Tesis sobre el tema "Épique (esthétique) – 19e siècle"
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Beneteau, Olivier. "L’Ascension suprême : poétique de l’épopée mystique de Jean-Baptiste Cousin de Grainville à Victor Hugo (1805-1891) »". Electronic Thesis or Diss., Angers, 2024. http://www.theses.fr/2024ANGE0003.
Texto completoFrom the perspective of poetics, the science of the principles of literary forms, the main goal of our study is to enhance the epic sphere in 19th century by studying the structural and thematic development of the heroic genre through the mystical theology. Working from some twenty rare pieces in an abundant corpus (most of them, unfairly forgotten by posterity, are the result of minores), we intend to prove that the epic of the 19thcentury, far from being confined to the classical tradition of the great totemic models from Antiquity, undergoes, after the Revolution, what we consider as a change of paradigm. Moving from a “heroic” epic, referring to Henry Corbin, to a so-called “mystical” epic, influenced by the revaluation of Dante, Milton and Klopstock’s works, the new romantic triad, the epic of the 19th century, supposed to organize society from a founding event, become exclusively prophetic by shifting its perspective from earth to heaven, from politics to metaphysics.Here is to be encountered the keystone of our dissertation, regarding the “critical relation” between literature and mysticism, which demonstrates the evolution of a genre henceforth dedicated to eschatological revelation and reintegration of the fallen soul. Beyond german idealism, we wish to emphasise that the authors of our corpus, educated in the purest catechetical tradition and affected by the new occult and illuminist currents, make the epic no longer a work of war, focused on the historical memory of national battles, but a mystagogic form that draws on mystical concepts to clarify its own running. Related to the revival of mystical studies in Europe since the late 20th century, our subject highlights the dialectic between mysticism, traditionally individual and intimate, and the epic, by global and universal definition, exploring the transformation and limits of the poetic form through the three ways defined by Neo-Platonic theology – purgative, illuminative and unitive– until the ultimate apocatastasis
Loiseleur-Foglia, Aurélie. "L'harmonie selon Lamartine, dans sa poésie épique et lyrique (1820-1869) : utopie d'un lieu commun". Paris 4, 2003. http://www.theses.fr/2003PA040128.
Texto completoThe publication of the Meditations, written by Alphonse de Lamartine, in 1820, produces the revival of lyricism in French litterature. These verses make a silent revolution in the poetics of the Enlightenment, although they keep carefully the ancient rules, because the notion of harmony proposes another conception of the world and of the words. Harmony consists in semantic diversity, linking together many fields that modernity has now separated : poetry, music, politics and faith. The poem is thus the mirror of History and shows the progress of humanity. Through the life of Lamartine, poet and statesman at the same time, the dream of harmony becomes present and possible and offers a commonplace idea. Utopia ? Maybe it has only taken place into the poem itself, when Lamartine's poetry aims to speak to anybody in the heart's langage, and even to God with the music of the words
Leclercq, Armelle. "Portraits croisés : l'image des Francs et des musulmans dans les textes sur la première croisade (chroniques latines et arabes, chansons de geste françaises des XIIe et XIIIe siècles)". Paris 3, 2006. http://www.theses.fr/2006PA030158.
Texto completoThis study focuses on the image of the other in French and Arab texts of the 12th and 13th centuries dealing with the First Crusade (1095-1099). The crusade brought people from East and West into direct contact with each other, and with the new contact came a gradual change in their perception of alterity. Writers from both camps share similar attitudes : they hesitate between curiosity about the enemy, a taste for ideological argument and a predilection for the rhetoric of holy war. After a survey of the conditions of creation of the works, this study gives full analyses oriented in four directions : the discovery of the other, religious polemics, self-sacralisation and alterations of alterity. Finally, it pays close attention to a peculiarly Western development – the creation of a fictional but long-lived figure – the historical enemy transformed into a proselytizing convert
Neveux, Marguerite. "Construction et proportion : apports germaniques (de la section d'or au nombre d'or) dans une théorie de la peinture française de Seurat à Le Corbusier". Paris 1, 1991. http://www.theses.fr/1991PA010590.
Texto completoMid nineteenth century in Germany some scholars using science proceedings endeavour to found the beautiful on single and universal rules. They contend that the geometric figures possess the ability of expressing these rules. Out of the multiplicity of the proposed solutions Zeising's golden section will lead because of and with the caution security added thereto by the scientists G. T. Fechner and W. Wundt. In France there is a similar attempt undertaken by Charles Henry to developp a scientific aesthetics wherein the golden section will be privileged of an outstanding position. Ch. Henry is supposed to have made it known successively to Seurat, Purists, Ozenfant and Le Corbusier, and Severini. The golden section is also a part of the holy measures outlined by the sacred art school of Beuron whose theories inscribe their mark on Paul Sérusier and Maurice Denis. At last the golden section will be favoured by Matila Ghyka who shall describe its mathematical proprieties emphasize on its aesthetic qualities add a pythagorician esoteric meaning and create the golden number which shall thereafter remain solely used
Bouchardon, Marianne. "Théâtre-poésie : limites non-frontières entre deux genres du symbolisme à nos jours". Paris 10, 2004. http://www.theses.fr/2004PA100127.
