.
This research focuses on advertising language. Spreading the advertising message can be accomplished by using several types of media: the written press, outdoor advertisements, television, cinema, as well as the Internet. This approach is semiotic, an approach which enables us to understand advertising language internal process and to create a connection between the nature of signs, their combination rules, and their production of meaning. The analysis of several campaigns reveals a coherent system, combining different dimensions: verbal, para-verbal and non-verbal, which all work together to give birth to the advertising message. Moreover, a pragmatic component reveals what discursive mechanisms are used in order to express a particular intention of communication. Nowadays, there is no longer a separation between language and culture; this research proposes an epistemological theory based on a concept that is called “facts of language-culture” (FLC). FLC suggests the perception, the comprehension, and the exact interpretation of the effect achieved through the communicative intentions, through enunciation as well as through the actualization of language in discourse. Instead of proposing a simple description of advertising language, it is a matter of establishing an adequate method of analysis focusing on didactics and linguistics in order to show the pertinence of diverse linguistic approaches to the didactics of foreign languages. Focusing on didactics of Français Langue Etrangère et Seconde (FLES), our thesis aims finally at establishing a coherent method applicable to all advertising campaigns with the purpose of applying it in the process of teaching a new language
Scaccianoce, Luc. "Essai sur les thèmes iconographiques au XIXe siècle et leur évolution." Paris 8, 1992. http://www.theses.fr/1992PA080724.
Painting in the 19th century can't be limited to a period. Although every styles have been used, history and genre painting were more prestigious than the other kind. The form is more important than the substance and painting is functionalist. Its function which is to illustrate becomes vile. In france, the necessary representation of the authority has imposed a new iconographic era in the symbolic field. From now on, all that eyes can see or read is considered as the truth and the absolute reference to reality. Being as speech again, picture seems to have put an end to the previous centuries, which had tried to release the picture from the sacred word. This social persistence that wants to catch human reality has a peculiar goal which is to catch its own image. It has unavoidably come to a deadlock. Indeed, deprived of a fundamental spirit the profane painting has to find its function. These both factors, which are the secularization of the painting and its appropriation by the masters are the essence of the 19th painting. The appeal to the norm avoids the fear caused by the incertitude of the proof against reality
Versteeg, Wilco. "The reliable image : Documenting contemporary warfare with photography." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC277.
This dissertation asks in which ways war photography can still serve as a reliable source of information about the world. Can, in today’s skeptical visual culture, an image still be considered reliable, or will it always be greeted with an academic, postmodern relativism that has become a feature of our common culture? And if an image can still be considered reliable, which role can it play in today’s media and society? The projects and practices discussed in this thesis all try to renew photographic practices to save documentary images from this generalized distrust. John Tagg famously asked under what conditions “a photograph of the Loch Ness Monster (of which there are many) be acceptable?” (Burden 5). This dissertation will stretch this question, and ask under which conditions any documentary photograph, in today’s skeptical West, could be considered reliable. All projects discussed in this dissertation are engaged with the possible futures of photography and try to imagine and use methods that, despite blanket skepticism, want keep photography in lock-step with developments in society at large, including the skepticism that faces down institutions and systems of believed that have shaped our worldview for more than a century. Although the fog of war has always been an integral part of warfare, today’s drone warfare seems to expand this fog to thus far unseen levels A dissertation should foremost be readable and therefore is bound to limit itself to examples, to discuss in depth various representative examples rather than provide a sweeping overview of completion. The nature of contemporary warfare and our digitizing world does not allow for this completion yet, and perhaps never will
Bazin, Maëlle. "Dessiner la liberté d'expression face au terrorisme : sémiotique et sociologie des pratiques graphiques en hommage aux victimes des attentats de « Charlie Hebdo » (France, janvier 2015)." Electronic Thesis or Diss., Université Paris-Panthéon-Assas, 2023. http://www.theses.fr/2023ASSA0078.
