Tesis sobre el tema "Contemporaey"
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Masiero, Valentina <1989>. "Contemporary Love - panoramica sull'arte erotica giapponese contemporanea". Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/7535.
Texto completoOurrad, Samia. "Contre-culture et marginalité dans le roman contemporain : le signe d’un déclin littéraire ?" Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20022.
Texto completoThe introduction of marginality and of the counterculture in the contemporary novel reveals a literature crisis at the end of the twentieth century and at the beginning of the millennium. The death of literature is often claimed as the fiction, narrative or identity crisis. There are increasing interferences between the highbrow Literature and “bad-literature”. Is this idea of End on a par with the extreme belief in the End of the World of Western and in the Death of the modernist thesis? Many contemporary novels explore extreme violence, sadism and cruelty to expose, with disappointment, a brutal and animal humanity. But are not these violence excess and overdeveloped marginality the expression of a radical disappointment or a strong writing that use acid language to refuse this new face of the world and of art? This writing, that elate journalistic critic, does it really change literature? Is it really new and subversive or is it popular literature that follows up the modernists experiments? The highbrow critic seems sceptic concerning its literarity; but the inscription in the “linguistic third-world” reveals the changes of the aims of literature. In fact, what is the function of literature in globalisation and mediacraty? Don’t these novels reveal a deep evolution of literature and a critic of the traditional artistic criterions?
Spinelli, Manuela. "Le personnage de l’inetto dans la littérature italienne de la fin du XXe siècle". Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100166/document.
Texto completoThis dissertation investigates the abulic, and weak character of the contemporary inetto, with the aim of showing how this figure’s feeling of unease and disquiet can be read as protest directed at modern-day society. The analysis focuses on novels published in the last two decades of the 20th century, the period in which the figure of inetto becomes a significant presence.The first part of this study reconstructs a possible genealogy of the character. The point of departure here is the general feeling of crisis, which permeated European Literature at the turn of the 20th century. With this broader literary context in mind and highlighting the decisive role of Svevo’s oeuvre, this part of the study delineates the traits of the character of inetto. The second part of the study is devoted to the inetti represented in the novels written in the 1980s. This part is composed of an introductory chapter providing contextualisation for the five novels analysed: Vita standard di un venditore provvisorio di collant (Busi), Diario di un millennio che fugge (Lodoli), Per dove parte questo treno allegro (Veronesi), Casa di nessuno et Gli sguardi cattivi della gente (Piersanti). The third part of the study starts with the depiction of Italian society in the 1990s, followed by the analysis of four selected novels: Tutti giù per terra, (Culicchia) Eccesso di zelo and Denti (Starnone) et Di questa vita menzognera (Montesano).The investigation shows how the presence of inetto can be read in the light of this character’s potential to counter hegemonic social models in an attempt to disclose the hypocritical and contradictory nature of contemporary society. More specifically, in this reading of inetto, this traditionally exclusively male character can be said to embody a new alternative mode of masculinity
L’obiettivo della tesi è analizzare l’inetto contemporaneo, cioè un personaggio abulico, velleitario e debole. La nostra ipotesi è che il sentimento di malessere che lo accompagna possa essere letto come una contestazione della società a lui contemporanea. Ci concentreremo sugli ultimi vent’anni del Novecento, che presentano una ritualizzazione significativa di questo personaggio nato alla fine dell’Ottocento. La prima parte traccia una possibile genealogia del personaggio. Si tratta di un momento necessario visto che l’inetto è un personaggio poco studiato e difficile da definire, le cui caratteristiche non mettono d’accordo tutti. Partendo dal sentimento di crisi che caratterizza la letteratura europea tra Otto e Novecento, delineeremo un possibile ritratto dell’inetto, per il quale l’opera di Svevo sarà determinante.In seguito, nella seconda parte, ci focalizzeremo sugli inetti degli anni Ottanta. Dopo un capitolo di contestualizzazione, analizzeremo: Vita standard di un venditore provvisorio di collant (Busi), Diario di un millennio che fugge (Lodoli), Per dove parte questo treno allegro (Veronesi), Casa di nessuno et Gli sguardi cattivi della gente (Piersanti). La terza parte si concentra sul decennio seguente: dopo aver tracciato un panorama dell’Italia dell’epoca, analizzeremo quattro romanzi: Tutti giù per terra, (Culicchia) Eccesso di zelo et Denti (Starnone) et Di questa vita menzognera (Montesano).La nostra ricerca dimostra la capacità di contestazione che si nasconde nella scelta di un personaggio inetto, la cui sfasatura rispetto ai modelli considerati vincenti svela le ipocrisie e le incongruenze della società stessa. In particolare l’inetto – che è sempre un personaggio maschile – si fa portatore di un tipo di mascolinità alternativa a quella egemonica
Rambaud, Mathias. "Les représentations chrétiennes dans le roman français contemporain de 1991 à nos jours". Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30018.
Texto completoThe taking back of the Judeo-Christian eschatology by political theorists of the nineteenth century is a topos of the history of ideas. Though it is less obvious, the religious foundation of the democratic ideology of the twentieth century is just as real. As for art, since it is perhaps the last otherness of positivist rational discourse, it leads, in an overterritorialized world, to the extraterritorial field par excellence. The speculative theory of Art showed how literature is much more a logos than a tekhnè, and how the writer is closer to the figure of the messenger than to that of the craftsman. Moreover, in its temptation of origins, artistic inspiration calls for upmanship: word by word, we come to the Word, and from idea to idea to the Holy Spirit. Shall it transpose or criticize it, illustrate or reject it, the book has always had close relations to the Bible – and those relations are much deeper than an simple mediological homothety, where every beginning would count as a genesis. Among the current practices of transplantation of the Christian heritage in the novel, few are architectural ambitions or big extensions; most common are grafts or slags. Fragments of bigger schemes that no longer exist. Our aim is to highlight the new insertions of the sacred in the profane world of literature and to study its unique nature in connection with the current French society. And to demonstrate that between descriptive models, speculative crutches and narrative detours, Christianity, more than a mere referent among others, remains, in spite of society’s secularization, one of the privileged backgrounds of French fictional creation today
Parcollet, Remi. "La photographie de vue d'exposition". Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040222.
Texto completoThe Exhibition as format has been the object of numerous analyses and nevertheless its relationship with photography is rarely evoked. Considered as a process, it develops numerous links with the process of Photography. Both consist in "showing". Beyond their analogies, Photography and Exhibition are interdependent. The study of Exhibitions is now inevitably related to photography. Today artists and curators use photography not as an end but as a tool allowing them to think about space.An exhibition view is a photograph but it is never a reproduction, it is determined according to time and space. It indicates and verifies at the same time, before, during and after the exhibition. The indications it supplies establish elements for the critical analysis of the exhibition. The process of photography, to which exhibitions have always been submitted allows "comparisons", and "verifications" which influence, consequently, its conception.Because the act of exhibiting, regularly questioned, is in perpetual evolution. Because it is autonomous, it is always more difficult to comprehend. Focusing on its ambiguities, in particular its capacity to become an image, allows to measure its complexity. This probably opens the way to new strategies of study which will gradually allow a more complete and effective understanding of its certainly decisive influence on the future evolution of contemporary art
Bassene, Reine. "L'art contemporain africain : enjeux et perspectives face à l'émergence du marché de l'art globalisé". Thesis, Nice, 2013. http://www.theses.fr/2013NICE2046/document.