Texto completoThe object of this work is to show that the dramatic form, entered in crisis from the end of the XIXth century and during all XXth century, was not only renewed by means of an opening of the theatrical genre as for the romantic genre, that is by means of a "romanisation" or of an "épicisation" already abundantly theorized, but also by the way of a decompartmentalization of the theatrical genre towards the poetic genre, suggesting the invention of a sort of "theater-poetry". This problem prompt to interrogate the report of the dramatic and of poetics in various times hinges of the history of the theater, the symbolism, the avant-gardes and the contemporary time, and to analyze, for each of these periods, one or two dramatic arts with exemplary value, in this particular case, those of Villiers de l'Isle-Adam and Maurice Maeterlinck, those of Guillaume Apollinaire and Roger Vitrac, that finally Valère Novarina
Gramfort, Valérie. "L'année 1869". Paris 3, 2005. http://www.theses.fr/2005PA030033.
Texto completoThis research has been done through a synchronic study of the literary life in 1869, through the perusal of Paris daily press as well as analysis of novels, plays and poems from that period. First and foremost, we tried to take stock of the literary production taking into account the historical, economic, scientific and artistic context of the time. Why chose 1869 ? Because this date is both a sign and an inevitable landmark. Just one year before the war broke out between France and Prussia and the third republic was proclaimed, 1869 was marked by the opening of the Suez canal, the centenary of Napoléon I But also by the results general election that revealed already the weakness of Napoleon III reign. From a literary viewpoint, 1869 is a transition year when Balzac's entire works were republished, the framework of the Rougon-Macquart cycle was set up and were published the Education sentimentale, l'Homme qui rit, Madame Gervaisais, Vingt mille lieues sous les mers or Les Chants de Maldoror
Auger-Sergent, Anne-Sophie. "Les graffiti marins de Normandie (13e siècle- 19e siècle)". Paris 1, 1991. http://www.theses.fr/1991PA010544.
Texto completoNormandy is extremely rich in ship graffiti, but we haven't any regional and synthetical studies about these iconographic sources. The inventory of Normand graffiti allows to have a corpus of some 500 documents dated from 13th to 19th centuries. The documents present essentialy ships, but also elements of ship (anchor, flag, rigging, head) or elements of navigation (sea-mark), animals (fisch, sea-bird), and maritime inscriptions. Their major value ist that graffiti give representations of boats of merchant navy and fisching navy, on which we haven't any iconographic source before the 18th century, and contribute to the repacement of naval iconographic material. The geographic repartition of ship graffiti follows the maritime and fluvial zones. They are omnipresent on the soft calcareous and plaster of the churchs, castles and traditionnal houses. In spite of their value for ship archaeology, graffiti pose a problem and particulary for determination and dating. The use of sails as leading thread allows at the same time a classification of ships graffiti, their typing according iconographic comparaisons, and their datation. Normand graffiti present merchant and coast ships. Barges are rare
Bourlier, Pierre. "Style, temps, architectureOu L'éternel retour de l'enjeu stylistique". Paris 8, 2006. http://www.theses.fr/2006PA082743.
Texto completo“Style is time first” writes Léonce Reynaud in his Traité d’architecture (1850). This quotation is later echoed by this other declaration of Peter Behrens: “making architecture is to give body to the spirit of the time” (1913). Both share this idea of time embodied in architecture conceived as a product of a Zeitwille as Ludwig Mies van der Rohe also calls it. But while the style for one is the vector of the expression of temporality, it is the “making” that is intended to give such a temporal existence for the other. Moreover, Behrens belongs to a “modern” generational movement which, precisely, recognizes itself through a unanimous and international rejection of the stylistic problems. How can we explain that the question of the historicity of architecture was tackled once with the idea of style, then a second time in radical opposition to it? Generally speaking, what does the debate on style tell us about the relationship between architecture and time? This thesis would like to give some answers to these questions with the help of a genealogical investigation on the modern concept of style
Dromby, Jean-Jacques. "La musique dans les Ardennes de 1790 à 1914 : étude institutionnelle, sociologique et esthétique". Paris 4, 1986. http://www.theses.fr/1986PA040087.
Texto completoMusical life in the French Ardennes and in the bordering Belgian areas. First line of research: to reveal the musical life amongst the Ardennes society from the sociological, institutional, political and religious points of view. Second line of research: aesthetical analysis of popular music and the works of some composers who made the area famous before 1914, in order to reveal the possibility of a specific "ardennais" musical style. The choice of the period was given by the fact that it is the end of a world- the world of traditions- and the beginning of a new one: the world of technological progress. In a geographical context, the study is made more complicated because of the existence of a border that divides the population between the Belgian and the French ardennais. Although in fact the French revolution of 1789 created a political and social instability that lasted until 1905, a certain musical taste remained in France and in Belgium during all this period of time. Even though the research of musical life in the Ardennes can be considered as completed and positive, the research of a musical style particular to the Ardennes can not. Indeed, it seems that the repertoires of the Ardennes can be linked by their origins and inspirations, on the French side as much as on the Belgian side, to the aesthetics of the Paris area and the north of France
Vigneron, Denis. "Nouveaux discours, nouveaux regards sur la création artistique en Espagne de la fin du dix-neuvième siècle à 1931". Lille 3, 2006. http://www.theses.fr/2006LIL30016.
Texto completoLacroix, Sophie. "Le thème des ruines dans la sensibilité et la réflexion philosophique de 1750 à 1830". Paris 4, 2005. http://www.theses.fr/2005PA040145.
