Tesis sobre el tema "Description esthétique"
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Le, Pen Jessie. "La description d'images dans l'analyse de film". Paris 3, 2007. http://www.theses.fr/2007PA030048.
The description of images is being explored as a guarantee of objectivity for an interpretation to come. First, the objectivity is questioned through a descriptive practice which tries to define stable relations between the components of the image and language. The image as a sign might find linguistic equivalents to its components. Thus, we study the correspondence between the objects in the image and the signifieds, and between the abstractions and the signifiers, first individually, then as part of narrative modalities and systemic modalities. The analysis of this method shows its ineffectiveness. It fails because it seeks after meaning when it should seek after « signifiance ». Secondly, and as a consequence, we suggest a dynamic description based upon the search of a pertinence and of frames of description. Singularity, as a break in a norm immanent to the film, is the pertinence from which to build a model of description. Following Goffman’s theory, Frame analysis, we define frames of comprehension in the film corresponding to the apprehension of different coherences. This frames once settled, it’s about showing if they evolve homogeneously or if they break the homogeneity, which is called a modalization, producing the springing up of a singularity. This singularity is defined as an event bearing the « signifiance » which the interpretation will use in the end. To describe is thus to confront the frames with their modalizations to make the events spring up. Finally, the application of the method of description put to a test with such a special film as Anticipation of the night by Brakhage enables us to underline its successes and limitations. The frames description allows to reveal cinematographic events full of « signifiance ». Nevertheless we must go deeper into it pragmatically in order to seize the poeticity of certain special films
Létourneau, Marie-Hélène. "Le désordre esthétique, étude de la description de l'intérieur artiste chez les romanciers réalistes de XIXe siècle français". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ47219.pdf.
Moon, Hye-Young. "Écrire et décrire : l'enjeu de la description chez Claude Simon". Paris 8, 2009. http://www.theses.fr/2009PA083018.
Based on Claude Simon's description, our study aims to reflect on his novels. Prominent in modern writing, the work of Claude Simon demonstrates a form of exclusive account. His writing as a new narrativity opens not only the crossroads of modalities, but also every sense of possible networks converges towards some sense. With particular reference to the pictorial technique, Simon is trying to achieve simultaneity in the novel. In addition to partnering with the photographic technique or film technique, his writing is based on the description which is fragmented in the story from his memory. The networks of disparate images coming from an initial image build a specific universe of meaning through sensation and perception. The combination of discontinuous shards places in the movement of his writing whose figure is contained in his memory. Through his georgics writing, Claude Simon participated in the complicated and diverse twentieth century
Lin, Chi-Ming. "Description et jugement dans le discours de la critique d'art : de Diderot à Baudelaire". Paris, EHESS, 1999. http://www.theses.fr/1999EHES0050.
Messaadi, Farhat. "Poésie de la nature à l'âge abbasside (VIII-XIII siècles) : approche analytique et thématique". Thesis, Paris, INALCO, 2019. http://www.theses.fr/2019INAL0004.
The piece of research is exploring the place of Nature in the Arabic poetry during the Abbasside Age (VIII-XIII century), focusing more particularly on the poetical aesthetics, the Arabic imaginativeness as well as the very essence of poetical production. This work aims at showing how the evolution of descriptive poetry in the Arabic literature can be considered as a subject not only essential, but also subjacent to the poetry of Nature itself by the way it has been tackled and treated by other research students in other periods. In this perspective this research has deliberately abided by chronological approach in order to propose a synoptic survey of the evolution of the representation of Nature since the preislamic era until the Abbasside age throughout the Ommeyyade period during which this theme was to become a full one completely inserted into the new civilization development of the urban way of life. Indeed this new way of life invited the Abbasside poets to engage into the use of a more elaborate language for describing the various aspects of Nature, thus, strictly following up the changes in inspiration due to this contemporary society and naturally entailing a deeply transformed poetical production as the fruit of a spontaneous, abundant imagination rich in polysemic connotations inducing a spirited dynamic movement. This artistic representation written in richly refined verses, hammered out in a marked rhythm, faithfully mirrored in the intellectual and cultural milieu of their epoch, is obvious among this Abbasside poets making innovations while building long poems about the subject-matter of nature-in which they pour forth their emotions and their experience-. Last but not least, this piece of research has put in the limelight that poetry had reached its peak of aesthetical perfection during the Abbasside Age that consequently became the Golden Age of the Arabic literature
Tessier, Maëlle. "Architecture et phénoménologie : Résonances : tournant idéologique des années 1950 et perspectives contemporaines". Paris 1, 2012. http://www.theses.fr/2012PA010613.