Texto completoThe contemporary African art has made its entry into the globalized system, first through artistic exhibitions then in the auction houses. Since the 1960s’ a new vision of contemporary African art has emerged with the postcolonial discourse. These ideas have led to a different reading of the contemporary African aesthetic with the support of some curators. Meanwhile, a vision of the “authentic” artist remains in many European and American exhibitions. African artist give an image that can sometimes seem fossilized The contemporary African artists today find themselves in a situation, which can be source of conflicts. They can get close to the artistic centers pulse which means the Western art market or stay on the African continent and try by different initiatives to include a market which is still outlying areas like western countriesThe other areas however gradually mutate into centers pulse but remain modest for the time being. With the advent of new technologies, opportunities exist for artists from the third world in terms of use but also as media. Their application pushes the reflection, and then attempt to understand the challenges that lies ahead for contemporary African art and perspectives that will glimpse through the paradigm of postcolonial studies and through the advent of technologies of information and communication. Is it possible to suggest new approaches to promote the dissemination of contemporary African art through socio-technical devices available but also through information management? The first part, this thesis attempts to show the diversity of the arts of Africa to understand it’s complexity today. Then by analyzing the relationship it has with the West, to understand it’s history.The second part tries to understand the identity of the African artist but also its positioning and initiatives that are carried out on the continent will better understand the challenges and opportunities.The third part will give a point of view overall which today governs contemporary African art
POLA, FRANCESCA. "MITICO PLASTICO MAGICO. Italia e Germania 1918-1925. Episodi e figure di un dialogo artistico". Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/218.
Texto completoThis research has been considering as a specific element of interest the historical-critical reconstruction of the artistic relationships between Italy and Germany in the period 1918-1925. During these years, it has recognized the most relevant episodes and the originating moments for meaningful developments in the following decades, for artists, galleries, intellectuals involved in these relationships. The historical reconstruction of exhibitions, publications, documents, which determined the environment for the courses of the two cultural surroundings to develop and intertwine, has been enriched by the identification and study of some aspects and themes recognized as recurring and founding for the artistic dialogue between Italy and Germany in the analyzed period. The first chapter focuses on the historical-critical frame of reference and on the figures of mediators who allowed these exchanges, while the second concentrates on the relationships between Valori Plastici and Germany. The third chapter reconstructs the Italian stays of some German artist who reside in Italy during this period (Georg Schrimpf, Carlo Mense, Alexander Kanoldt, Christian Schad). The last chapter proposes some hypotheses for comparative analysis, that testify the common ground of research.
POLA, FRANCESCA. "MITICO PLASTICO MAGICO. Italia e Germania 1918-1925. Episodi e figure di un dialogo artistico". Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/218.
Texto completoThis research has been considering as a specific element of interest the historical-critical reconstruction of the artistic relationships between Italy and Germany in the period 1918-1925. During these years, it has recognized the most relevant episodes and the originating moments for meaningful developments in the following decades, for artists, galleries, intellectuals involved in these relationships. The historical reconstruction of exhibitions, publications, documents, which determined the environment for the courses of the two cultural surroundings to develop and intertwine, has been enriched by the identification and study of some aspects and themes recognized as recurring and founding for the artistic dialogue between Italy and Germany in the analyzed period. The first chapter focuses on the historical-critical frame of reference and on the figures of mediators who allowed these exchanges, while the second concentrates on the relationships between Valori Plastici and Germany. The third chapter reconstructs the Italian stays of some German artist who reside in Italy during this period (Georg Schrimpf, Carlo Mense, Alexander Kanoldt, Christian Schad). The last chapter proposes some hypotheses for comparative analysis, that testify the common ground of research.
Hugues, Henri. "1914-2014, un siècle d’anthropophagie féminine dans l’art brésilien : pertinence et actualité ?" Thesis, Antilles-Guyane, 2014. http://www.theses.fr/2014AGUY0766/document.
Texto completoAt the beginning of the twentieth century, in Brazil, a radical artistic rupture took place, which marked the beginning of a new era. The resulting modernity differed from its European counterpart by the awareness of geographical, cultural and political distances that alienated Brazil from Europe and more specifically from its former colonial owner, Portugal. Brazilian modernity sought to define its identity through important basic elements that constitute the stuff that the New World is made of: cross-breeding, mythology and post-colonialism. The Brazilian avant-garde emerged around 1928 with the publication of The Anthropophagy Manifesto by Oswald de Andrade (1890-1954), who is thus the founder of the Anthropophagy, that we can define as a backward step into a reinvented form of ″Amerindianness″. The ″bad savage″ voices his criticism against impostures of the world. « Anthropophagy art is not a literary revolution, nor is it a social plea, nor a political pamphlet, nor a religious tract. It is all these things at the same time. Its law is simple: everything that is not me is of interest to me. The law of men is the law of Anthropophagy ». It thus prescribes eating up imported models and digesting them through the process of hybridization in the name of Brazilian identity. By displacing Freudian concepts, «Anthropophagy is the permanent transformation of the Taboo (man-eating) into a Totem (Brazilian identity) ». The permeating influences of psychoanalysis and anthropology need to be put in perspective: the displacement of the anthropophagous taboo remains a symbolic act of transgression, a metaphor, but the anthropophagic reference does not concern the pre-Columbian period, because it is updated. We propose to study this phenomenon through four questions: 1°- What are the relations between Anthropophagy, history, esthetics and ideology? 2°- What is the place of women Brazilian artists in the emergence of this movement, taking into account their decisive presence right from the start? 3°- Taking into account the resurgence of Anthropophagy from the second half of the 20th century onwards, what is the place of women artists in this phenomenon? Are they pursuing the same interests as the founders of the movement?4°- Can we deduce that there exists a specifically female genre within the anthropophagic movement of yesterday and of today? If so, what is its relevance? Where does it stand with respect to the contemporary concepts of post-modernity and globalization in the present-day art world?
Riss, Sabine. "Ravage et carnage des subjectivités contemporaines : postures radicales et métapsychologie du chaos". Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2013.
Texto completoOur work will be built around a central hypothesis : The unheard echo found by the narrative and scopic plot proposed by ISIS, is explained by its adequacy with the pangs of contemporary subjectivities. It is thus a question of studying the conditions of this encounter which captures the subject, wandering in the troubled waters of the archaic with a death offer distilled by the deviation of a pseudo-Islam of cruelty that seems to bring the illusion of ‘answer. Because from the outset in the young subjects that we receive, the « transplant » fantasy takes, such a passionate meeting between an agonistic subject, and a miracle solution that comes to offer the possibility of getting out of a subjectivity made of inconsistency to abandon fright and emptiness in favor of a lenient filling. Their terrorism is not born of an ideological project but draws its force from a subjective disaster to which it gives shape. In this, the imagery of ISIS comes to actualize the collapse Real / Imaginary (imaginary grandiose but death) in these agonic subjects. The obscene is then exhibited, the impulse scopic unleashed. The pure archaic remains that will punctuate the life and the acts of a subject of discontinuity, in the name of the return of the cleave, a repetition identical to the mortifère. In this paper, we are going to do a clinical study of subjects willing become martyrs based on our experience of a clinical psychologist in detention. The framework of this mission is dedicated to treatement of subjects coming back from Syria, or who has wanted to go there, or else showing a sudden morbid bascule, towards death trajectories in the name of god. We will focuse on the psychic incounscious motivations of such process : addiction, prejudice and their dialectic with the Ideal to interrogate these forms of contemporary melancholia for subjects who can only reach feeling of existence in project of divine death. We will try to illustrate our 3ypothèses according to which the dossilution of an inconsistent Ego in an nihilist Ideal Ego is the key to an understanding of what we currently call radicalization, in its most extreme form, that of people aspiring to martyrdom, wandering in the morbid zone of the archaic, the “chahids”
Benkass, Zahra. "La collecte de l'objet contemporain au sein de l'écomusée et du musée de société". Phd thesis, Université d'Avignon, 2012. http://tel.archives-ouvertes.fr/tel-00807037.