Combining contributions from the semiotics of images, the anthropology of the written word and media studies, this research focuses on a corpus of several hundred drawings produced in response to the Islamist terrorist attacks of January 2015 in the Île-de-France region. It establishes the extent to which the drawing, as an auxiliary and subject of discourse of popular mobilisations, constitutes a vector of cohesion between French people. The first part of the thesis shows how the attacks of January 2015 constitute a pivotal moment in remembrance practices in France and explains the connections and originality of this doctoral research. Following on from work on the sociology of the attacks, this thesis focuses primarily on the visual dimension of the messages, an aspect that has been little explored until now. The second part examines the media treatment of the attacks, looking at how the framing of an attack on freedom of expression affects the ways in which the French press and television engage the public. The third part analyses a large amount of empirical material from a number of French public and private archives. It takes account of the plurality of graphic practices and forms of politicization in three specific communication devices: ephemeral memorials in three provincial towns, walls in the capital and letters sent to the editorial staff of Charlie Hebdo
Jacob, Lopez Sylvie. "La caméra-sabre : Kurosawa Akira ou la Voie de Barberousse." Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC083.
When we talk about a movie, what are we talking about? When film analysis proposes a systematic reading, according to rides and with the appropriate vocabuiary, what exactly does it propound? Is the terminology it uses adapted to cinema or does it shape the film that is the object of its study? So long as film analysis does not question the ternis of its enunciation, thinking cinema develops on an unthought which conditions and limits its mobility. Restoring mobility to vision, freeing it from a fixed point of view, is the primary goal of our work. The dimension of the film Barberousse, directed by Akira Kurosawa in 1965, may only be seized under this condition. Beneath the surface of the narrative, which may be grasped by film analysis, a primordial breath is staged in Barberousse that eludes categories. It is a martial film, because like painting or calligraphy, it restores the breath on which martial practice is centred. Breath is shapeless and discourages definitions. It is the combination of emptiness and fullness. It discourages the decomposition that composition requires. The films balance can only be grasped by a new approach, outside of the scope of analysis. Thus, the film becomes something other than the matter on which we exercise our mind. It becomes the way thought recovers movement, outside of the provisions that regulate its use. In Barberousse, education is not the films theme, but a new dimension in cinema
Velásquez, Paola. "Les images dans la ville de Santiago du Chili : manifestations des activités commerciales et citoyennes." Thesis, Paris Est, 2011. http://www.theses.fr/2011PEST1156.
Images, in all their diversity, present in the urban environment, form the subject of our study. Thus, with the starting point a vast cache of photographs and cards, collected over a long period in Santiago city-center, the issue involves comprehending the image/context as a whole, a task that, after a case-by-case examination, will allow us to analyze the image as an integral part of its location. The goal, therefore, is the observation of the role of images in the construction of the urban environment and as fundamental components of our everyday surroundings. In this way, various aspects come to the fore throughout the process: the distribution of images relative to the power of the forces they represent reveals, in the whole, the spatial activities of the social group; the way in which the image transforms the space and the space in turn redefines the image; the relationship between image and architecture; between the dynamics of the image and the urban dynamics; and, lastly, the impact of new technologies on the urban landscape. In summation, throughout our research we have followed the progressive existence of location-specific imagery as an object in its own right and an essential element that will shape the visual landscape of cities in the 21st century
Brouat, Thérèse. "Le dire et l'induireContribution à la didactique de l'anglais des spécialités scientifiques et techniques." Chambéry, 1997. http://www.theses.fr/1997CHAML004.
This research aims at studying advertisements for computer products published in british and american computer magazines in order to identify their potential with a view to teaching English to computing students. The analysis deals with the way argumentation is built on the close association of pictures and discourse. It emphasizes the effects of their dynamic interaction on the receiver and the role of the latter in construing meaning. Ranging from a descriptive pole where referential function prevails and a poetic pole open to connotations, advertisements for computer products are hybrid and multidimensional messages. Our approach consists in showing how scientific reference is embedded in other discourse types such as description, explanation, dialogue, story-telling, illustration, poetry, etc. , to appeal to the reader's emotional and rational sides. When the reader is an ESP student, these multidimensional messages can be adapted into teaching material in order to meet specific language needs that include, but are not limited to, technical terminology. For ESP teachers, advertisements provide a mine of easily updatable information in an ever-evolving domain. The last part of this research gives suggestions and guidelines on how to integrate advertisements for computer products in a course for ESP students. It focuses on activities that build on the cognitive, cultural and affective energy of learners and involve them in the process of mastering comprehension and production skills
Manuel, Alexandre. "Information d’urgence et information télévisée : analyse d’un paradigme communicationnel (les événements du tsunami de 2004 et du 11 septembre 2001)." Thesis, Besançon, 2011. http://www.theses.fr/2011BESA1007/document.