Texto completoRuins as a theme originated in the notion that man-made things were transient, ephemeral and liable to decay. However, the present research aims to document the way ruins were newly perceived in the late XVIIIth and early XIXth Centuries. Our purpose is to account for the major turn in sensibility which occured then. Collapsing monuments were no longer assessed against the blackcloth of impermanence but were viewed as leftover fragments and accepted in all their concreteness as debris. This breaks away from widely held views of a mainstream Enlightenment by providing a methodological tool to uncover its underlying crisis. Such a turn in perceptions is evidenced by the new sensibility which opened up to the mutilated being of ruins. It is next displayed in the renewed philosophical inquiries which traced this experience in various fields, namely art history, but also history, and finally metaphysics
Diong, Maneume. "Aventures et avatars de la modernité poétique : de Baudelaire , Rimbaud, Mallarmé, Breton et Bonnefoy". Tours, 2004. http://www.theses.fr/2004TOUR2001.
Texto completoPuppi, Marcelo. "La dimension culturelle du rationalisme structurel : architecture, histoire et utopie chez Léonce Reynaud, Fernand de Dartein et Auguste Choisy". Paris 1, 2013. http://www.theses.fr/2013PA010517.
Texto completoCouturier-Heinrich, Clémence. "Les discours sur le rythme en Allemagne autour de 1800". Philosophie, 2002. http://www.theses.fr/2002TOUR2012.
Texto completoPenot, Agnès. "L'internationalisation des galeries françaises durant la seconde moitié du XIXe siècle : l'exemple de la maison Goupil (1846-1884)". Paris 1, 2012. http://www.theses.fr/2012PA010696.
Texto completoBellot, Michel. "Esthétique des figures impossibles et ambiguës". Paris 1, 2000. http://www.theses.fr/2000PA010647.
Texto completoLampe, Angela. "Per Kirkeby : un artiste de la tradition nordique ?" Paris 1, 1999. http://www.theses.fr/1999PA010594.
Texto completoBeauchamp, Hélène. "La marionnette, conscience critique et laboratoire du théâtre : usages théoriques et scéniques de la marionnette entre les années 1890 et les années 1930 (Belgique, France, Espagne)". Paris 4, 2007. http://www.theses.fr/2007PA040322.
Texto completoAt the end of the 19th century, the theatrical avant-garde across Europe showed a striking interest for puppets. They used puppets – till then marginalized in the official theatre and associated with disappearing traditions – as an aesthetic model up to the end of the 1930s. The ‘puppet model’ was applied to all domains of theatrical art : theory, dramaturgy, stage direction. In studying this model and its roots in three neighbouring countries (Belgium, Spain and France) in which the conditions of theatrical life were significantly different, this dissertation explains the eruption of the puppet in the sphere of high theatre through its critical and experimental uses. The theatrical study of these texts, combined with an analysis of the theoretical writings (including reviews in the period press) and stage direction shows how the puppet is constructed as the critical consciousness of the official theatre, especially the ‘bourgeois’ theatre, at the end of the 19th century. Moreover, this work reveals how this polemical energy explored fundamental territories of the modern stage in advance : meta-theatricality, parody, defamiliarization, artistic fusion, as well as the quest for a popular and political theatre
Ferreira, Liliane. "Oscar Wilde : Esthétique et philosophie de la provocation". Paris 10, 2011. http://www.theses.fr/2011PA100007.
Texto completoThe ethical and aesthetic overdeterminations about Oscar Wilde, that blocked off the invisible of his work and being, compelled us to settle in the visible of his photograph in order to move gradually down the veiled circles of his troublemaking decisions. These decisions first take position in a feeling: the philosophical, esthetical and political propositions at stake in all his writings announce a determination of the will with libertarian and tragical mood. Led by a haunting melancholy, Wilde weaves a work that philosophy has yet to tackle, not only because of the quality of his esthetical suggestions, but also because he, by himself, said and made what every being may yet imagine and realize: the selftransformation of the self by the means of accomplished provocations. When the very being turns himself upside down in order to question the violence of a social system in all the contradictions and boundaries of the same system, when he abandons himself to it until his death wears his meaning of beauty, so then had we to unwind the Ariane's thread. The thread that brings us to reveal Wilde the tragedian, the freethinker who intuitioned his becoming, i. E. Who laid underground the conditions of his life as an artist and his esthetical demands in order to live them appropriately to his theories and extraordinary imagination. He who was a tragedian died tragically, but he did it on purpose. Oscar Wilde was born again on November the 30th 1900, waving to Nietzsche by the way
Le, Scanff Yvon. "Le paysage romantique et l'expérience du sublime : littérature, esthétique, métaphysique". Paris 4, 2002. http://www.theses.fr/2002PA040185.
Texto completoThe main subject of this doctoral thesis consists in the study of romantic landscapes in relation to the experience of the Sublime in nineteenth century French literature. The sublime landscape originates in an ancient and rhetoric tradition of the scene of horror which by the end of the eighteenth century has evolved into the concept of "Dark Sublime" with the preromantic and romantic rediscovery of certain essential literary and pictorial references influenced by a sensualist interpretation (Burke, Diderot) of the classical sublime arising from Boileau's translation of Longinus ' Treatise on the Sublime. Romanticism will use the sentiment of the sublime to reintroduce an organic conception to nature and the thinking subject in the framework of an objective and subjective idealism which establishes object and subject in an analogical relationship: the sublime is the instrument of this paradoxical harmony since it is revealed through a perpetually wrenching experience of the senses
Eckerlin, Peter. "Hans von Bülow : sa vision de la musique du XIXe siècle au travers de ses écrits et de sa correspondance". Paris 4, 1995. http://www.theses.fr/1994PA040209.