Texto completoCODIGNOLA, FEDERICA. "Mercato dell'arte e prodotto artistico contemporaneo". Doctoral thesis, Università degli Studi di Milano - Bicocca, 2006. http://hdl.handle.net/10281/46013.
Texto completoPereira, Marcelo Eugênio Soares. "Acumular tesouros : um olhar sobre os cadernos de desenho". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/131745.
Texto completoThe present research entitled Accumulating treasures: a look upon sketchbooks analyzes a set of sketchbooks, created by myself between 2006 and 2015. The main objective of this research is to investigate in what way the frequent use of sketchbooks constitutes a poetics and how sketchbooks are addressed in Art History and in contemporary artistic production. The methodology – which follows a qualitative approach – has as main procedure the continuity of practical production as well as the establishment of relations among my sketchbooks and other artists’. I emphasize, in this study, the heterogeneous aspect of the sketchbooks, considering that they contain and aggregate a considerable amount of graphic elements besides the drawings, as well as collages and writings. The hypothesis explored is that the sketchbooks are not just an instrument to future works, but they are mainly means that allow artistic experiments of several kinds to be carried out. The concepts of hupomnêmata by Michel Foucault (2004; 2010; 2011); and collages by Antoine Compagnon (1996) are addressed along with the concept of drawing according to John Berger (2010).
Peretti, Ilaria <1992>. "Quando l’arte contemporanea incontra l’antico. Analisi del caso dell’esposizione Contrepoint. L’art contemporain au Louvre". Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12245.
Texto completoMaisonneuve, Anna. "Les formes du merveilleux en art contemporain". Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30073.
Texto completoHistorically, if we briefly review Western art history from the last few centuries, there are almost only the romantics and the surrealists who clearly agreed to use such a term. Moreover, " le merveilleux" was somehow their arrowhead , the ultimate ingredient susceptible to accompany and justify a collective quest, which was constantly referred to in order to do away with rationalistic narrow-mindedness which was then affected, decried and invalidated by the context: modernity for some, and for others, the First World War, which had just come to an end. Regarding the number of books and exhibitions taking on the themes of fantasy and enchantment for over two decades, it is tempting to consider the weight of that context. In a period of disillusionment, fantasy offers an honest escape, a kind of elementary compensation, a redress of the balance. Could renderings of fantasy in contemporary art be an attempt to re-enchant the world? More specifically, might this succeed in reducing the divide between the being and the world? Nowadays, when we live in a society in which reason is the dominant power, from which we can hardly hope to escape, in which territories can fantasy still appear? What form is it likely to take?
Pepa, Paola Natalia <1985>. "Arte argentina: dall'indipendenza al contemporaneo con suggestioni europee. Quattro artisti contemporanei nella Biennale di Venezia". Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/5106.
Texto completoFUOCO, ESTER. ""Né qui, né ora": peripezie del teatro contemporaneo ( "Ailleurs et autrement": Rebondissements du théâtre contemporain )". Doctoral thesis, Università degli studi di Genova, 2019. http://hdl.handle.net/11567/945965.
Texto completoIn the present analysis four contemporary international artistic examples will be analysed, chosen for their significance and at the same time their heterogeneity, representative of a peculiar interaction of the performer with the technological medium. It has been shown that this interaction produces in actors and spectators – where this distinction still subsists – a perception of space and time that is quite new; in keeping with three relational and expressive modes that we could anticipate here as: “present in the here and now” (immediate proximity), “present at a distance” and “absent/virtual”. Again in the experiences considered here, the contemporary body, far from what it represented at the origins, is no longer representative of identity, of a single identity: it is deprived of its subjectivity and reduced to a kind of “degree zero” of its nature. It becomes liquid, open, fragmented. In these performances, and in particular those that start from dance, the object and material characteristics of the bodies are brought into the foreground; so that the manipulation of the body or the displacement of the agent outside the body would seem to efface the notion of “presence”. Rather it would be more correct – and this is the challenge of this investigation – to evaluate the reconfiguration of this presence in the light of a mediated truth, an effect of reality that leads us to regard as real what is shown to us on a support, filmed, reproduced digitally, reconstructed through light or sound. The present research therefore consists in an investigation of the status of this contemporary performative body, of the aesthetic process of remediation and of the “democratisation” that it undergoes in current live performances. To understand the reasons for and effects of this phenomenon, it was necessary to conduct an analysis of the theatrical event in a systemic and relational rather than an analytical way, seeking to reconstruct a network of details connected to and interdependent of the subject and the context, before presenting a diegesis of individual spectacles.
Ce travail de recherche consiste en une réflexion sur le statut de ce corps performatif contemporain, sur le procédé esthétique de remédiation et sur la « démocratisation » qu’il subit dans les performances live actuelles. Pour comprendre les raisons et les effets de ce phénomène, il a fallu analyser l’événement théâtral tout d’abord de façon systémique et relationnelle, puis analytique, en essayant de reconstruire avant tout un réseau de détails interdépendants et connectés au sujet et au contexte, plutôt que de partir d’une diégèse de chaque spectacle. Quatre exemples artistiques internationaux contemporains – sélectionnés pour leur importance et leur hétérogénéité – représentatifs d’une interaction particulière entre le performeur et les nouvelles technologies, ont été analysés. La réflexion a portée sur la manière dont cette interaction créait chez les acteurs et les spectateurs – lorsque cette distinction subsiste – une perception de l’espace et du temps complètement nouvelle selon trois modalités relationnelles et expressives que nous pourrions définir comme : « présent ici et maintenant » (proximité immédiate), « présent à distance » et « absent/virtuel ». Dans les expériences prises ici en considération, le corps contemporain, bien loin de ce qu’il représentait à l’origine, n’est plus élément représentatif de l’identité, d’une seule identité : il est privé de sa subjectivité et ramené à une sorte de « degré zéro » de sa nature ; il devient liquide, ouvert, fragmenté. Dans ces performances, et plus particulièrement dans celles qui ont pour point de départ la danse, c’est le corps comme objet, ses caractéristiques matérielles qui sont mises au premier plan, si bien que la manipulation de la corporéité ou la dislocation de l’agent en-dehors du corps semblent annuler la notion de « présence ». Il serait plus correct – et c’est le défi de notre réflexion – d’analyser la reconfiguration de cette présence à la lumière d’une vérité médiatisée, un effet de réalité qui pousse à considérer comme réel ce qui nous est montré à travers un support, filmé, reproduit de façon digitale, reconstruit à travers la lumière et le son.
Castellini, Luisa. "L'opera d'arte contemporanea sacra nella cultura dell'occidente cristiano". Doctoral thesis, Università di Catania, 2012. http://hdl.handle.net/10761/1193.
Texto completoVial, Kayser Christine. "Le spirituel dans l’art d’Anish Kapoor et sa réception en Occident". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040112.
Texto completoAnish Kapoor asserts the spiritual quality of his work. By spiritual he means not the religious or the sacred but the possibility to be reunited with a « Totality », in a « proto-cultural » manner, by eschewing the material. Is this project a return to “primitivism in art” in line with Paul Gauguin and Barnett Newman? Is it influenced by the Indian heritage of Kapoor or is it based, as he claims, on the hypostatic function of colour, which gives way to a quasi alchemical experience? How is this spiritual potentiality of the work perceived by a Western audience, ignorant of Kapoor’s various spiritual endeavours? Does the work convey through its shape and colour the markers of the spiritual? This dissertation analyses the various influences that nourish Kapoor and inform his works. It then attempts to decipher the mechanisms through which those makers are efficient in conveying a sense of “spirituality” to the works within the settings of the White cube Gallery or the museum of modern art. They appear to be phenomenological, neurological and psychological
Moulon, Dominique. "L'art au-delà du numérique : Pratiques et cultures numériques plurielles d’un art contemporain singulier". Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H303.