Despite being a discursive continuum, broadcasted news is marked by daily ritual; it inscribes events into various pathemic depth levels. When catastrophes such as the 2004 South-Asian tsunami or the 9/11 attacks of 2001 occur, the depth level that is reached seems to crystallize into a specific form. My thesis work has led me to conceptualize this particular form as “emergency news” (information d’urgence) and the research aims at defining its conceptual and constitutive traits.“Emergency news” is mainly characterized by a significant amount of amateur images, intermingled with standard professional images. “Emergency news” thus sets up interpretation/reception conditions which in turn are able to heighten pathos to its maximum, within a background frame consisting of a proven truth rooted into social and cultural practices. When signs of imperfection —which are characteristic of amateur images— filter the “right” image reception, how can they reflect the natural world in a strikingly realistic way? How do they contribute to the pragmatic aims of urgency and emergency? Do they work in an autonomous manner? Based on a corpus composed of broadcasted images and news reports from three different countries (France, Portugal and the United States), the exploration of the various elements constitutive of “emergency news” guides the reflexion beyond the semio-textual strata, toward the analysis of the communicational paradigm. Thus, with its inscription in semiotic polyphony (revolving around the visual, the verbal and practices), this journey will question planes of immanence before leading to a stable definition of the “emergency news” syntagm
Manuel, Alexandre. "Information d'urgence et information télévisée : analyse d'un paradigme communicationnel (les événements du tsunami de 2004 et du 11 septembre 2001)." Phd thesis, Université de Franche-Comté, 2011. http://tel.archives-ouvertes.fr/tel-00973871.
Gillet, Fanny. "Saisie/dessaisissement : enjeux de l'unité texte/image chez Keats, Tennyson, Rossetti et dans l'art préraphaélite." Toulouse 2, 2008. http://www.theses.fr/2008TOU20101.
This dissertation on word and image focuses on the relationship connecting Keats, Tennyson, Rossetti's poetry and Pre-Raphaelite art, be it through visual representations of poems, ekphrastic works, illustrated books, or Rossetti's “double works” of art linking poem and painting. This strong link partly results from the persistence in nineteenth-century England of the powerful tradition of ut pictura poesis, a comparison by Horace which has been used to blend poetry and painting, as if they were mirror images of each other. However, since they remain heterogeneous forms of art, each with its own codes and modes of apprehension, we can wonder whether simultaneous perception may entail no uneasiness. Indeed, being a reader/viewer implies, from the very start, abandoning some habits of perception. Even as we try to maintain the uniqueness of each work of art, doublings, mirroring effects debunk stable interpretation. If we admit this form of amazement implied by word and image, there might be a way of considering them as a whole, each aspiring to find completeness by including the other: only then may they become inseparable “halves”. There still exists a potentially painful interstice between the two that the art of inachievement, through sketches or suspension, sublimates, creating a more complex unity, a dynamic process aiming to grasp both poetry and painting, in which the reader/viewer enters the path of labyrinthine a(maze)ment
Donard, Mélanie. "Le zoom ou l'image d'une image." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030124.
