Tesis sobre el tema "Esthetics – history"

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This paper, inserted in Education research, society and culture, of Graduate Program in Education PUC Goiás aims to discuss about reading. Take the reading as the object of the thesis, showing that there are two dimensions: the technical and the aesthetic starting from the understanding that social events should not be naturalized and that the immediate reality, the actual appearance conceals realities that historically constructed are justified or hidden ways of seeing and thinking guided by a historical continuum. So, it follows that the technical dimension, is characterized as intelligible and configures itself by establishing relationship with the reader from its linguistic essence. It is understood that such a form of read drives which binds to and reading practical utility, thereby forming one same type of reader. At school, this dimension has been emphasized, there is fairly frequent, which in our view is because this space there are still remnants of a mechanistic view of education, which is reflected, among others, in this speech in documents that guide teaching and school learning, in the case of this work, specifically about reading. These are sent to schools by MEC and Education Departments, such as those discussed here, namely: the Curriculum Guidelines for Secondary Education (2006), the Matrix Reference ESMS (2014) and the Evaluation Matrix Reading PISA (2013). In contrast, there is the aesthetic dimension of reading, which is characterized as perceptual therefore mobilizes reader in their perception, seeing, feeling and reflect a dynamic that goes by the referee, but it does not end, raising the otherwise subject the reader to perceive and mean reading that comes to his hands. The assertion is that each of these dimensions produces a movement in the senses of the reader to emphasize certain aspects of the practical significance of this process, it builds up a different kind of training next to this subject. We base the work are the reflections made by Walter Benjamin on experience, history, memory and aesthetics as well as other scholars who discuss the topic under study through a dialectical thinking. Still, articulates with the history of reading and educating readers. The ideas contained in the conceptual range of Benjamin enable rethink why or the logic that sits emphasis on technical dimension of reading in modernity. To reach a deeper understanding of the issue was made qualitative research, as typified documents and literature linking it to the theoretical study. With this research, it is stated that the technical dimension of reading is effective in linguistic materiality and perceived through a practical reason in order to answers. In contrast, the aesthetic dimension is perceived in motion perception, look, the feel and goes beyond what the language gives read, constituting themselves as aesthetic experience.
Este trabalho, inserido na linha de pesquisa Educação, sociedade e cultura, do Programa de Pós-Graduação em Educação da PUC/Goiás, busca discutir sobre a leitura. Toma-se a leitura como objeto da tese evidenciando duas dimensões que a constitui: a técnica e a estética, partindo-se da compreensão de que os eventos socias não devem ser naturalizados e que a realidade imediata, aparência do real, esconde realidades historicamente construídas que são justificadas ou ocultadas por formas de ver e pensar pautadas num continuum histórico. Assim, tem-se que a dimensão técnica se caracteriza como inteligível e configura-se pela relação que estabelece com o leitor a partir de sua essência linguística. Entende-se que essa conduz uma forma de ler que se liga ao prático e utilitário da leitura, com isso uma formação de leitor de mesma natureza. Na escola, esta dimensão tem sido enfatizada, daí ser bastante recorrente, o que a nosso ver se dá porque nesse espaço ainda há resquícios de uma visão mecanicista da educação, a qual se reflete, entre outros, no discurso presente em documentos que orientam o ensino e a aprendizagem escolar, no caso deste trabalho, especificamente sobre a leitura. Esses são enviados às escolas pelo MEC e Secretarias de Educação, tais como os que aqui são discutidos, a saber: as Orientações Curriculares para o Ensino Médio (2006), a Matriz de Referência do ENEM (2014) e a Matriz de Avaliação de Leitura do PISA (2013). No contraponto, tem-se a dimensão estética da leitura, que se caracteriza como perceptiva, por isso mobiliza no leitor sua percepção, o ver, o sentir e o refletir numa dinâmica que passa pelo referente, mas nele não se esgota, suscitando no sujeito leitor outra forma de perceber e significar a leitura que lhe chega às mãos. A afirmação é de que cada uma dessas dimensões produz um movimento nos sentidos do leitor ao enfatizar determinados aspectos do processo de significação desta prática, com isso constrói-se um outro tipo de formação junto a este sujeito. Os fundamentamos do trabalho estão nas reflexões feitas por Walter Benjamin sobre experiência, história, memória e estética, bem como noutros estudiosos que discutem a temática em estudo por meio de um pensamento dialético. Ainda, articulam-se com a história da leitura e da formação de leitores. As ideias contidas na gama conceitual de Benjamin possibilitam repensar o porquê ou a lógica em que se assenta a ênfase na dimensão técnica da leitura na modernidade. Para se chegar a uma compreensão mais profunda da questão foi feita pesquisa qualitativa, tipificada como documental e bibliográfica. Com esta pesquisa, afirma-se que a dimensão técnica da leitura se efetiva na materialidade linguística e é percebida por meio de uma razão prática com vistas a respostas. No contraponto, a dimensão estética é percebida no movimento da percepção, do olhar, do sentir e vai além daquilo que o linguístico dá a ler, constituindo-se como experiência estética.