Anthérieu-Yagbasan, Caroline. "Le personnage dans l'oeuvre de Stefan Zweig : enjeux esthétiques et narratifs". Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3022.
Most of the aesthetics questions of the XXIst century are focalised on the issue of fictional character. In this frame, this study try to examine how aesthetical strategies and poetics of reception are connected through the case of an austrian author, Stefan Zweig, who wrote not only a lot of fictional narratives (essentially short stories and novels), but also historical and geographical essays.His narrative poetic draw situations of communication, like framed narrative, in which the reader is invited to implicate himself, face to a character whose words are the only one version of fictional facts. In the same order of ideas, characters, in fiction or in biographies, are often placed in a critical situation, that reveals in the same time an inner destiny and unaffordable consequence of the way they act. So all elements of life and personnality are convergent, and can explain each other, as if Zweig's characters were totally coherent beings. To conclude, it appears that biographical characters have fictional problematics, and more, they belong to the category of fictional characters ; consequently, it is productive to apply to it the tools of narrative critic, for instance in the perspective of reader and affectives mecanisms of projection
Ferrato-Combe, Brigitte. "Écriture et peinture chez Claude Simon : fonction de la description de tableau dans le roman". Paris 4, 1992. http://www.theses.fr/1992PA040133.
The meditation upon art is essential to Claude Simon's poetics as a novelist, for whom painting is a mirror of writing some of his novels, founded on commentaries about painting intimely linked with fiction, are akin to the literary genre of essay. Describing pictures seems to be a dominant stylistic feature of such a dialogue between genres. Claude Simon's novels renew some pictural "topoi" – the painter as a character, his workshop, museums or galleries of portraits, from which surge an imaginary world. Beyond the subject of these novels, pictures - by Uccello, Poussin, David, as well as by Renoir, Bacon, Rauschenberg generate fiction through descriptions. Further more, Claude Simon composes his works as a painter, since he uses the technique of sticking or challenges the dynamic composition of baroque polyptics. Painting is not only a metaphor or a model of writing, but its principale
Berthoumieu, Annie. "Le dessin, hier et aujourd'hui, une impérieuse nécessité". Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30078.
The art of « drawing », to breath the dayly life in its full contemporaneousness. An exploration of the question of « drawing », through its three fundamental components : space, time, movement, based upon a personal experience coming from childhood. To begin, the exercice of a « mise en abyme » of our own pratical experience will provide a solid research tool, in order to be able to set up different problematics of the artists. A meticulously investigation confrontating theory and experimentation, through history and history of arts, will be carried out, introducing therefore to many specific fields of knowledge, as, littérature, philosophy, anthropology, psychology, mathematics,, history of arts, history and geography, etc. Chances to study famous artists, such as, painters of the italien Renaissance, and further on, painters who are specialists of « line drawing » like, Ingres, Degas, Matisse, Picasso, Klee, Kandisky, Warhol, and among them, also some contemporary artists. Aspects of drawing, among the most mysterious, will lightly find favour sights with many thinkers, philosophers, ideologists, theorists, writers, as Platon, Aristote, Descartes, Kant, Merleau-Ponty, Freud, etc
Le, Boulba Pauline. "les bords de l’œuvre : réceptions performées & critiques affectées en danse". Thesis, Paris 8, 2019. http://www.theses.fr/2019PA080011.