The zoom lens, originally invented for advanced optical instruments, soon came into use in the field of still photography before being adapted to the motion picture camera. It is a development that brought an end to the stability and the transparency of the image in favor of movement and visibility within that same image. To make use of a zoom to give the impression of a tracking shot is to propagate a form of perceptual illusionism, which is why I choose to consider the zoom as the passage from an image to the enlargement (or shrinking) of that very image. The zoom is fundamentally an image of an image that is to be understood in light of new concepts such as central framing, descriptive long takes, the flattening of the image, and the virtual frame within a frame. While evoking the notion of duplication, the connection between the image and its referent is to be questioned: an image made by a zoom lens is one of resemblance, as it is characterized by the gap that is formed between the image and its origin. It engenders an imaginary center as a form of fiction, or on the contrary, is marked by reality. It is in this sense that the zoom creates images that stare back at the spectator, rendering him conscious of his own gaze. One could evoke Brunelleschi’s experiment, which used a mirror so that one is observed by his own gaze in the "distance" of a painting in perspective, thus drawing in the gaze of the painter, confronting him with his double, his image. The zoom, like the notion of perspective, is also a metaphor for vision: it produces the image of an object that is shaped by the image of the gaze. The image of the zoom, a sign to be decrypted, substitutes reality by doubling it, yet is also vowed to disappear behind an image of reality. We are confronted with the idea that reality can be called on to vouch for the image, and that the image has the capacity to create reality
Rouquet, Camille. "Les icônes du Vietnam et leur pouvoir : mécanismes de consécration des images photojournalistiques et rhétorique de l'influence des médias depuis la guerre du Vietnam." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC278.
This dissertation focuses on those press photographs from the Vietnam war considered to be “iconic”. In recenthistory, only about 30 or 40 photographs, whether documentary, art, or fashion images, have been consecrated as“icons”, a word that denotes their capacity to symbolize or embody various concepts. Among these images, fourhave surfaced from the visual archive of the Vietnam War. These icons are photojournalistic images whose contentwas considered shocking because of their sensational and graphic nature and which have appeared consistently inthe press since the end of the war and remediated in various artistic fields. Their fame has caused thehistoriographers of the Vietnam War and the public to think of them as influential objects; they have been credited with, or blamed for, turning public opinion against the war or for causing the ultimate defeat of American forces.This dissertation examines closely the relationship between “icon” and “influence” by way of a review of thehistoriography of the media during the Vietnam War and, afterwards, through its memorialization. Even thoughthe notion of influence is refuted by some experts in very precise and well-documented case studies, it remains anintegral part of the definition of photojournalistic icons of media content today. This essay exposes in detail theunique characteristics of the Vietnam icons and their progress in the press from the 1970s to the 2000s so as toexplain how these images have become representative of the influence theory, and to what extent media discoursehas contributed to educating the public by using icons. The aim of this essay is to show that icons have truly unique compositions and are fully meta-photojournalistic objects that testify to the media’s attachment to their adaptability and familiarity. The American public is no longer the only recipient of their symbolism ; icons—from Vietnam andfrom other contexts—have now reached an international status. Consequently, in contemporary times, icons contribute to problematizing and theorizing studies in visual culture
Delesse, Catherine. "Image, texte et métaopération." Paris 3, 1994. http://www.theses.fr/1994PA030104.
The aim of this thesis is to show the importance of the context given to both linguist and teacher by the image-text relationship in comic strips. The corpus is composed on English and French comic strips and their translations. This is a contrastive work based on an enunciative theoretical framework. The first part consists in studying the relationship between image and text from a reading point of view ; then, we analyse the interpenetration of those two comic strips constituents : image and text. The second part is devoted to the study of deictics, indefinite pronouns and the representation of time - as well as direct, indirect and free indirect speech - with an emphasis on the links between image and grammatical tools, then to as study of the relationships between image and text from a linguistic point of view - with special reference to anaphora and cataphora. The third part sums up the different approaches and puts forward propositions for a teaching approach in three fields : phonetics, syntax and translation
Peigney, Salomé. "Représenter l’homme ordinaire. Histoire et sémiologie d’un commun du voir sur un commun aux hommes." Thesis, Paris 2, 2018. http://www.theses.fr/2018PA020068/document.
Representing the ordinary man is, in this work, considering that a common look is built on a human common. Ordinary comes from the word ordo, « arranged by order ». This is not about shapes or forms but more about a view. This work is not about the ordinary man but about a view that can see an ordinary man. This is a political view, that told what has to be seen in a society. It is a violence, and a comfort of viewing at the same time : a representation that imposes what is a man, definitely, but also, comfort of views that gather around a figure that they recognize and share.Representing the ordinary man, in Les Caractères by La Bruyère, in the Physiologies published in the XIX century press, in anatomical and physiological pictures, in Les Français peints par eux-mêmes, on an IKEA catalog cover or in a people magazine pages, is addressing a representation to a public that recognizes something that comes from a common view and a common living, that this public learned to recognize in a society. Recognizing something ordinary, and something ordinary about men, means that individuals can be identified the same way. This is not a gender notion, but a formula that leads to the « common seeing » of a society. We searched how to be able to see an ordinary man : our work remains in semiotics of seeing that asks how a society builds categories of seeing that permits to whose who share them to build a common seeing
Stefanelli, Federica. "Lorenzo Viani : le visuel à l'œuvre : Études critiques, sémiotiques et iconographiques." Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2012/document.