The fact-value distinction has structured and still structures ongoing debates in metaethics, and all of the major positions in the field (expressivism, cognitivist realism, and moral error theory) subscribe to it. In contrast, I claim that the fact-value distinction is a contingent product of our intellectual history and a prime object for questioning. The most forceful reason for rejecting the distinction is that it presupposes a problematic understanding of the subject-object divide whereby one tends to view humans as the sole source of normativity in the world. My dissertation aims to disclose the background against which human ethical praxis is widely seen as a unique and special phenomenon among other phenomena. I show that ethical norms, as delimited by utilitarianism, deontology, virtue ethics, etc., derive from an originary proto-ethical normativity at the heart of the real itself. Every object, human and nonhuman, presents itself as a bottomless series of cues or conditions of appropriateness that determine adequate and inadequate ways of relating to it. That is, objects demand something from other objects if they are to be related to; they condition other objects by soliciting a change in disposition, perception, or sense, and for this reason are sources of normativity in and unto themselves. Ethical norms, or values, are the human expression of the adequacy conditions with which all objects show themselves. In the post-Kantian landscape it is widely thought that human finitude constitutes the origin of ethical norms. Consequently, the world is divided up into morally relevant agents (humans) on one side, and everything else on the other. Adopting a deflationary view of agency, I argue that human-human and human-world relations differ from other relations in degree rather than kind. Thus, instead of a fact-value distinction, value is inextricably bound up with the factual itself. The critical upshot of my project is that traditional subject-oriented ethical theories have served to conceal the real demands of non-human objects (such as animals, plants, microorganisms, and artificially intelligent machines) in favor of specifically human interests. Such theories have also been leveraged frequently in exclusionary practices with respect to different groups within the human community (e.g. women and those of non-European descent) based on arbitrary criteria or principles.