This practice-based research developed from questioning reception of dance and manners of sharing this experience. In venturing countercurrent to a history of dance criticism which bears judgment and makes assessments, I attempted to favor initiatives which disrupt, disturb and blur the borderlines that settle between creativity and reception. The first chapter of this research focuses on the analysis of three choreographic works: Une hypothèse de réinterprétation by Rita Quaglia (2009), histoire(s) by Olga de Soto (2004) and Admiring La Argentina by Kazuo Ohno (1977). Each of these pieces offer three different perceptions of artworks, three ways of speaking about/with artworks, three ways of answering to dance by dancing. The three works analyzed in the first chapter are characterized by the importance they grant to subjectivity as a vector of (perceptive and cognitive) knowledge. Thus, introducing the term “affected critique” to the term “performed reception” implemented the scope of my analysis. This term elects both the subjective dimension within these objects and my personal relationship to the works and people which have moved and “possessed” me over the course of my observations these past years. “Affected criticism” also arises from research on the careers of two dance critics – Laurence Louppe (1938-2012) and Jill Johnston (1929-2010) – which form the core of my second chapter. Through the particularities of their critical practices, I cared to question a heritage from which I wished either to differentiate myself or on the contrary to adopt and develop as my own. This research consequently developed as a progressive mise en abyme of my personal gaze as spectator and of the different ways of working as an artist and researcher. This dissertation therefore tries to embrace and account for the multiple shapes – journal entries, fragments of critical writing, analysis of artworks and artistic practices, performance material – that form as many standpoints from which to observe a body of work. A performative moment will prolong the written work of this research during the submission
Coletta, Elisa. "Hubert Damisch : pour une perspective oblique dans la production d'un historien et philosophe de l'art". Paris, EHESS, 2011. http://www.theses.fr/2011EHES0039.
The search is aimed at outlining Hubert Damisch's intellectual profile, through an analysis of his work and a description of the environment in which he works and the relationships he has established with other scholars of his time. After an analysis of his background that aims at defining the abstract matrices of his way of thinking, the search describes a path through his texts devoted to pointing out the particular features of his ideology. From the initial trials devoted to contemporary art in the texts of the Nineties given the label of analytical iconology, the analysis has recreated the search of an author who never stops putting the different disciplines into perspective; one who, so there was an ideology in the way of working art, made awareness the starting point of a series of studies where the reflection of the role that art plays in the prospects for acquiring knowledge takes shape from an awareness of works' ability to have meaning through the visual specificity of their instruments as weil as to act beyond the time in which they were created. The sidelong nature of the search indicated in the heading sends you back to the semiotic point of view from which you choose to conduct the analysis. The requirement to check how the Italians receive this author -known above ail in the semiotic milieu, it's with the label of semotician that the history of Italian art defines his way of thinking -leads us to make a semiotic reflection about this author the starting point of a path devoted to unveiling the matrices of his semiotic position, and in a more general outlook to recognise the reasons and the roots behind Damsich's work as an art historian and philosopher
Joannon, Felipe. "Pintar frente al motivo : el mito del artista en la obra literaria de Adolfo Couve". Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080088.
This PhD dissertation studies the idea of art and the artist in the literary work of the Chilean painter and writer Adolfo Couve (1940-1998). It approaches his fiction and non-fiction from a unique perspective marked by what we will define as his “myth of the artist”. Anchored in certain concepts and theories of contemporary myth studies, the dissertation identifies five moments or phases that define the artist in Couve’s work. These moments, which are especially visible in some passages of the works that narrate the life of an artist (La lección de pintura, 1979; La comedia del arte, 1995; Cuando pienso en mi falta de cabeza, 2000), are the following: “vocation”, “apprenticeship”, “crisis”, “proposition” and “liberation”. Using the description of these milestones in the itinerary of Couve’s artists as a starting point, the dissertation explores the main aesthetic questions raised by the author’s oeuvre, which will be compared with the expression of his artistic thought in his interviews and writings on art. The main thesis is that the idea of art contained in the literary work of Adolfo Couve is built in (and at the same time is a symbol of) the crossroads –faced by Western modern thought since the early twentieth century– between the crisis of the paradigm of reason and the attempt to rehabilitate certain values associated with mythical thought