Texto completoDigital technologies have insinuated themselves into ail spheres, public, private and professional of our societies and have also shaped them. Historically, artists have always made use of the techniques and technologies of their time to show them off. For each innovation that has been appropriated, there are corresponding works, but it takes time for the art world to incorporate new practices such as new media. The most fervent defenders of digital art are impatient and so have structured communities by organizing dedicated international events. Their practices are now reaching maturity and the public is culturally ready to receive their creations, as they already do in festivals. We note, at the same lime, the first signs of acceptance of digital technology in art through institutions such as the art market, whose dominant position is known. The purpose of my research is to study the works of current practices without focusing on the part of them that is digital ; to analyse them in the context of their exhibition by assembling them together so they may create a dialogue. My goal is to demonstrate that digital technologies are simply a medium of contemporary art, whose particularities should nevertheless be considered
Trapp, Franziska. "Lectures de cirque contemporain : un modèle d'analyse des représentations circassiennes axé sur des textes et contextes". Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30002.
Texto completoIn 1996, the Paris newspaper Libération predicted a third era of circus after visiting the seventh edition of the Centre National des Arts du Cirque: “After traditional and new circus, we now have to account for contemporary circus.” The prognosis became reality: nowadays, in France as elsewhere, the performance of Joseph Nadj is considered as the starting point of a new genre whose definition however remains vague: “The contemporary circus has no formal unity. It is paradoxically the diversity of its forms that unifies the genre.” On the one hand, this is explained by the fact that originality is a central motor in contemporary circus; on the other hand, the genre is still developing . A further reason for the lack of a clear definition lies in the absence of detailed analyses of contemporary circus performances in circus research, and in the desideratum regarding a coherent model for its interpretation. The current discourse dedicated to the genre is less interested in knowing how contemporary circus performances generate meaning and in outlining the characteristic techniques and processes. Instead, one wonders what should characterize the performances. The present thesis takes into account this desideratum by developing for the first time a method to analyse representations of contemporary circus. In addition, it resolutely explains and interprets the genre by means of a contextualized description of the object - namely representation - in its historical and cultural context. In the Lessingian sense of the term, the thesis therefore provides a dramaturgy of contemporary circus which, despite the diversity of representations, reveals generalizable characteristics of the genre, the fundamental techniques and structures of the performances. and the effects they produce. The development of a reading model for contemporary circus performances as well as the consequent evolution and the specification of the model are grounded in the textual analysis of poetics of culture that the literary scholar Moritz Baßler justifies in his work on the basis of the theory of New Historicism designed by Stephen Greenblatt. In addition, the present work situates itself in the field of reading theories pertaining to theatre (Fischer-Lichte ) and dance studies (Foster and Brandstetter ). The core of the argument is based on the assumption that circus performances are readable as cultural texts
Hachicha, Sahnoun Ines. "Interactions entre les arts contemporains, les créations architecturales et les conceptions design : le design comme dispositif communicationnel dans la société contemporaine". Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0306/document.
Texto completoContemporary art is becoming more and more something that applies to everyday environment, it maintains a fruitful dialogue with the architecture, design, digital, etc. It is a creation in terms of the mechanism of thinking and imagination, of an original idea full of aesthetics that is expressed in noticeable effects. Architecture, as well, is located in a hierarchy of values established in a dialectic process of history. Thus, in architecture as much as in art, there remains irreducible core content and values. Subject to a widespread urbanization, architecture tends to dissolve as an autonomous plastic object to melt and spread, too, in huge and undifferentiated areas. This thesis focuses on the perpetual interplay between artistic production, architectural design and design concept, which are, on the one hand, in a continuous interaction, and on the other hand, influenced by other various movements of arts, mainly contemporary arts
Auffray, Fabienne. "La dimension cachée de l'objet 1913-2013". Thesis, Université Côte d'Azur (ComUE), 2016. http://www.theses.fr/2016AZUR2042/document.
Texto completoThe mundane and manufactured object has taken an increasing place on the artistic scene since its irruption, by the act of Marcel Duchamp in 1913. From 1913 to nowadays, this object is problematic: 1/ because it is both an everyday thing and a piece of art; 2/ because, when it is exhibited, it is submitted to a device of communication which simultaneously reveals and creates the meaning; 3/ because more the object is reducing itself, more the discourse about it is important.Throughout this century, the meaning of the object has changed and an evolution is discernable: more the object is abstracting or digitizing itself, more it exists by the discourse and the communication. This gives us to see an irreducible thing, a fundamentally human leftover.Analysed by aesthetic, anthropologic and institutional perspectives, the object, apparently simple, reveals its clear complexity. It is functional, useful, sometimes decorative, and more rarely a piece of art; and something of the subject, who uses, peers, creates its, sets in itself. The object, as a paradigm of the human communication, follows, induces, endorses at any rate progresses and regressions of society. In increasingly significant, interactive and sophisticated exhibitions’ devices, the piece of art is an essential indicator for a best understanding of the present time
NAPOLITANO, PAOLA. "Nella Berther: edizione e studio dei diari inediti". Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/384.
Texto completoNAPOLITANO, PAOLA. "Nella Berther: edizione e studio dei diari inediti". Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/384.
Texto completoMasseroni, Andrea. "La religione di Mussolini. Fascismo, politica e religione negli scritti e nei discorsi". Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/86047.
Texto completoMenti, Daiana. "L’Italia fuori d’Italia: il cattolicesimo veicolo dell’identità nazionale nell’ottica del fascismo. Compromessi e punti fermi dall’archivio di p. Pietro Tacchi Venturi S.I. (1923-1929)". Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/86049.
Texto completoKamal, Boles Mikhael Ayman. "L’emprunt aux langues étrangères en arabe égyptien moderne et contemporain : Aspects linguistiques, historiques et identitaires". Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030086.
Texto completoThis study consists of five parts. In the first part, we talk about the historical and linguistic aspects of Egypt, Egyptian Arabic dialects and the sociolinguistic context in Egypt. In the second part, we consider the concept of borrowing, borrowing motivation, the language of the youth and the evolution of borrowing. In the third part, we talk about the identification criteria of existing borrowings in Egyptian Arabic and special cases of borrowing. In the fourth part, we give the results of a survey from Egyptians informants. In the fifth and final part, we talk about phonetic, phonological and semantic integration of the borrowed terms and their phonological correspondences, problematic cases of borrowing, fields and causes of disappearance of certain words. First, we study the loan in a theoretical way by trying to answer the following questions: what do we borrow? In which domain? What kind of words? From whom? Why? How? Under what circumstances? Second, we intend to understand the mechanism of semantic and phonological borrowings. On the one hand, semantically, we set out and identified the sources of borrowings (25 languages). Thereafter, we conduct a thorough and systematic verification of all borrowed words or expressions in specialized dictionaries. Approximately 1825 borrowed words or phrases were found in daily exchanges (which represent the majority of the loans from foreign languages existing in Egyptian Arabic). On the other hand, phonetically, we made an analysis of all foreign phonemes and their reflexes in Egyptian Arabic. Furthermore, we watched closely and in an orderly manner the use of these words. We also looked at their semantic evolution (which is always the rule) in comparison to the correspondent term in the original language and to their phonological adaptation. In addition, we looked for the differences that exist in some of the various Egyptian dialects. Because a word is not borrowed in a single form, it sometimes has several variants, according to the circumstances, the place, and the time of the loan or borrowing of the language derivative. To achieve this thesis, we consulted the works that are made in this field. We used journalistic corpora, traditional media (radio and television), social media (Facebook, Windows Live Messenger, Yahoo Messenger, as well as online forums) and Internet. In addition, we conducted oral surveys on some very common borrowing in the local environment because such studies are of interest only if they are based on field surveys. We organized several meetings with Egyptians for this purpose
Grau, Armengol Matilde. "Alteracions. Noves significacions en recorreguts escultòrics recents". Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/463078.