Texto completoTo begin with this thesis outlines the life of Hans von Bulow and retraces his diverse activities in the musical life of Germany between 1850 and 1894. Having developed strong ties to the "Neudeutsche schule" first, Bulow later turned to Brahms. The thesis explores this development in the light of Bulow’s way of musical thinking. Bulow's ides of musical aesthetics are put into relation to the results of an analysis of some of the most important works of composers he felt closely connected with. The appendix contains an inventory of Bulow’s letters which are compiled in the estate of Hans von Bulow in the Staatsbibliothek Preussischer Kulturbesitz, Berlin
Sarreau, Jérôme. "Le sublime et la représentation photographique de l'ouest américain au XIXè siècle [(1840-1912)]". Pau, 2008. http://www.theses.fr/2008PAUU1013.
Texto completoDuring the 19th century, the territory occupied by the United States was significantly enlarged. The Western part of the American continent was progressively populated and industrialized. While towns and factories were built, the place of nature inexorably decreased. At that time, some photographers left for the West in order to represent the landscapes which were still in their pristine condition but also the technological wonders which were invading this area. Their undertaking shows the ambivalent attitude of 19th century Americans, who were both dazed by the beauty of the wilderness and lured by technical progress. It is thus significant that they considered as sublime not only the wild landscapes created by God but also the works of the engineers. We can really speak about a transfer of values during the century. Nature, which had been a pillar in the building of a genuine national identity, was associated with the sublime straightaway, but later, its characteristics were transferred to Man and the idea of sublime was then associated with the machines. A new form of sublime appeared in America : the technological sublime. This study analyzes the part played by photographers in this evolution, which could be seen as a popularization of the sublime, thus put within the reach of every American citizen. The corpus consists mainly of photographs taken by William Henry Jackson and Carleton E. Watkins. The analysis of these pictures emphasizes the typical characteristics of the sublime. These photographs represent all the aspects of the American West in the second half of the 19th century : the wilderness as well as the Indian tribes and the industrialization of the region
Chabanne, Marie-Pierre. "Michel-Ange romantique : naissance de l'artiste moderne,de Winckelmann à Delacroix". Paris 8, 2000. http://www.theses.fr/2000PA081847.
Texto completoParise, Maddalena. "Du portrait ressemblant à l'excès de détails : le daguerréotype, une technique à l'épreuve de l'art". Paris 1, 2012. http://www.theses.fr/2012PA010591.
Texto completoScepi, Henri. "Sujet et langage : contribution à la poétique de Jules laforgue (1860-1887)". Clermont-Ferrand 2, 1996. http://www.theses.fr/1996CLF20097.
Texto completoEntirely placed under the sign of the never-ending quest for originality, and subordinated to the principles of a philosophically and scientifically jointed aesthetics, jules laforgue's poetic work is first and foremost remarkable for its capacity to place the creative subject in the position of a critic in front of the issue of language and henceforth that of expression. Indeed, denying one after the other all the thesis which dogmatically promote clarity of expression and good taste as well as the timeless beautiful, laforgue ventures the hypothesis of an aesthetics in the making which focusses on the absolute need to develop an idiosyncratic speech. Of course, such a position merges with the imperative of modernity launched by the "decadent" generation; but it also comes across the field of the linguistic theory of the 19 th century, which tends to problematise, according to two different axes, the position of the speaking subject within language. Thus laforgue's poetic stance reflects two apparently contradictory positions: on the one hand, the right to total subjectivity and poetic autonomy is claimed, as principles ordering discourse; on the other hand, a large part is devoted to the doctrines, inherited from darwin and prolonged by hartmann, which subordinate the subject to the hegemony of an evolution which transcends him. But those two perspectives merge in the achievement of a poetics which purports to include the accidents of enpiricism as well as the unceasing movement of life. Thereof, individual discourse circumscrites the locus of a rupture and ascribes to speech a radical function which both deconstructs the cliches and conventions of poetic medium and the lifeless structures of language
Kazumori, Hiroko. "Ruines et ruine dans l'oeuvre de Victor Hugo". Paris 7, 2012. http://www.theses.fr/2012PA070092.
Texto completoIt is undeniable that the ruins occupy a special place in Hugo's imagination, for their recurrence in the writings of Hugo and the variety of their characteristics. Even if the theme of ruins is not entirely new in the history of literature, it has a unique place in the culture of the nineteenth century, which saw spectacles of ruins - destruction of ancient architectures as well as political upheaval and collapses. The ruins in the work of Hugo reflect his view of the century, thoughts on the history, and philosophical reflections on the universal law that creates progress. Far from being a mere decoration, ruins in Hugo are a medium of his ideas - or the ideas themselves constructed as objects. Our study on ruins in Hugo tried to clarify the dynamism between his thought and work, his concept of the world and his own poetic universe. Philosophical thoughts of the writer are never independent of his literary creation, and vice versa, the literature sometimes offers itself as place to thought. The ruins in Hugo's works, never stable, with their indefinite form, are the most suggestive vision of his reflection on the elusive reality. They are no longe pretexts for poetic meditation, but concepts taking on a surprising materiality
Aretaki, Marina. "Aspects de la poétique des romans de A. Papadiamantis (1879-1884) : genèse et fin d'un univers romanesque". Paris 4, 2001. http://www.theses.fr/2000PA040089.
Texto completoLongbois-Canil, Christophe. "Les généalogies de la modernité : étude de l'émergence de l'idée de modernité de 1823 à 1852". Paris 8, 2013. http://octaviana.fr/document/17862067X#?c=0&m=0&s=0&cv=0.