Este trabajo estudia la idea de arte y de artista en la obra literaria del pintor y escritor chileno Adolfo Couve (1940-1998). En particular, propone abordar sus textos de ficción y de no ficción desde una única perspectiva marcada por lo que definiremos como su mito de artista. En base a determinados conceptos y teorías propias de los estudios contemporáneos sobre los mitos, se identifican cinco momentos o fases que definen al artista en la obra de Couve. Estos momentos, especialmente visibles en algunos pasajes de las obras que narran la vida de un artista (La lección de pintura, 1979; La comedia del arte, 1995; Cuando pienso en mi falta de cabeza, 2000) son: “vocación”, “aprendizaje”, “crisis”, “apuesta” y “liberación”. A partir de la descripción de estos hitos en el itinerario del artista couveano, analizaremos las principales preocupaciones estéticas que plantea la literatura del autor, las que cotejaremos con la expresión de su pensamiento artístico que consta en sus entrevistas y escritos sobre arte. Como hipótesis general, se postula que la idea de arte contenida en la obra literaria de Adolfo Couve se construye en (y es al mismo tiempo símbolo de) la encrucijada que enfrenta el pensamiento moderno occidental desde inicios del siglo XX, entre la crisis del paradigma de la razón y el intento por rehabilitar determinados valores asociados al pensamiento mítico
Mazet, Zaccardelli Cédric. "De la composition classique au montage organique : éloge de l'attitude moderne". Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H315.
An entire classical theory of art has defined pictorial composition by taking its concepts from the rhetorical tradition. Thus the work of the painter brings together, to his eyes, two activities that Cicero, in his time, had already given the names for the art of discussion: invention, which selects from a kind of inventory the appropriate elements for the subject to present, and then the disposition, which is responsible for the favorable organization of these elements according to the rules of an economy. Today, under the name "montage", a large part of the contemporary artistic fabric, whether it be photography, cinema or literature, follows these procedural principles. They are not, however, unsurpassable. To think of montage without taking into consideration the classical notion of composition is, finally, to forget what at one time animated the art that we can call modern. Taking into account this situation and studying works of art that have been done in spite of the methods defended by the classics, this thesis intends to critique the desire to master objects under the authority of an idea to transmit and support the notion of a montage that, subtracting from the "edifice" (Ishaghpour), or from the "text" (Rancière), does not find itself moderated by them in its operation. It is consequently possible to understand the concepts of invention and disposition using methods other than those of the classics or, in other words, to change the way we understand them. This is done by successive shifts of notions, including from the appearance to the aspect, from the mastery to the practice or from the application to the discovery, and so forth. We thus encounter what is at stake in the thought and conduct, which finally goes beyond the only motive of montage
Ilahi, Zouhaier. "Proust et la profondeur. L'écriture des paysages". Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030056.
This thesis studies the role of the writing in unveiling to what extent the notion of depeth of landscapes is present in the works of Marcel Proust stretching from the college years until In search of lost time. The novelistic writing is underpinned by a dynamic of appearance of the depth of natural and musical landscapes that actually have developments in the interval of the visible and the invisible, the audible and the inaudible. Actually, Proust uses the expression of the interval to expose the limitations of the romanticism thought which perpetuates the mystic philosophy of art, the tautological Realism founded on the description of surfaces as well as the hermetic symbolist poetry which reproduce the Platonism. Therefore, Proust contests the foundations of Platonism stretching until the modern French idealism. The expression of subjectivity also allows Proust to emphasize the decline of rationalism on the decline at the turn of the XX th century that witnesses the rise of the unconscious and the involuntary. Indeed, the deepening of the landscapes, reel and things has founded the subjective realism of Proust. The interval of sensible and intelligible situates the novel in the border of the artistic (Monet, Whistler, Giotto, Beethoven, Wagner, Chopin, Schumann) and the philosophical (Schelling, Schopenhauer, Séailles). The writing of landscapes depth is certainly integrated into the quest of the continuity and develop a knowledge established on the category of the relation, a way to interiority and abyss. Undeniably Proust is a writer and a thinker of the depth
Braeuner, Hélène. "Les représentations du canal de Suez (15ème-20ème s.) : esthétiques et politiques d'une vision". Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAG042.