Texto completoGutiérrez, Torres David. "La construcción de un contexto artístico en Barcelona, 1995-2015". Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/673130.
Texto completoEsta tesis analiza las principales características de la construcción del contexto artístico barcelonés desde inicios de los años noventa. Estudia los elementos que caracterizan la aparición de una nueva generación de artistas en el contexto de Barcelona, el corte frente a la producción artística anterior que supone y su continuidad hasta hoy. Un contexto artístico que desde los años noventa mantiene elementos en común con las producciones artísticas de otros ámbitos y lugares. De hecho, participa y es fruto del fenómeno de la globalización y la manera en la que ha afectado tanto a las prácticas artísticas como a la construcción institucional del arte La tesis reconstruye el contexto de globalización que se inicia entonces y cómo afecta a la práctica artística: la multiplicación de centros de actividad artística, la construcción de un tejido institucional del arte o el uso de la cultura como marca de prestigio de las ciudades. En este sentido, desarrolla una teoría contextual del arte poniendo en relación Barcelona con otros centros artísticos. A partir de ahí, la tesis analiza los rasgos principales de la producción artística desde los años noventa hasta la actualidad en tres aspectos relacionados: el retorno de las prácticas herederas del arte conceptual y la adopción de la transdiciplinariedad en un contexto en el que se implementa el entramado institucional del arte en Barcelona. El examen de esas características principales de la construcción del panorama artístico de Barcelona en el contexto de la globalización se realiza a través del análisis de una serie de casos de estudio: desde la comparativa con el contexto de Londres, el rol jugado por instituciones como el MACBA y los elementos que definen los trabajos de artistas como Mabel Palacín, Ignasi Aballí o Antonio Ortega. La investigación concluye que la construcción del contexto artístico en Barcelona desde los noventa es paralelo al de otros centros y guarda similares características. Así, participa de las características de la producción artística internacional instalada en el paradigma de la globalización. Un paradigma que ha generado un nuevo academicismo del arte contemporáneo caracterizado por un triple eje: despliegue institucional, retorno de prácticas conceptuales y transdiciplinariedad. Es decir, que el paso de los años ochenta a los noventa del siglo XX supuso un corte epistemeológico en las artes que ha continuado vigente y dentro del cual Barcelona es un contexto más.
This thesis analyzes the main characteristics on the construction of the Barcelona artistic context since the early nineties. It studies the elements that characterize the appearance of a new generation of artists in the context of Barcelona, the cut against previous artistic production that it entails and its continuity until today. An artistic context that has maintained elements in common with artistic productions from other cities since the 1990s. In fact, it participates and is the result of the globalization and the way in which it has affected both artistic practices and the institutional construction of art. The thesis reconstructs the context of globalization that began then and how it affects the artistic practice: the multiplication of centers of artistic activity, the construction of an institutional net of art or the use of culture as a prestigious brand for the cities. In this sense, it develops a contextual theory of art by linking Barcelona with other artistic nodes. From there, the thesis analyzes the main features of artistic production from the 1990s to the present in three related aspects: the return of practices inherited from conceptual art and the adoption of transdisciplinary in a context in which it is implemented the institutional framework of art in Barcelona. The examination of these main characteristics of the construction of the artistic panorama in Barcelona in the context of globalization is carried out through the analysis of a series of case studies: from the comparison with the context of London, the role played by institutions such as the MACBA and the elements that define works of artists such as Mabel Palacín, Ignasi Aballí or Antonio Ortega. The research concludes that the construction of the artistic context in Barcelona since the nineties is parallel to that of other centers and has similar characteristics. Thus, it participates in the characteristics of international artistic production installed in the paradigm of globalization. A paradigm that has generated a new academicism of contemporary art characterized by a triple axis: institutional deployment, return of conceptual practices and transdisciplinary. In other words, the passage from the eighties to the nineties of the twentieth century supposed an epistemeological break in the arts that has continued until today and within which Barcelona is another context.
Universitat Autònoma de Barcelona. Programa de Doctorat en Història de l'Art i Musicologia
Dupeyrat, Jérôme. "Les livres d’artistes entre pratiques alternatives à l’exposition et pratiques d’exposition alternatives". Thesis, Rennes 2, 2012. http://www.theses.fr/2012REN20043/document.
Texto completoThis thesis considers the phenomenon of the artist’s book as it develops in its relation to the concept and to the practice of exhibition since the 1960s. The exhibition is considered here in a double perspective: on the one hand as the most common institutional apparatus for the manifestation of art, and secondly as a function related to the visibility of the artworks.It further appears that artists’ books and artists’ publications can be grasped inbetween alternative practices to exhibition and alternative exhibition practices. Alternative exhibition practices insofar as book and printed mater are potential modes of visibility of art ; alternatives practices to exhibition because this way of visibility is very different from what we usually call an exhibition.Through the study of this dialectical tension between publishing and exhibition, we aim to clarify what are the economics of art and the conditions of aesthetic reception that books and artists’ publications offer; thus we aim to understand in what sense and with respect to which norms or instances they have what one may call an “alternative” value. From this perspective, this thesis is also about the place of artists’ books in the system of contemporary art and the effects they have on it
Dauget, Stéphanie. "Au seuil du visible : pour un dispositif critique de l'installation vidéo". Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30060.
Texto completoAt the age of visual totalitarianism, how to show and how to see are more than ever fascinating and insolvent questions. Voracious and unpredictable video image is a very special vehicle to analyse the condition of visibity in actual arts. The restoration of visibility always requires hurting the smooth surface of the image. In video art, this function may be attribuated to its technical system as new frame for video artworks : this material agencement becomes a reflexive and critical system for aesthetics experience. In the middle of contemporary video installation’s images, we’ll try to understand the terms and issues which invent this decisive link between the eye and the image : an exploration of the darkness which sets going the luminous images’ travel
Mattiazzi, Sara <1988>. "Rigenerazione urbana: spazi industriali per l’arte contemporanea. Hangar Bicocca e Dolomiti Contemporanee, due casi di studio a confronto". Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3315.
Texto completoFuoco, Ester. ""Né qui, né ora". Peripezie del teatro contemporaneo". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC102.