Texto completo1823 is the year when appears the noun of modernity. In 1852 open in Paris the Drouot hotel, the group by auction public salerooms, which gives to the market of art a new dimension within which is going to develop this modernity. The thesis suggests examining how between these two dates, appears a new painting and how the criticism perceives this one. Year after year elaborate little by little the notion of modernity through the questioning of the conventional painting. It's thanks to the corpus of texts largely forgotten since their publication that is brought to light the substantial revision of the way of grasping the painting of the first half of the XIXth century. This thesis allows to follow in the chronological order the movement of the painting in the fundamental place of exhibition of this period: the Salon
Vratskidou, Eleonora. "L'émergence de l'artiste en Grèce au XIXe siècle (1840-1890)". Paris, EHESS, 2011. http://www.theses.fr/2011EHES0017.
Texto completoThis study examines the construction of the figure of the artist in modem Greece. Following the foundation of the Greek state in 1830, artistic discourse and practices are largely shaped by the appropriation of western European models. In this context, I argue that the establishment and progressive transformation of the cultural conception of « the artist » is animated by multi-Ievel tensions between art and craft, between national identity and European belonging, between modem and ancient art, and between the community and the individual. I begin by analyzing the technical and theoretical education offered by the first artistic institution of the State, the School of Arts. The School aspires to the creation of a national art, largely inspired by ancient Greek art, a project that legitimated the artistic profession against the background of Nation-State formation. I then tum to the representational framework by which artistic activity was conceived and examine in particular the notions of vocation, genius, and originality. These essential concepts can be seen to structure the biographies of artists and the « artistic short stories » featured in the literary journals of the period, as well as the discourses of aesthetics and art criticism. I seek to show how the norms and ideals of ancient art are severely undermined, from the 1880s onwards, by the quest for originality and individuality. This new valorisation of the artistic subject, who expresses his singularity in the work of art, puts into question the conception of the artist as a representative of the national community, which had been promoted by the School of Arts
Albertazzi, Liliana. "Années 1980 : une modernité sans avant-garde". Paris 1, 1993. http://www.theses.fr/1993PA010553.
Texto completoMy purpose is to demonstrate that in the eighties it is the avant-garde's concept which is overrun an not the one of modernity. And what came out of these thesis is that on developping the point one realize that the most important revelation is that the counter-thesis induce to an emptiness in the analytical and methodological approch to the art history in the XXth century. Since modernity has been massivily contested and since the prefix "neo" came to be attached to the name of the avant-garde in the eighties, some regulating notions of originality and pureness, until then constituents of the artistique evaluation, collapsed. But these crisis brought in more problems and questions then it sorted them out, though it was necessary to analyse retrospectivily the comdamned concepts and to establish the relation-ship between them. The questions to answer in my essay were though the ones originated bat the new trend of thought in post-modernity : which are the basis of these modernity that are overrun? The facts for which it is overrun are on themselves founding concepts? Concerning the avant-garde, art history makes large reference without defininf the phenomena, does the avant-garde have a chance to be considered asa phenomena and how do we recognaise it?
Honda-Ishii, Midori. "Le japonisme en France dans la seconde moitié du XIXe siècle : la rencontre de l'Occident avec l'Orient". Paris 5, 2007. http://www.theses.fr/2007PA05H008.
Texto completoThe principal objective of this thesis is to analyse the way in which Japonisme constructs itself in France from 1850s to 1900. The thesis also examines the traces that Japonisme has left in the history of Occidental art, with the hypothesis that such a phenomenon is not contingent: rather, Japonisine is a necessity in historical and artistic development. In other words, it is a product of what the French sought in the Japanese art : the traits that French art itself had already possessed. It bas been a long time since the Occident dreamt of the Oriental. One cannot be deceived by the affirmation that Japonisme was merely an exotic occurrence, having demonstrated that the Oriental and the Occident were mutually attracted even though they were conflicting in several respects. The officiai propagation of the country's image during the Universal Expositions had made possible the fabrication of Japonisine. One will thus understand the political strategy that Japan had attached to such circulation, and how it had exhibited an image of itself. Japanese traditional art and its relation to the quotidian brought forth much French enthusiasm. As such, the thesis will study the way in which such enthusiasm responded to Japanese art, expounding on the writings of art critics, in particular Ernest Chesneau and the Goncourt brothers. Furthermore, the thesis analyses the way in which French art was influenced and transformed by Japanese art in the works of three prominent artists. Namely Toulouse-Lautrec, Paul Gauguin and Henri Matisse
Mange, Christian. "Bernard Benezet (1835-1897) : vie et oeuvre". Toulouse 2, 1991. http://www.theses.fr/1991TOU20072.
Texto completoThe painter benezet, talented student of the beaux-art school in toulouse, then flandrin's disciple in paris, began in 1860 to decorate the main sanctuarys and public buildings of toulouse and its region. These paintings submitting to the tradition of the council of trente, also corresponds in a exemplary way to the definition of sacred art, as express rio and montalembert beginning 1830-1840: a painter with faith, furthermore learned and well-read, a curiosity for archaism and italian middle age, follower of mural painting and partisan of the canons of ingres. Kepping in with an intellectual atmosphere and specific politics (gothic revival), this pictorial movement is distinguished by a strong thematic coherance due to the conjuction of the artist's regionalism and taste for medieval and renaissance subjects (clemence isaure, saint germaine. . . ) and by a unity of style, combining middle age spirit and assets from the renaissance, fulfilling the ideological desires of the monarchists, religious extremists, to which benezet identifys himself. This political, religious and esthetic respect of conformity of the rules is the origin of the monopoly of sites acquired by the artist, one of the few able to live with his painting, and allowing him to live in toulouse. However, due to the development of ideas and taste, he falls rapidly into an unmerited forgetfulness, in spite of his work full of variety and quality
Mathis, Charles-François. "L'émergence d'une pensée environnementale en Angleterre au XIXe siècle". Paris 4, 2006. http://www.theses.fr/2006PA040114.