The history of the Suez canal is a field of study that is still as alive and sensitive as ever, one that elicits mixed feelings. It is the story of its symbolism and the fantasies and projections that have sprung from it that is studied through a heretofore-unexamined literary and iconographical corpus. The originality of this research lies in its multiple approaches and the number of works assembled, which enables one to step out of a narrow chronology of the digging of the canal. It seeks to go beyond the restrictive vision of an endeavour that cannot be considered French colonial action yet is shot through with an ideology of conquest. It brings a fresh approach to the representation of orientalist travel. The artistic heritage born of this universal public work finally poses the question of its reception and how its memory is shared between East and West, with as much at stake today as ever
Chambrier, Pauline. "La réception de l'architecture française aux XVIe et XVIIe siècles par les contemporains : témoignages écrits et graphiques". Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2028.
The reception of French architecture in the 16th and 17th centuries by French and foreign contemporaries is unquestionably lacking. Visitors remain unknown, even though they are the spectators of great architectural shows. Their descriptions and mental images of palaces and stately homes, and also of churches, bridges, fortifications, gardens and their like, however, once reassembled enable one, to define the architectural flavour of a period and of a nation. It was thus essential to build up a coprus of texts and images of the 16th and 17th centuries and to analyse them in detail. Handwritten texts, printed documents and graphic representations left behind by antique dealers and geographers as well as travel diaries and newspapers written by inquiring notaries, scholars or even anonymous people were all analysed in an attempt to answer three important questions, namely who are the people behind this reception? In which conditions did their vsits take place? And in their view, what are the most outstanding buildings in France? However self-evident these questions may seem, they have never been tackled. And yet they form the clues to our reading which must no longer be ignored, even more so as they conceal the details of architecture which transpires to be new, unique, and not to be missed
Jafari, Belgheis. "La constitution de l'imaginaire de l'Afghanistan dans les récits de voyage aux XIXe et XXe siècles". Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2008.
This research project explores the representations of Afghanistan in a corpus of travel narratives from the nineteenth and twentieh centuries. Overall, we can see great variations but also certain constants in the representations of this country. The Afghan imaginary in the nineteenth century is constructed on major themes related to the status and culture of travellers of the time, all related to the dynamics of the "Great Game" of the colonial empire in Asia; This is why a very particular geopolitical perspective characterizes all these narratives. The work of early travellers, almost all British, was focused on research in cartography, geography and political history. The Western imagination of Afghanistan in the twentieh century differs greatly from that of the previous century. First, the profile of travelers diversifies. On the other hand, greater variation in the orientation of writer-travellers, in their interests and their perception of the inhabitants and places is perceptible, despite the constants. In fact, a dual ethical and aesthetic dimension characterizes the imaginary of the Afghanistan in this period. In general, the representations of this country in the twentieh century, that is to say between the years 1920 and 1978, are characterized by the predominance of an "Edenlike" vision of the country, its inhabitants and its landscape
Einman, Maria. "Lector in drama. Les enjeux fictionnels et imaginaires du suicide dans le théâtre français du XIXe siècle". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA048/document.
This study examines the reading of drama texts as the reading of fictional texts, aiming to broaden the current approach according to which the reading of drama texts is mainly limited to text analysis. This question is examined in the light of the issue of suicide in 19th-century French drama. The principal aim of this study is therefore to understand the impact of the character’s suicide on the reader via the detailed analysis of the ins and outs of the suicidal act. The study applies Vincent Jouve’s concept of the virtual reader, who is defined as an implicit and atemporal recipient of the text effects. This reader emerges in a fictional world that is supported by an operative device (dispositif) based on the Lacanian triptych of the Real, the Symbolic and the Imaginary.The dissertation consists of five chapters. The theoretical discussion is followed by four chapters that deal, respectively, with melodrama, romantic drama, naturalist drama, and symbolist drama. In addition to the effect of the fictional suicide on the reader (which is systematically connected to the catharsis), the evolution of theatrical genres and forms is explored from the perspective of “virtual” reading. Thereby, the reading of 19th-century French drama could be viewed as a journey from the optimistic certainty of melodrama to the tragic indeterminacy of symbolist drama, from actual to probable suicides, from “sorrowful” catharsis to anticatharsis