A presente pesquisa se desdobrou em dois movimentos diferentes e complementares. O primeiro se propôs a desenvolver um estudo da narrativa Il Quartiere, de Vasco Pratolini, a partir da sua contextualização na trajetória ficcional do escritor florentino. Publicada em 1945, esta obra é lida neste trabalho, segundo a orientação do próprio autor, que a projeta como resultado do esforço de aproximá-la do que afirma ser a sua verdade, elaborada a partir da consciência de classe e de literatura, construída até 1943, ano em que finaliza sua escritura. Em um período marcado pelo final da Segunda Guerra e, mais especificamente, pela Resistenza italiana, da qual o intelectual participou ativamente, o romance retoma os anos que antecederam tais eventos históricos, compreendendo um arco histórico que vai de 1930 a 1937. O segundo movimento se deu na elaboração de uma proposta de tradução de Il Quartiere, em diálogo com algumas teorias da tradução que, ao iluminarem aspectos importantes do livro, revelaram-se como processos metafóricos da própria obra. O objetivo dos resultados aqui apresentados visa sugerir que a estética realizada por atos de linguagem veicula a ética de vocação coletiva de Vasco Pratolini, reconhecida nas línguas que percorrem O Bairro e dizem dele mais do que parecem, quando vista por um olhar brasileiro.
This research has been unfolded into two different, but complementary, ways. In the first one we proposed to develop a study on the narrative Il Quartiere, by Vasco Pratolini, from its contextualization with the fictional trajectory of this Florentine author. Published in 1945, the work is read in this paper, according to the orientation of the author himself, who projects it as a result to reach what he calls his \"truth\", elaborated from the awareness of class and literature, built up to 1943, year when he finishes his writing. In a period marked by the end of the Second World War and more specifically by the Resistenza Italiana, in which the intellectual participated actively, the novel recovers the years that preceded such historic events, composing a historic arc that takes place from 1930 to 1937. The second way has emerged from the elaboration of a translation proposal to Il Quartiere, in a dialogue with some theories of translation that, by enlightening important aspects of the book, have revealed themselves as metaphorical processes of the work itself. The aim of the results hereby presented intend to suggest that esthetics performed by acts of language - conveys the ethic of Vasco Pratolinis collective vocation, recognized in the languages spoken in the neighborhood that tell us more about in than we estimate.

Smart technology can support art educators and museum professionals in mediating the aesthetic experience. It can also increase museum attendance, enrich the viewer's delight and engagement with artworks and art collections, and provide an avenue for extending art on a global level. The purpose of this study was to determine the extent to which a mobile art app with text-based narrative influences scores on an aesthetic experience questionnaire. This quantitative research measured the difference in pretest and posttest human-computer interaction scores on the Aesthetic Experience Questionnaire Form after participants used two versions of a mobile art app. Csikszentmihalyi's flow was the theoretical framework. After the administration of the pretest to 67 participants, 25 participants successfully viewed an art app with or without verbiage and then completed the posttest. Results revealed a significant (p < .001) mean increase in questionnaire scores among the group that used the app with verbiage (mean difference = 0.41), but no significant improvement among the group that used the app without verbiage (mean difference = -0.03). These findings indicate that certain mobile technologies are capable of mediating an aesthetic experience. Future research may provide information to educators and museums about the quality of the aesthetic experience. This information may increase and enrich human aesthetic experiences with art and may assist to develop human understanding of different perceptions that ultimately engender inclusivity and positive social change.

This thesis examines Oscar Wilde’s “The Portrait of Mr. W. H.” as the product of Wilde’s long interest in critic Walter Pater’s literature and scholarship. From its first iteration published in 1889, through Wilde’s ongoing revision and expansion into the version commonly anthologized today, “The Portrait of Mr. W. H.” is an evolving work that mirrors Wilde’s enduring relationship with the art and ideas of his former teacher. This relationship is explored in three contexts: Pater’s contribution to Wilde’s understanding of the Renaissance period; the steady influence of Pater’s ideas and persona on Wilde’s other major works from the period that saw the publication and revision of “The Portrait of Mr. W. H.;” and the particular influence of Pater’s Imaginary Portraits on the structure and themes of “The Portrait of Mr. W. H.” Because of Pater’s extensive writings on art, and Wilde’s passionate interest in the subject, many of these intersections occur around the image of the portrait in Wilde’s work.