Texto completoFollowing the industrialisation and urbanisation of England which started in the mid-18th century, and following the new vision of nature as a landscape, a "sentimental" conception of environment emerged in the 1830s-1840s. It was marginalised until 1870, but this period was nonetheless one of gestation of the environmental movement. From the 1870s onwards, the sentimental conception became pre-eminent in the country, due to the success of the environmental movement and the creation of new environmental organisations, such as the National Trust. But this success led the movement to question its own contradictions, and to be divided into two groups : the utopians, who refused the industrial and urban civilisation, and the reformists, who only wanted to check its impact on environment
Hartweg, Jean. "Esthétique et dramaturgie dans l'oeuvre critique de Francisque Sarcey". Amiens, 2008. http://www.theses.fr/2008AMIE0006.
Texto completoFournier, Éric. "Paris en ruines (1851-1882) : entre flânerie et apocalypse : regards, acteurs, pratiques". Paris 1, 2005. http://www.theses.fr/2005PA010568.
Texto completoOlivier, Alain Patrick. "La philosophie hégélienne de la musique". Paris 1, 1999. http://www.theses.fr/1999PA010520.
Texto completoIt was mainly between 1818 and 1831, when he taught in Berlin, that Hegel became acquainted with the extremely rich, creative musical environment which is widely reflected in the courses on aesthetics of the time. The precise reconstruction of Hegel's musical encounters and their historical background bears witness to the importance of the phenomenon, within a corpus which has hitherto most often been studied from a purely systematic point of view. In this study, the link between expericence and speculation emerges all the more clearly since, for the first time, it is based on manuscripte of the various sources and not an the posthumous reconstruction edited by Hotho. Hegel's often paradoxical opinions reveal in fact a remarkably sound judgement as well as true originality (although because of the fact that he does not mention Beethoven, he seems not to have grasped the fundamental link between tonal and dialectical thought. ) At the same time, these opinions are deeply rooted in all of Hegel's thought. Indeed, music also contributes, in an exemplary manner, to the Hegelian vision, the componente of which are man as a whole, freedom, happiness and the infinity of life
Urmann, Martin. "Resonanzeffekte : zum Verhältnis von Oberfläche und Tiefe in der fin-de-siècle-Kunst". Paris, EHESS, 2014. http://www.theses.fr/2014EHES0005.
Texto completoThe doctoral thesis “Resonance Effects. Surface and depth in Fin-de-siècle Arts” pursues a twofold objective: on the one hand, it wants to make a contribution to a theory of form, that is a theory of the emerging form in the medial textures in which it gains shape. This raises the central theoretical question of the relation between surface and depth which is considered against the backdrop of the key notion of resonance. On the other hand, the thesis offers a new reading of fin-de-siècle arts based on the detailed analysis of a range of works considered central within the artistic production of the era. The thesis undertakes a systematic comparison of French and German art around 1900, more precisely of the decadent and symbolist currents in Paris and Vienna. This comparison is carried out through all the art forms – music, literature and the visual arts. According to the comparative approach both on the historical and the aesthetic level, the study revolves around the axis Paris-Vienna, the main fields of attention being the literary works of Huysmans and Mallarmé, on the one hand, and of Schnitzler and Hofmannsthal, on the other. These chapters are framed by introductory reflections on Mahler’s Third Symphony and Debussy’s L’Après-Midi d’un Faune as well as the analysis of the paradoxical surface structure in the paintings of Moreau and Klimt concluding the study. Moreover, Nietzsche is presented as the eminent contemporary poet-thinker of fin-de-siècle arts who, in The Birth of Tragedy, outlines the duality of the “Apollonian” and the “Dionysian”. This turns out to be the fundamental motive which appears in all fin-de-siècle art forms in ever changing constellations
Sitayeb, Stéphane. "Liturgie et Esthétique dans la prose poétique fin-de-siècle d’Arthur Machen". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040148.