Texto completoIn the present analysis four contemporary international artistic examples will be analysed, chosen for their significance and at the same time their heterogeneity, representative of a peculiar interaction of the performer with the technological medium. It has been shown that this interaction produces in actors and spectators – where this distinction still subsists – a perception of space and time that is quite new ; in keeping with three relational and expressive modes that we could anticipate here as : “present in the here and now” (immediate proximity), “present at a distance” and “absent/virtual”. Again in the experiences considered here, the contemporary body, far from what it represented at the origins, is no longer representative of identity, of a single identity : it is deprived of its subjectivity and reduced to a kind of “degree zero” of its nature. It becomes liquid, open, fragmented. In these performances, and in particular those that start from dance, the object and material characteristics of the bodies are brought into the foreground ; so that the manipulation of the body or the displacement of the agent outside the body would seem to efface the notion of “presence”. Rather it would be more correct – and this is the challenge of this investigation – to evaluate the reconfiguration of this presence in the light of a mediated truth, an effect of reality that leads us to regard as real what is shown to us on a support, filmed, reproduced digitally, reconstructed through light or sound. The present research therefore consists in an investigation of the status of this contemporary performative body, of the aesthetic process of remediation and of the “democratisation” that it undergoes in current live performances. To understand the reasons for and effects of this phenomenon, it was necessary to conduct an analysis of the theatrical event in a systemic and relational rather than an analytical way, seeking to reconstruct a network of details connected to and interdependent of the subject and the context, before presenting a diegesis of individual spectacles
Si sono qui prese in esame quattro esperienze performative internazionali contemporanee - scelte per la loro rilevanza e nello stesso tempo per la loro eterogeneità - rappresentative di una peculiare interazione del performer con il mezzo tecnologico. Si è evidenziato così come quest’interazione produca in attori e spettatori – ove sussista ancora questa distinzione – una percezione dello spazio e del tempo affatto nuova ; secondo tre modalità relazionali ed espressive che potremmo qui anticipare come : “presente nel qui e ora” (prossimità immediata), “presente a distanza” e “assente/virtuale”. Sempre nelle esperienze qui considerate, il corpo contemporaneo, lontano da ciò che poteva rappresentare in partenza, non è più elemento significativo dell’identità, di una sola identità : viene privato della propria soggettività e condotto a una specie di “grado zero” della propria natura ; appare così frammentato, aperto, liquido. In queste performance, e in particolare in quelle che partono dalla danza, sono le caratteristiche oggettuali e materiali dei corpi a essere messe in primo piano ; cosicché la manipolazione della corporeità o la dislocazione dell’agente al di fuori del corpo sembrerebbero annullare la consueta nozione di “presenza”. Più corretto invece – e questa è la sfida di questa indagine – ci è sembrato valutare la riconfigurazione di questa presenza alla luce di una verità mediata, quell’effetto di realtà che induce a ritenere reale ciò che ci viene mostrato su un supporto, filmato, riprodotto digitalmente, ricostruito attraverso la luce o il suono. La presente ricerca consiste quindi nell’esplorazione dello status di questo corpo performativo contemporaneo, del processo estetico di rimediazione e di “democratizzazione” che esso subisce nelle performance live attuali : per comprendere le ragioni e gli effetti del quale si è reso necessario lo svolgimento di un’analisi dell’evento teatrale sistemica e relazionale, prima che analitica ; cercando di ricostruire una rete di particolari connessi e interdipendenti al soggetto e al contesto, anziché limitarci a una semplice diegesi dei singoli spettacoli
Rasmi, Jacopo. "une écologie des méthodes documentaires.à partir d'écritures filmiques et littéraires de l'Italie contemporaine". Thesis, Université Grenoble Alpes (ComUE), 2019. http://www.theses.fr/2019GREAL001/document.
Texto completoThis research takes place among some documentary practices in the contemporary Italian field : Michelangelo Frammartino, Gianni Celati, Pietro Marcello… Studied as specific methods of mediation and writing in the middle of many others organizing today’s medial world, these experiences reveal us their specific ecological status. We refer to a general ecology (socio-political, perceptive and symbolic) : the one that has been defined by thinkers like Felix Guattari, Tim Ingold or Bruno Latour. Devoted to an empirical dwelling as much as to an interactive attention towards our environments, these documentary creations record, question and narrate the entanglement of presences composing our milieux. Despite a fundamental cinematic interest (first of all for Michelangelo Frammartino), the theories and the exemples taken into account allow us to define a category of « documentary » capable of including other medial forms like literature (through Gianni Celati, above all) or theatre on the basis of a commun technical exploration of the environments we dwell in. Between the lines of such an ecological and trans-medial concept of documentary we spot the landmarks of a more sustainable and attentive way of living the multilayered environments (« natural » as well as social, technical and semiotic) in which we are always already involved. Such an alternative way of living begins with other storytellings and other perceptions of what surrounds us that we will call « counter-fictions »
San, Cristóbal Opazo Úrsula. "Sonido, cuerpo y música: Ubiquitous listening y espacio autobiográfico en piezas de performance y video arte". Doctoral thesis, Universitat Autònoma de Barcelona, 2020. http://hdl.handle.net/10803/670820.
Texto completoEsta tesis se ocupa del rol de los elementos sonoros y musicales en piezas que combinan los lenguajes de la performance y del video arte, y que no son consideradas arte sonoro. Propongo las nociones de espacio autobiográfico y ubiquitous listening como instrumentos para analizar obras que abordan aspectos autobiográficos haciendo uso de elementos sonoros y visuales, aportando además una revisión crítica de la bibliografía sobre el sonido y la escucha en el arte contemporáneo. Aplico estas nociones a dos casos de estudio: 1) performances y videos de Marina Abramovi, realizados entre 1971 y 1997 que permiten comprender el desarrollo de la pieza Balkan Baroque (1997); y 2) las fotografías y video instalaciones de Shirin Neshat realizadas entre 1993 y 1997 que permiten comprender la pieza Turbulent (1998). A través de una revisión crítica de la bibliografía que se ha ocupado de estas piezas, pongo en evidencia las consecuencias derivadas de la falta de atención a los elementos sonoros.
This thesis deals with the role of sound and music in artworks merging the languages of performance art and video art, which are not considered sound art. I propose the notions of autobiographical space and ubiquitous listening as tools to analyze artworks addressing autobiographical aspects through sonic and visual elements. I apply both notions to two case studies: 1) live and video performances made by Marina Abramovi, between 1971 and 1997 that allow us to understand the piece Balkan Baroque (1997); and 2) photographs and video installations made by Shirin Neshat between 1993 and 1997 that allow us to understand the piece Turbulent (1998). Through a critical review of the bibliography that has dealt with these pieces, I highlight the consequences derived from the lack of attention to sonic elements.
Peyramayou, Virginie. "Dessiner : le geste, l'outil et le sujet dans le dessin contemporain". Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20073.
Texto completoThis thesis is entitled: "Drawing: the gesture, the tool and the subject in contemporary drawing". This reflection is linked to a personal practice and a questioning on the medium of drawing, particularly valued today in contemporary art. It is based on an artistic practice of drawing with wire representing utopian spaces on various supports. My theoretical research questions the definition of drawing in view of the plurality of current propositions. Therefore, this research analyzes practices that have upset the limits of this medium since the 1960s to the present day. The path of this research explores the contemporary temporal marker, the subject and the exhibition of the drawing. This thesis engages reflection on the action of drawing with practices moving away from traditional tools. These gestures, sometimes borrowed from other techniques, such as bending, sticking, crumpling, burning, embroidering, filing or tearing, participate in a plastic renewal of the drawing and lead to reconsider its definition. What brings the reinterpretation of the gesture of drawing?
Ferraz, Vidal Junior Icaro. "Présence et représentation de l’analité dans l’Art contemporain". Doctoral thesis, Università degli studi di Bergamo, 2018. http://hdl.handle.net/10446/130058.
Texto completoBishaj, Arbora. "La dimensione internazionale del nazionalismo: le istituzioni internazionali nella formazione dello Stato albanese (1908-1918)". Doctoral thesis, Scuola Normale Superiore, 2018. http://hdl.handle.net/11384/86061.
Texto completoBianco, Angela <1979>. "Esperto in processi di valorizzazione, conservazione e gestione del patrimonio artistico culturale del "distretto" veneziano". Doctoral thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1239.
Texto completoThis work focuses mainly on three parts. The first chapter investigates the so called venetian “district” of contemporary art, in comparison with the most updated theories for the valorisation of the cultural heritage. The second chapter, defines the key point of the thesis and deals with the topic of the museum professions. The third part, subdivided in as many chapters, describes the projects carried out: Cultural Mediators, A.Mu.C – Multimedia Archive of Contemporary art, and Art Night Venice. Through the actionresearch method, some new professionals, intended to bridge between the different institutions, have been positively tested, aiming to a better fruition of the historical and artistic heritage. The outcome of the research has defined strategies and procedures suitable to enhance the cultural and professional expertises of highly trained subjects, who are not yet absorbable in the compartment of the venetian cultural “district” of contemporary art, but in prospect, configurable for a broader labour market.