Der Europäische Begriff vom Klang war historisch bis Beginn des 20. Jahrhundert mit der pythagoreischen Musiktheorie verknüpft. Das bedeutet, dass die Theorie harmonischer Schwingungen paradigmatisch war für die wissenschaftliche Akustik ebenso wie für die Musiktheorie. Als anscheinend einziger Theoretiker der Frühen Neuzeit hatte Francis Bacon Zweifel an diesem Ansatz angemeldet und sound-houses zur empirischen Erforschung des Klangs vorgeschlagen. Die Arbeit greift diese Spur auf und stellt sie in ihren historischen Kontext. Sie benutzt dazu eine kulturarchäologische Methode, die auch das historisch Unsichtbare berücksichtigt. Um den Begriff des nicht-pythagoreischen Klangs theoretisch zu modellieren, wird ein phänomenologischer Ansatz vorgeschlagen („Sonophänomen“), der auf der Erfahrung mit digitaler Sound/Audio-Technologie fußt. Die Arbeit rekonstruiert die Vorgeschichte der kulturellen Marginalisierung des nicht-pythagoreischen Klangs in Europa während der Antike und der Renaissance. Sie untersucht die kulturellen und biographischen Bedingungen, die es Bacon ermöglichten, aus der pythagoreischen Tradition herauszutreten, und kontrastiert seinen „verpassten Paradigmenwechsel“ mit Descartes’ erfolgreicher Transformation der Musiktheorie in die entstehende kanonische westliche Musikästhetik. Die Schlüsse, die gezogen werden, betreffen (1) die jahrhundertelange ‚kulturelle Taubheit’ gegenüber nicht-pythagoreischen Musikkulturen, (2) die Medientheorie von Musik- und Klangwerkzeugen, und (3) die linguistische Pragmatik des Begriffs „Klang/Sound“.
The European concept of sound was historically linked to Pythagorean music theory until the beginning of the 20th century. That means that the theory of harmonic vibrations was paradigmatic for scientific acoustics as well as for music theory. The seemingly only theorist of the early modern age being skeptical about this approach was Francis Bacon, who had envisioned sound-houses for a new kind of empirical sound research. The thesis focuses on this trace and puts it into historical context since antiquity. Its method is a cultural archeology that considers also the historically invisible. To make non-Pythagorean sound theoretically accessible, a phenomenological approach is used (‚sonophenomenon’) which is rooted in the experience of digital sound/audio technology. The thesis reconstructs the prehistory of the cultural marginalization of non-Pythagorean sound in Europe during Antiquity and Renaissance. It investigates the cultural and biographic conditions that enabled Bacon to leap Pythagorean tradition and contrasts hismissed paradigmatic change’ to Descartes’ successful transformation of music theory into the upcoming canonical Western aesthetics of music. The results being drawn concern (1) the 'cultural deafness' that prevented the acknowledgment of non-Pythagorean musical cultures for centuries, (2) the media theory of sound and musical instruments, and (3) the linguistic pragmatics of the concept of sound.

Os estatutos, programas, disciplinas e exercícios dos alunos do curso preliminar da Bauhaus Vorkurs sob diretoria de W. Gropius são analisados neste trabalho a partir das teorias da Puravisualidade Sichtbarkeit e da Objetividade Sachlichkeit. Autores como K. Fiedler, A. Riegl, H. Wölfflin, entre outros, estabelecem as divisas da primeira corrente estética. A segunda, expressa por G. Semper, é usualmente associada à Bauhaus devido à sua abordagem da função. O objetivo é mostrar que, para uma compreensão mais ampla da pedagogia da Bauhaus, são necessários outros modos de análise, que não excluam os preceitos funcionalistas e sim os complementem. Desta forma, conceitos como função, técnica, plasmação, clarificação formal e visualidade são empregados para compreender tanto a prática quanto a teoria pedagógica da Bauhaus. No recorte desta pesquisa, Gropius, fundador e diretor da escola, é considerado por sua interlocução com os três docentes que ministraram o curso preliminar sob sua direção Johannes Itten, Josef Albers e Lazslo Moholy-­-Nagy. Estes diálogos não ocorrem necessariamente sob os mesmos tópicos e por isso são necessários para o entendimento integral do curso. Itten, introdutor do curso, estabelece como tema a definição dos elementos objetivos da atividade artística e seu domínio. Em um segundo momento, Albers e Moholy-­-Nagy reafirmam as conquistas de Itten, a quem substituem em um segundo momento, porém com um aprofundamento das questões vinculadas à indústria, caras à concepção de Gropius sobre o papel a ser desempenhado pela Bauhaus
The statutes, programs, disciplines and students\'work from the preliminary course at the Bauhaus Vorkurs on board of W. Gropius are analyzed taking Sichtbarkeit and Sachlichkeit as the background. Authors such as K. Fiedler, A. Riegl, H. Wölfflin, but not only establish the limits of the first. The second, denoted by G. Semper, is usually associated with the Bauhaus because of its function approach. The aim is to show that other methods of analysis, which does not exclude the functionalist precepts but complemente them, to a broader understanding of the pedagogy of the Bauhaus, are needed. Thus concepts such as function, technique, formation, form clarification and visibility are employed to understand both the practical, pedagogical theory as the Bauhaus. The unit school in clipping of this research is attributed to Gropius founder and director, lying dialogue in the three teachers who taught the preliminar course under his direction Johannes Itten, Josef Albers and Laszlo Moholy Nagy. These dialogues do not necessarily occur in the same topics and so are required for full understanding of the course. As its introducer, Itten establishes the theme definition of the objective elements of artistic activity and its domain. In a second step, Albers and Moholy Nagy reaffirm the achievements of Itten, who replaces the direction of travel, but with a deepening of the issues related to the industry faces the design of Gropius on the role to be played by Bauhaus.