Texto completoThe present study sustains an analogy between the fin-de-siècle texts of Arthur Machen and the aesthetics of Decadence and Symbolism, first, and a principle of consistency regulating the tensions that underlie his minor works – id est, the customs originating from the sapiential corpus of the Bible and the intertestamental narratives being blended with the therianthropic rites of primitive totemism. The syncretism between Christian and Pagan rites and the oscillation between Apollonian ascesis and Dionysiac aestheticism mirror the resilience as well as the pathologies of the artist in his Protean Künstlerromane and self-portraits. Inspired by the numerous artistic currents of the Victorian age, Machen’s turn-of-the-century texts are quite complex to classify and account for the too frequent association made between his style and that of Gothic or Fantastic authors. This generic indetermination, notably triggered by the anthologization of Machen’s texts, requires a work of investigation in diverse domains such as archaeology, anthropology and ethnology. Episodic novels, short stories, tales, and prose poems, in particular, become experimental diaries foreshadowing the Surrealists’ automatic writing. Deemed to be either the emblem of hereditary contagion or the herald of a decadent civilization, the artist wears several masks which are further distorted by the author’s misleading autobiographical hints. After showing that Machen is not only a poet but also a theologian and an essayist and a theorician on aesthetics, it will be possible to understand the discrepancy between the fiction and the life of a fervent High-Branch Anglican, a faithful husband who nevertheless cultivated, in his texts, paraphilic fantasies, dreams of a new Orient and an Ancient Greece, or quite the contrary, extreme penitential itineraries grounded in a Medieval Welsh tradition requiring self-flagellation and anorexic fasting. Far from representing a “chalice empty of wine”, liturgy becomes a sacred power as the correlation between physical losses and spiritual gains in The Hill of Dreams shows. By championing the beauty of a minor Welsh culture, Machen partook in the “Celtic Revival” and wrote the chronicles of uprooted Welsh subjects exiled in the hostile environment of fin-de-siècle London and striving to reterritorialize its spatial and temporal constitution
Salvan-Renucci, Françoise. "Die Opernlibretti von Hugo von Hofmannsthal : ästhetik - struktur - sprachform : eine thematische Untersuchung unter besonderer Berücksichtigung musikspezifischer Begriffe". Aix-Marseille 1, 1992. http://www.theses.fr/1992AIX10010.
Texto completoChiou, Der-Liang. "Homo gastronomicus : les régimes du goût et le plaisir alimentaire à l'âge moderne (1650-1850)". Paris, EHESS, 2003. http://www.theses.fr/2003EHES0002.
Texto completoWhat become the alimentary morals in the Western societies at the modern age, since separation between dietetic and cuisine ? We proposed an approach centered on the care of the taste like alimentary ethic, which consist in constituting the “eating subject”, at the various times, according to various cultural dispositions, in other word, the regimes of taste. Three “regimes of taste” are identifiable which work alternatively the eating subject: the “regime of health” generates dietetic; the “regime of good taste” gives birth to the art of cooking, and finally the “gastronomical regime” invents the “gastronomy”. From the Middle Ages to the 17th century, the pleasure is spread in dietetic practices. In the regime of the good taste of the classic age, the art of cooking was related to an esthetics of the care of order. A new sensuality promoted by the gastronomical mode since 19th century, consists in saying the food things by using a language at the same time hermeneutic and formalized
Spahiu, Alketa. "De l'épopée au roman: culture et création dans l'oeuvre d'Ismail Kadaré". Paris 4, 2004. http://www.theses.fr/2004PA040190.
Texto completoInfluenced by the epic , the Kadarian universe goes beyond the space/time frame of the novel in order to take on the fabric of the Greek tragedies. In Albania the worlds of oral tradition and that of writing still overlap, even in our modern world. The storyteller becomes writer, and the writer becomes storyteller. Following the example of those bards and storytellers whose work is anchored in the epic tradition, Kadaré gives us, through his constantly shifting writing, an oral litterature with an inspiration born of the epic tradition. In his fiction, story mixes with legend, and dreams with reality so as to capture all the better the essence of this epic world, a world whose roots are not only Greek, but also Albanian and Balkan. This study goes in search of the epic in a Kadarian universe built of stone and rain ; a timeless Kadarian universe which is spoken, listened to and looked at observed from all angles ; a Kadarian universe which is written down so that the epic inspiration can be protected
Ko, Byung-Chan. "Stendhal romancier de l'ascension sociale". Paris 8, 1994. http://www.theses.fr/1994PA080884.
Texto completoStendhal was devoted to descritbing his heroes endeavors to climb the hierarchy of the social ladder and to revealing the mechanismes of these efforts. His heroes were aristocrats or of the bourgeoisie and there was to highilight their intrigues, interets and ambitions than in their salons. However the climb up the social ladder finishes badly for all of stendhal's heroes. They abandon this base world to withdraw to solitude where they discover true happiness. This analysis takes into account characteristics of novels-fiction, autofiction, portrayal of reality, attitudes of the main and secondary characters. Stendhal paints the picture of a period and a society that at times left him indignant and revolted. He weaves history into the plots of his novels. This analysis considers the specificity of his writing about himself. Stendhal's autobiography seems like a ritual of reminiscence that meters his narration. Writing about himself is the starting point of his contemplation. The social-historical analysis is period in the history of france during which old beliefs are regjected and a new social order is established. Diverse elements are studied: provincial and parisian life, phenomenon of social classes, role of salons and money in politics and social ascent, and theme of esprit and energy which are to stendhal. Finally the problem of the mainifold "me" of the heroes-virtual, real and actual-is examined in detail
Baillot, Anne. "Genèse et réception de la pensée esthétique de K. W. F. Solger entre 1800 et 1830". Paris 8, 2002. http://www.theses.fr/2002PA082178.
Texto completoOur work, based on K. W. F. Solger's (1780-1819) manuscripts and posthumous editions, will enlighten the genesis and reception of his aesthetics between 1800 and 1830. After presenting his printed as well as his unprinted texts, we will describe how these are connected to one another and which concepts they let prevail. His intellectual biography will then be drawn from a historical enquiry stressing out his role in the University of Berlin between 1811 and 1819. A comparison between the different types of texts available today will finally point out the literary stakes of a work that has been left unfinished by its author and has been widely revised by its posthumous editors. This research has been mainly based on Solger's correspondence and aims at pointing out his relationships to his contemporaries in the Romantic and Idealistic Berlin
Bettelli, Christelle. "Les mythes et les symboles de l'esthétique fin-de-siècle : éloge de Narcisse : thèse". Nice, 2005. http://www.theses.fr/2005NICE2016.