Raad, Fadi. "Figures du feu dans l'art contemporain et la guerre : sous le signe de Prométhée, du Phénix et d'Empédocle". Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H308.
Texto completoThis Ph.D. dissertation deals with the problem of fire used as a tool in the contemporary plastic art creations. In fact, since the 1960s, an increased use of fire is noted within new forms of artistic expression.The emphasis is put particularly on the “fire of war” which, by changing the lives ofthe artists, transforms their creations as well .Throughout the dissertation, the analysis of personal pieces of art, observed through the context of the war experienced by the artist, confirms the above finding. The sections of the dissertation refer to some mythical characters with close relationship with the image of fire. Hence, they are referenced “Under the sign of Prometheus”,“Under the sign of the Phoenix” and “Under the sign of Empedocles”
Zuckerman, Lola y Layla Zami. "Contemporary PerforMemory". Doctoral thesis, Humboldt-Universität zu Berlin, 2018. http://dx.doi.org/10.18452/18656.
Texto completoThe dissertation by L. Zuckerman (aka Layla Zami) explores the interrelations and interactions between memory, movement, diaspora, and spacetime in 21st century dance productions. In an innovative transcultural, transdisciplinary and transtemporal approach, the publication focuses on solo works by seven contemporary dancers-choreographers based in Germany, France, Taiwan, Martinique, Palestine and the USA. Contending that corporeality is a site and a source of power, the research asks what happens when moving bodies propel the past into the present, metaphorically and materially. The author introduces a new concept: (to) perforMemory, which is both a noun and a verb, and discusses the specificity of dance in the production and transmission of cultural memory in relation to historical trauma such as the Holocaust, the Transatlantic Slave Trade, Maafa, the Nakba and contemporary sociopolitical challenges. Conceived in a spiral-like fashion, the book takes the reader through diasporic dancescapes in which notions of identity, home, embodiment, spatiality and temporality unfold and are brought into resonance with each other in the discussion of specific dance examples. The theoretical references connect such various fields as gender studies, dance and performance studies, cultural memory studies, postcolonial studies, literature, quantum physics, queer studies and poetry. Based on doctoral research conducted across the globe from 2013 to 2017, the electronic publication also features the full interview transcripts of personal conversations recorded by the author with the artists Oxana Chi, Zufit Simon, Wan-Chao Chang, André M. Zachery, Farah Saleh, Christiane Emmanuel and Chantal Loïal, as well as links to audiovisual performance excerpts.
La thèse explore les interrelations et interactions entre mémoire, mouvement, diaspora et espace-temps dans la danse au XXIème siècle. Dans une approche transculturelle, transdisciplinaire et transtemporelle, la publication se concentre sur des pièces solo chorégraphiées et interprétées par sept chorégraphes contemporain.e.s basé.e.s en Allemagne, France, Martinique, Palestine, à Taiwan et aux Etats-Unis. Estimant que les corps humains sont objets et sujets de relations de pouvoir, la thèse étudie ce qui se passe lorsque les corps dansent le passé au temps présent, au sens propre et au sens figuré. L'auteure introduit un nouveau concept: (to) perforMemory, à la fois un substantif et un verbe en anglais. Elle met en relief la spécificité de la danse comme forme de production et transmission de la mémoire culturelle, en relation avec des traumas historiques tels que l'Holocauste, la Traite triangulaire ou Maafa, la Nakba ainsi que des défis sociopolitiques contemporains. Conçu comme une spirale, le livre est une invitation au voyage à travers des paysages diasporiques dansés, dans lequel les notions d'identité, d'appartenance, de spatialité, de temporalité et de représentation émergent tour à tour, et s'illuminent mutuellement dans l'analyse de séquences de danse concrètes. Le corpus théorique puise dans des domaines aussi variés que les études de genre, la danse, les études postcoloniales, la litérature, les Cultural Studies, la physique quantique, les études queer et la poésie. Basée sur des recherches doctorales conduites de 2013 à 2017 à travers le monde, cette publication électronique comprend également les transcriptions intégrales des entretiens personnels menés avec les artistes Oxana Chi, Zufit Simon, Chantal Loïal, Christiane Emmanuel, Farah Saleh, Wan-Chao Chang, et André M. Zachery, ainsi que des liens vers des extraits audiovisuels de spectacles.
Guerra, Miranda Luis. "Alain Badiou, la condición del arte. Sustracción, novedad radical, fuerza-forma". Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/405637.
Texto completoThe present thesis presents the thought of the French philosopher Alain Badiou, with the intention of emphasizing the concept of existence within this philosophical construction, thanks to a series of conceptual tools that will allow to construct a theoretical constellation around the practice of artistic research. This set of elements of nomination, which proposes the thesis, allows not only to reflect on the artistic phenomenon - especially in relation to our contemporaneity - from new starting points; But at the same time, it allows the generation of an effective artistic thought that would be placed in the line almost invisible between the philosophy and the art of today. That is why, based on the analysis of Badiou's works, the thesis was not only constructed from writing, but also through a series of visual exercises that attempted to test its hypothesis. The thesis is situated in a localized almost, which proposes the following hypothesis: the philosophy of Alain Badiou allows to appoint to what it waits to be named. This thinking, I affirm, offers a possibility to think art, its practice, beyond the ruins where, I understand, today its existing body looms. A thinking that is in fact a diagonal that leaves, flees, tracing a space eccentrically. A way of naming that, in this case, does not determine what it names, does not cancel it or over determines, but rather, invites to existence of what inexists for the empire. Why want to name what exists without a name? This was the question that founded the thesis. However, this question hides an a priori functionality when naming. The naming that the thesis alludes is not a naming that archives, flattens, statizates, numbers, ends. This naming is a disavowal of the name of membership and exclusion. Neither names for access, as a national citizenship, nor exclude as a dependency, to make invisible what exists. The naming here is local, operative, and in a sense, performative. Its occurrence is already an action, and is not limited to the composite reflection of what could come to deny. Finally, the thesis had as its object the almost imperceptible point of separation between philosophy and art. This relationship is not canceled here. On the contrary, the thesis and its author hope that, through its body, critical practice paths will be inaugurated. This thesis, as fate, does not seek an end, but the opening of a hole, or even less, the act of a cut, or even the act of that cut as a measure of its own coming.
VEYSI, MOHSEN. "Kunstwollen: una visione contemporanea locale, globale, transculturale". Doctoral thesis, Università degli studi di Modena e Reggio Emilia, 2020. http://hdl.handle.net/11380/1200421.