Orientador: Iara Lis Schiavinatto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa investiga a construção de significados, usos, funções e circulação das fotografias produzidas pela Comissão Geográfica e Geológica durante viagens de exploração científica ao sertão do estado de São Paulo entre os anos de 1905 e 1920. Primeiramente, o trabalho discute o lugar da Comissão Geográfica e Geológica dentro de um âmbito político e cultural sobre do sertão paulista. Em fins do século XIX e XX esse sertão era concebido no campo imaginário literário e imagético como sinônimo do atraso, da barbaria e do arcaico em oposição ao litoral entendido como o progresso, a civilização e a modernidade. Assim sendo, para a elite política, econômica e letrada da época, o sertão paulista era uma zona problemática, pois além de contar com a ¿incômoda¿ presença indígena, também, apresentava uma ¿vergonhosa lacuna¿ nos mapas do estado de São Paulo. Por meio da cartografia e da fotografia solucionou se questão com a ocupação visual e simbólica desse espaço pela missão civilizadora da ciência. Assim, o sertão transfigurado, a ¿lacuna¿ do mapa foi preenchida por uma profusão de imagens de paisagens naturais. Paisagens essas descritas e registradas pelos fotógrafos da CGG, tal como o faziam artistas viajantes das missões cientificas do século XIX, um misto de ciência e arte. Portanto, a pesquisa, busca entender de que maneira, no campo da visualidade do neste período, princípios estéticos como as idéias do sublime, do belo e do pitoresco migraram da pintura para a fotografia da CGG afinando a noção de sertão a uma concepção da visualidade
Abstract: The current research aims to investigate the building of meanings, usages, functions and the spreading of the pictures produced by the ¿Comissão Geográfica e Geológica¿ (Geographical and Geological Commission) during scientific exploration trips to the backwoods of the São Paulo State between years 1905-1920. Firstly, the current work discuss the situation of the Geographical and Geological Commission inside the political and cultural atmosphere related to the paulista backwoods. At the end of the 19th century and beginning of the 20th century, this backwoods were conceived, in the imaginary-literary field and of image in general, as a synonym of backwardness, of barbarism and of archaic times in opposition to the seaside, understood as progress, civilization and modernity. Thus, for the political, economical and learned elite of that time, paulista backwoods were a problematic region, due to the fact that there was the troublesome indian presence. Besides that, paulista backwoods were a ¿shameful blank¿ in the maps of the São Paulo State. Using cartography and photography there was a solution for the issue, with the visual and symbolic occupation of this blank by the scientific civilizing mission. Thus, with the backwoods transmuted, the blank in the map was filled by a profusion of natural landscapes images, which were described and registered by the photographers of CGG, just as the traveling artists of the 20th century scientific missions did, a mixture of science and art. Therefore, the research aims to understand, in the field of visualization at the beginning of the 20th century, by which means esthetic principles such as the ideas of the sublime, the beautiful and the picturesque migrated from the painting to the photography of CGG, tuning the backwoods conception to a traditional conception of the visible
Mestrado
Multimeios
Mestre em Multimeios