Texto completoNarcissus. The whole framework of fin-de-siècle aesthetics is epitomized in this name : its links with the philosophy of the unique being, its reflexive style, Wilde's theory of masks, its attempt to solve the Decadent dilemma through the creation of characters which combine within themselves reality and ideal. For Narcissus primarily is the image of mankind torn apart between its dreams and the conscience of its own limits, caught in the fatal process of the Fall, in the gears of time and death. Narcissus also personifies the quest of oneself, the worship of beauty which underlies the hellenist revival, Pater's impressionistic creed and the search for perfection at the heart of dandyism. Narcissus is the major symbol of fin-de-siècle contemplative hedonism and, standing as a protest against contemporary society and its denial of personality, casts himself through various masks to assert his uniting ideal in works which form an aesthetic autobiography
Dupraz, Dominique. "Essai d'une méthode d'analyse sémiographique de la musique". Paris 4, 1986. http://www.theses.fr/1986PA040088.
Texto completoThe object is to analyze the creative proceeding of the composers through their compositional and psychological states, and to study the musical interpretation of the scores thoroughly by enlightening the aesthetic of the works and the man's personality. The method employed consists in the elaboration of a semiographical analysis process of the music and in the study of the musical writing of the composers through their hand written scrolls
Bacard, Haloul. "Poétique de la langue française chez Remy de Gourmont". Paris 8, 2011. http://octaviana.fr/document/160871034#?c=0&m=0&s=0&cv=0.
Texto completoPoetics questions a practice of the speech as a manner of language. From this point of view, we wonder how Remy de Gourmont's new critical and poetic language becomes a value in the french literature and culture. Remy de Gourmont, as an original critic, never loses sight of its double French and Symbolist condition, which is never a partisan or a nationalist attitude of criticism. Defending art as disinterestedness, exhibiting the immediate or later discussion of the ideas, Remy de Gourmont creates its dissociating method to put criticism, french and its literature forward. This critical principle has main purpose to discover or restore the value of the literary effort by seeking to reject the "lieux communs" and the "clichés" which cover it up. This new criticism of the ideas, which is always an invention of the discourse, is indissociable, in its poetic practice even, of an attention to the symbolism, and, each time, to the language. Hence, an original "vers libre" (symbolism free verse) having the capacity to make see and hear what the poet made with the ordinary language, that is to say with the usually words. Thus, the poem becomes an observation post of a historicity of the language. It shows in particular a feeling of the french language, which is this poetic-even, and which Remy de Gourmont initially created, then worked to make personal and individual, as much as the free art Symbolist which includes it in the mass of discursive individualities
Triaire, Sylvie. "Une esthétique de la déliaison : Flaubert, 1870-1880". Paris 8, 1999. http://www.theses.fr/1999PA081716.
Texto completoPasquier, Pierre. "La Mimesis dans l'esthétique théâtrale française du début de l'âge classique à la fin de la période romantique". Caen, 1987. http://www.theses.fr/1987CAEN1022.
Texto completoSintichakis-Placas, Marie. "L'image poétique dans la poésie symboliste du XIXe siècle : Paul Verlaine". Paris 4, 1998. http://www.theses.fr/1998PA040242.
Texto completoThe works of Verlaine have constituted the object of numerous literary studies. The aim of this project is to study Verlaine’s imagery from a stylistic viewpoint, in order to demonstrate the originality of the poet's aesthetic concept. The use of figurative diction allows for expressive evaluations based on dominant forms of verlainian imagery. The thematic classification reveals the major poles of the poet's universe. The study of imagery is centered around the way figures are produced and their function, as well as on the evoked values of connotation. At the same time, an effort is made to manifest the evolution of the aesthetic dimension of images across Verlaine’s poetic collections and their variants in each of the collections individually. The parallel confrontation with the imagery created by other poets belonging to the same group as Verlaine is aimed towards a demonstration of the particularity of the poet's language within the constellation of symbolism. Its self-proposed target is to bring to light the common affinities and nuances uniting all symbolists in their desire to create corresponding links between the "sensible" universe and the human soul. After a theoretical approach of the "poetic image", the figures are categorized into different domains, according to their "sensible" aspect, concrete or abstract. First are studied the "sensible" elements of the terrestrial, aerial, cosmic, liquid or luminous domains, then the human forms and finally the abstract realities
Descourvières, Bernard. "Les realismes d'antoine et les peintres d'avant-garde de la fin du dix-neuvieme siecle". Université Marc Bloch (Strasbourg) (1971-2008), 1996. http://www.theses.fr/1996STR20069.
Texto completoThe antoine's works (theatre and cinema) an itinerary of naturalisticrealistic practices connected to the pictorial aesthetics of the late 19th-century, between avant-garde and official painting (through the stage-designers of the stage). Scenic and cinematographic works involved in a battle against the artistic conventions of the period. A theatrical reform initiated in an eclectic and spectacular set : montmartre. A theatrical reform confirmed at the theatre antoine at the odeon with the assistance of the professional feint-masters. A late and essential cinematographic reform. Antoine, the man of the ruptures and reactions, between naturalism and symbolism. Unrecognized works polemical and problematical but complemental and coherent for a constant quest of the realistic continuities. Realistic practices of artistic reconstitutions of the real lessened by the reducing antoine's naturalistic and "librist" legend. Finally, works rediscover within its diversity and its ambiguous evolution, according to antoine's naturalistic look to the worlds