Broadly speaking, this work is framed within Cultural Studies. This current of thought, born in Great Britain in the 1960s from the works of R. Hoggart, S. Hall, and R. Williams, invites us to question the notion of culture in all its dimensions, evidencing political, ideological, and power issues. According to Cultural Studies, the concept of text designates not only that of written language, but all cultural production, including image.In keeping with this perspective, the object of study, that is Lorenzo Viani’s work, is undertaken through a transdisciplinary approach. The texts, or in this case images, are worked on aided by a crossover of contributions by different disciplines, such as Sociology, Philosophy, Aesthetics, Art History, Literature Theories, Mediology, and Semiotics.Because of this, the main corpus, as in all of Viani’s published works, once achieved the first stage of literal comprehension of the texts which required a philological approach, was analysed in an open manner, considering of society, history, and relationships with cultural phenomenons from which they originate. In first place, the thesis deals with an in-depth study of Viani’s biography. We have reconstructed in detail his intellectual education and the network of relationships which Viani, who was a very active character in the political and cultural scene of Versilia in his time, built and nurtured throughout his life.Taking into account the fact that Viani, one of many talents, began his artistic endeavors as painter and illustrator, and that he devoted himself to writing (journalistic and literary) in a subsequent phase, we have given weight to the dimension of image in our analyses of his texts. We use the concept of “spoken image”, going by W.J.T. Mitchell’s definition. That is to understand where these images come from, why Viani chose them, and if they have an aesthetic function or one of another nature. The objective is a comparative analysis between word/spoken image. We aim to examine if the general idea that Viani has of the meaning of art, that is of art as a tool that allows us to seize reality in terms of signs, already very defined in Figurative Arts, is present in Literature in the same manner or not.To this end the human body, in terms of a spoken image, was chosen as the main research category to conduct the analysis. The investigation thus covers a gap by focusing on an aspect of Viani’s work that has not yet been examined.Our work opens new investigative perspective that allow us to take into consideration Viani’s production through the contemporary Visual Studies approach by analysing the phenomenons of semiosis, that is to say hidden meanings behind the spoken image. Moreover, it allows us to deepen our knowledge of crossover modes of various semiotic spaces (Literature and Painting) which, despite the variety of signs, allows us to obtain powerful descriptive results.This research has allowed us to obtain important results. We have verified the presence of a constant trait in all of Viani’s work, namely the presence of a strong visual component, expressed, among other vectors, through representations of the human body. The in-depth analysis of his written, yet just as figurative, works, as well as the in-depth analysis of his writings and notations about Art, has allowed us to find this red string that gives Viani’s work a coherent and, most importantly, as of yet unheard of meaning
Shih, Chiu-Yen. "Le modèle esthétique dans la critique d'art de Zola. Essai de sémiotique syncrétique." Paris 8, 2011. http://www.theses.fr/2011PA083313.
The different arts can move us with a similar intensity as art criticism of Zola and Impressionist painting do. Whence is the power of the arts? It is in our body. And this, because the arts generate a molecular motion in the body. This motion is the cause of every emotion, every feeling, according to Hippolyte Taine. The perception of the arts, of the world, results from this intimate motion, which produces the sensation. This is, according to Zola, the origin of feeling and thought. From there emerges the universal dimension of Zola esthethics, based on sensitive work. And this, because the world exists through the five senses which integrate sensori-motricity. By a semiotic approach, this research, through the analysis of mental images drawn from art criticism of Zola, aims to construct an esthetic model, which will highlight the origin of his critical writing strength based on the visible world and expressed through figurative termes. This will lead us to identify more widely the origin of the strength of the correspondence of various languages, and thus the syncretism of the semiotics of literary language and the semiotics of visual language