Through discursive essays and poetic narrative, Antithetical Commentaries on X, Y and the Disruption of Being explores the tenuous relationship between modes of measurement and the struggle for human relevance in the post-contemporary digital age. In the introductory essay, “Not the Feather, but the Bird”, I give an overview of the inherent problems of object-oriented ontology, and how it relates to aesthetics and social issues of our times. In the Developmental Overview, I detail how I developed my installation approach and techniques, particularly with regard to the three-way dynamic of the artist:work:viewer relationship and how it can encourage a ‘transgression’ that leads to the possibility of a transformative awareness of being. Subsequently, I present a series of ‘antithetical’ commentaries that neither explain nor expand the installation, rather, they create a non-binary duality that, through an entirely non-linear anti-narrative, work to erode the overlay of personal, civic and collective grids present in the memory space/time referenced in the video, TAG. Finally, in “Grid: Towards a Transgressive Humanism.” I propose a path by which installation art might serve to create transgressive opportunities for viewers, rather than the transcendence sought through religious rituals, which often reinforce stigmas, fears and authoritarian social dynamics, or worse, the reductive loop, of many contemporary approaches to art which proclaim their detachment in wordy displays, essentially leading to a form of aesthetic nihilism. This Transgressive Humanism is not presented as a dogma, but rather a revitalization of the work as a vessel of possibilities, an agent of creative growth for the artist and the viewer.

Les liens entre politique et littérature africaine semblent si tenus, si forts qu’ils cristallisent les problématiques et les évolutions du champ artistique. Pour Mongo Beti, le rapport est essentiel ; selon Alain Mabanckou, cette proximité relève d’une possibilité. Entre ces générations, se joue le passage d’une esthétique de la déconnexion à un régime de l’interdépendance ; les prosateurs se concentrant sur l’utilité de la forme au profit du sens. La politique de la littérature épouse ainsi les contours du monde, et son entrée dans l’ère de la Relation
The links between literature and african politic seem to be so close that they concentrated the problematics and the evolutions of artistic field. According to Mongo Beti, the relation is preponderant, whereas Alain Mabanckou asserts that this closeness is a possibility. Between these generations, it exists both an esthetical and ideological change: the crossing from delinking to an interdependant regime. The writers focus on the useful of the form in ordrer to underline the meaning. The politic of literature follows the contours of the world and its entrance in the era of the Poetic of Relation

The purpose of this work is to detect a pattern: the concordance of Ethics and Aesthetics, Poetics and Politics in the most influential American thinker of the nineteenth century. It is an attempt to trace a basic concept of the Emersonian transcendentalist doctrine, its development, its philosophical meaning and practical implications. Emerson’s thought is analyzed genetically in search of the generating paradigm, or the set of axioms from which his aesthetic ideas as well as his political reasoning are derived. Such a basic structure, or point of convergence, is sought in the emergence of Emerson’s idea of universal laws that repeat themselves on all levels of reality. A general introduction is given in Part One, where the crisis in Emerson’s life is seen as representing and foreshadowing the deeper existential crisis of modern man. In Part 2 we follow the increasingly skeptical theologian’s turn to science, where he tries to secure a safe secular foundation for ethical good and right and to solve the problem of evil. Part 3 shows how Emerson’s conception of the laws of nature and ethics is applied in his political philosophy. In Part 4, Emerson’s ideas of the arts are seen as corresponding to his views of nature, morality, and individuality. Finally, in Part 5, the ancient and classical nature of Concord philosophy is brought into focus. The book concludes with a short summary.