Texto completoAlois Riegl's great impact on art history is undeniable. He influenced many art historians and theorists from Erwin Panofsky, Wilhelm Worringer, Walter Benjamin, Ernst Kris, Ernst Gombrich, Gilles Deleuze, Karl Mannheim… to the Nobel Laureate Dr. Eric Kandel. Riegl’s cosmopolitan character, and his liberal aesthetic points of view along with his beliefs on equality of all art forms (painting, drawing, sculpture, architecture, craft…), and judging the art of each era based on facts and figures that represent the Kunstwollen (art+will) of that period, makes him an exceptional scholar who was far ahead of his time, and closer to our era. A contemporary art historian belonged to the Vienna 1900. The first chapter, thus, has been dedicated to Alois Riegl and his historiographical method, and his key concepts such as Kunstwollen and the role of the beholder. The contents of this chapter take part of my book Who the hell is Alois Riegl and what are his theories on art history all about? Riegl’s Kunstwollen – the artistic will – is an inner drive that is fueled by the cultural and historical values of the time, expressed through visual elements as an artform, creating each period’s art style. This WILL which is connected to the Weltanschauung (world view) of each era, changes according to the time, nation, and location; hence, each epoch has its own Kunstwollen that is unique and unrepeatable. Kunstwollen, is the way each culture perceives the world in a particular historical time and manifests it through the art of that period. Therefore, the second chapter starts by analyzing the ways that human brain perceives the external world and creates its own internal images from a scientific view based on the ideas of Eric Kandel, and how our perception becomes art through the theories of different anthropologists and art historians. The chapter continues by introducing the contemporary art as a global art, through which, each culture represents its own contemporary art. Just like an international language that gives the possibility to the people from different cultures and nationalities with different languages to communicate with each other, and express their ideas; contemporary art works as an international art, through which artists from diverse parts of the world expose their artworks which have their roots in their own cultural and historical background. Through the Global Contemporary art each nation manifests its own contemporary Kunstwollen. If contemporary art is global that gives the different cultures the possibility to present their contemporary art to the world, then there needs to be a global art history through which each culture describes its local art. The essay then continues by describing and comparing the approaches and challenges towards defining and creating a global art history. By referring to the ideas of theorists and art historians such as Hans Belting, James Elkins, Peter Weibel, David Summers, John Onians, Kitty Zijlmans, Wilfried van Damme…and introducing diverse academic programs such as the Universitat Heidelberg, the University of East Anglia, The University of Leiden, and…will be discussed. The third chapter starts with describing the main characteristics or the Kunstwollen of the global contemporary art, and then based on the contents of the previous chapters and my personal experiences, I will try to discover the Kunstwollen of the contemporary art of three countries in which I lived, studied, and taught: Iran, Italy, and The United states of America.
Fabriol, Anaïs. "La littérature frontalière contemporaine mexicaine, l'exemple de la Basse Californie (de 1970 à nos jours)". Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030130.
Texto completoThe last decades of the XXth century and the first of the XXIth are of paramount importance in the cultural definition of the Mexican borderland identity. Actually, they epitomize most of the central postmodern symbols: the end of the nationalist ideologies, the rise of a massive industrial culture, the deconstruction of the former relationship between Mexico and the USA. The literature seems to reach a new definition of identity, space, History and storytelling. In this perspective, Baja California’s writing production is quite a good sample: well-separated from Mexico City’s cultural world, it has built an internal system of values and a publishing network of its own, dedicated to the border and its universe. This work intends to map out and define the main aspects of Baja California’s last forty years of literary creation
Martinaud, Aurélie. "Peinture et présence : expérience du contemporain et méta-tradition dans l’oeuvre de He Jiaying". Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3104/document.
Texto completoHe Jiaying’s pictorial practices leave his viewers with an aesthetic paradox: can his work be considered as contemporary art, despite its heterotypic dimension? A continuity of this initial reflexion from this leading lights of the gongbi artistic genre, leads the viewer to further question the position and the role of cultural heritage in the pictorial practices of today and yesteryears. But what is the link between the world of art and a work of art defined as “contemporary”?What does the contemporary consist of? The contemporary is not something that an artist can show. It reveals itself within the presence it inhabits because it escapes, fittingly, from such representation. It is a de facto experience and is lived as such. In its pursuit for spontaneity, we experience it in the ever-eluding present, so that that it is outside of time, or a time between time, linking different temporalities that make up chronological continuality. In that, nothing is hidden, or more to the point, the thing that is dissimulated in a work of art is that something that we do not see but that we recognise and are sensitive to. It is the discord that gives the viewer that strange feeling of time outside of time. The contemporary is the experience that we have of the present within the actuality of its passing. It’s a state of suspension, and it is for this reason that its presence takes on a total holistic character.Contemporary in the sense of the visible as “it never leaves the moment in which it was born” (Jean-Luc Nancy), the works of He Jiaying is an “intensificator” of presence and therefore, brings us closer to the absolute sensation of just being
Neutre, Lila. "Sculpter le soi : le corps social comme dispositif de résistance, l'apparence comme poétique de survie". Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0418.
Texto completoIn our contemporary societies, the body has become not only an object of social fetishism but also a screen where we can take on any kind of identity. Apperance can be transformed in a playground and used as a tool to resist society's standards. From a simple choice of clothing, a look can in fact express a global lifestyle. Even if seemingly light, style can show the choice of a certain way of life and be an exit from social constraints. It can reveal existential choices, whether political, philosophical or sexual.This researches are involving different groups of people and communities. What could possibly link Congolese Sapers, Voguers, Cosplayers, Roller derby and New-Burlesque performers? A priori different, most likely antagonistic and gathering a large range of people from various ages, social classes or origins, these subcultures still share a lot of similarities. From a comparable ideology to the use of similar symbols and compatible social organizations, they all seek to re-enchant our world in a critique of cast societies and question the limits of their social imperatives.In both photography and sociology, this PhD aims at forming a kaleidoscope of various facets of self-presentation in our contemporary society, with all its hopes and disappointments
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.
Texto completoThis 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”
Bianchi, Pamela. "Espaces de l'oeuvre, espaces de l'exposition". Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080026.
Texto completoFirst, reflect on the space term means be aware of its multiple semantic uses and of its linguistic diversity. His relationship with the concept of artwork and of exhibition has changed in relation to the respective statutory changes. In this sense, this thesis aims to examine the status of the exhibition space in relation to contemporary artistic proposals. In particular, this thesis is developed around the concepts of Space and Place of the exhibition, in their relationship with the main notions of museum architecture, artwork and exhibition, since 1960 until today. With an evolutionary and multidisciplinary study, and not forgetting the genealogy of main concepts, this thesis is also enriched with concrete and contemporary cases offering a particular view on the exhibition spaces, unique and alternative. It is an analysis that tried to decompose, to study and restructure the concept of exhibition space, from its basic parameters, and in relation to specific historical periods. This allowed to insist on the presence of an evolutionary process (type of syllogism), for which, in the first place, the artwork becomes an exhibition, secondly, the space becomes an artwork and, finally, the space becomes an exhibition. Thus, behind a modular space that evolves in relation to the artwork that contains, it appears also a multifunctional space (a "hyperspace") that claims a specific art and new display requirements
Cibin, Alberto. "I futuristi alle Esposizioni Biennali Internazionali d'Arte di Venezia (1926-1942)". Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3426760.
Texto completoLa ricerca indaga la storia del gruppo futurista, guidato da Filippo Tommaso Marinetti, alle Esposizioni Biennali Internazionali d’Arte di Venezia tra il 1926 e il 1942. Le partecipazioni dei futuristi in questo arco temporale fu costante e avvenne sempre in forma collettiva, tanto da contare in alcune edizioni anche più di trenta espositori. Le mostre veneziane nel corso degli anni Trenta assunsero un ruolo primario nella riforma del sistema espositivo fascista in relazione all’arte contemporanea. Tale sistema prevedeva, attraverso successivi gradi di selezione, l’accesso degli artisti dapprima a manifestazioni sindacali, provinciali e interprovinciali, poi alle Quadriennali nazionali di Roma e, infine, alle Biennali internazionali di Venezia, che avrebbero dovuto rappresentare al meglio l’arte italiana in vista del confronto con nazioni straniere. Le esposizioni veneziane sono state quindi un osservatorio privilegiato per indagare non solo le varie fasi dell’arte futurista e le reazioni della critica coeva, ma anche il complesso e talvolta conflittuale rapporto tra i seguaci di Marinetti e i vertici della Biennale, sotto l’egida forzatamente armonizzante dello Stato fascista.