Working through methods of abstraction and comedic mimicry I choreograph awkwardly balanced sculpture with objects of adornment as a means to defuse personal sensitivities surrounding my experiences of gender, desire, and home. The research that follows is concerned with the adjacent, the in between, above and underneath, because I feel that this kind of looking means that you are, to some degree, aware of what lies at the edges. Maybe this is what Gertrude Stein means to act as though there is no use in a center—because this concerns a way of relating, though there are many things in the room. ‘A spectacle and nothing strange’ is an arrangement of gestures, of made difference, of kinships, of orientations and possible futures, sustained tension, coded adornment, big dyke energy, shifts in hardness, leaning softness, much more than flowers, ...and in any case there is sweetness and some of that.

This thesis is an analysis of the media attention concerning the artist Anna Odell and her artwork Okänd, kvinna 2009 – 349701. The main materials I have used come from newspapers and articles where critics discuss Odell´s artwork in the period 2009 to 2015. The theoretical and methodological framework is based on Arthur C. Danto, George Dickie and Howard Beckers understanding of the art world and how artwork and artist receive their status. Another theoretical tool I have used is a discourse theory of Mara Lee. Lee helped me to understand the language and the relations between power and institutions. My aim with this thesis has been to understand how Okänd, kvinna 2009 – 349701 achieved its value and its transformation from a bad to a good evaluation. Why did Odell, in the beginning, get blamed for using tax money, tricking people in to believing that she was mentally ill resulting to the attention of the police, but in the end became an appreciated artist for this very same action? Odell was criticized for her behavior and was accused of stepping over a line for using art in a questionable way. A discussion started about the question of what art is. And what the purpose of art in society is. A few years later, in 2015, Odell was called one of the most interesting artists in Sweden by art critics when they wrote about Okänd, kvinna 2009 – 349701. What changed in the eyes of the critics? What is artistic quality and how can we understand the transformation that Odell´s artwork underwent? My analysis shows that esthetic quality depends on the situation and in ethics and morality. At the beginning the critics compared Okänd, kvinna 2009 – 349701 and the profession of psychiatry and in that comparison the psychiatry profession is more important than art. People attributed more confidence to a doctor than to a student of art regarding the truth about what happened at the psychiatric institution of St: Göran´s on the 21th of January 2009.

My art distills my relationship to spirituality, digital culture, and the practices and side-effects therein, into a simplified visual language. The work manifests in the form of paintings, drawings, and light sculptures. Meditation and mindfulness training are a large part of my influence and interests. I often wonder how mindfulness practice can be mirrored in my artwork, not only in my process for creating the work, but also with what the resulting imagery does for the viewer. My intention is to provide an art form that invites one to look and experience one’s own capacity to observe, without the need for immediate intellectualization. I wish to offer people an opportunity to focus their attention on the phenomenological sensations that emanate from the art, to take a step back from the conceptual part of the mind, and step into a part that’s more fundamental to our moment to moment reality.

Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.

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This thesis interprets the São Paulo built through images by the film maker Ozualdo Candeias from 1967 to 1992 as a problematization of the exchanges held at the frontier between the urban world and the rural one, born from the process of industrialization and urbanization intensified in the fifties. By means of the creation of a Esthetics of Precariousness, the film maker invented cinematographic procedures for narrating the process of unstructuring of the paulista rural world on its meeting with the city. The geographic and cultural disterritorialization and the movement of reconstitution and resignifying of new territories in the city were aesthetically constructed through the mobility and orality of the rural populations received by the city, as well as the urban precariousness received by the country. In the chapter Cinema and Memory: Candeias at the Trash Point, we discuss the historical experience of the Cinema at the Boca do Lixo and its importance for the trajectory of Candeias as a city resident as well as a movies director. Starting from the fragments of memory registered in published statements, from the photos and documentaries on the Boca Cinema , we interpret the meanings which the director attributed to the rua do Triunfo (Triumph Street) as a social space for the movies people , and for some other sociabilities that anchored their existences in that street and neighborhood. In the chapter São Paulo, between the rural and the urban, we interpret the cinematographic representation of the process of disterritorialization and reterritorialization of the countryman in the city, interlaced with the experience of the cultural dislocation also lived by Candeias. In the chapter An Esthetics of Precariousness, we work the elements of what we named as the Esthetics of Precariousness: the mobility, the orality, and the precariousness esthetically worked out by means of the mixing up of fiction and documentary, of the disconstruction of classical cinema clichés based on photogeny, diegesis, scenery, characters and editing
Esta tese interpreta a São Paulo construída em imagens pelo cineasta Ozualdo Candeias entre 1967 e 1992 como uma problematização das trocas realizadas na fronteira entre o mundo urbano e o rural, suscitadas pelo processo de industrialização e urbanização intensificado nos anos 50. Por meio da criação de uma estética da precariedade, esse cineasta inventou procedimentos cinematográficos para narrar o processo de desestruturação do mundo rural paulista no seu encontro com a cidade. A desterritorialização geográfica e cultural e o movimento de reconstituição e ressignificação de novos territórios na cidade foram construídos esteticamente através da mobilidade e oralidade das populações rurais recebidas pela cidade e da precariedade urbana recebida pelo campo. No Capítulo I discute-se a experiência histórica do Cinema da Boca do Lixo e sua importância na trajetória de Candeias como morador da cidade e cineasta. Partindo dos fragmentos de memória registrados em depoimentos publicados, das fotografias e documentários sobre o Cine Boca, interpretam-se os sentidos que o diretor atribuiu à rua do Triunfo como espaço social da gente de cinema e de outras sociabilidades que ancoravam suas existências naquela rua e imediações. No Capítulo II trata-se da representação cinematográfica do processo de desterritorialização e reterritorialização do caipira na cidade, entrelaçada à experiência de deslocamento cultural também vivido por Candeias. No Capítulo III trabalham-se os elementos do que foi aqui nomeado estética da precariedade: a mobilidade, a oralidade e a precariedade esteticamente elaboradas através das mesclas entre a ficção e o documentário, da desconstrução dos clichês do cinema clássico em torno da fotogenia, da diegese, dos cenários, dos personagens e da montagem

Notre thèse aborde la question de la beauté dans les arts plastiques d'aujourd'hui. Celle-ci en effet ne va pas de soi, si l'on en croit notamment les multiples publications manifestant un rejet de l'art contemporain. Peut-on parler, actuellement, d'une esthétique de l'œuvre renvoyant à une science du beauté à une satisfaction d'ordre essentiellement intellectuel? Soit de beauté intrinsèque qui, comme dans l'art de la Renaissance, relève tant de l'harmonie et de la justesse de ses formes que de la légitimité de son contenu, grâce à la mise en évidence du bien-fondé de la mimêsis, de la perspective ou des motifs religieux ? Ou bien faut-il plutôt, pour pouvoir juger de la valeur esthétique de l'art contemporain, accorder une place de choix à la singularité de ses causes et effets, en opérant notamment un inévitable glissement vers une science du sensible ? Or notre parallélisme entre "esthétique de l'œuvre" et "continuité" dans l'histoire de l'art d'une part, puis "esthétique des effets" et éventuelle "rupture" d'autre part, nous a conduits à interroger d'abord ces éléments de rupture tels que le refus de la profondeur ou de la représentation figurative, mais aussi celui de la réalisation ouvragée et de la matière noble. Mais il nous a aussi amenés, malgré des conditions politiques ou techniques spécifiques de réalisation, à nous pencher sur une véritable poiêsis contemporaine. Car avec les œuvres plastiques de notre époque, il s'agit bien, toujours et incontestablement, d'art et même "d'épiphanie", dès lors que l'on s'en réfère à la vision ontologique et apologétique du philosophe François Dagognet
Our thesisconcerns the question of beauty in the contemporaries plastic arts. But this one does not without saying, if we consider the simple fact of the numerous publications concerning the rejection of contemporary art. May we speak, today, of a "work's esthetic" which refers to a "science of beauty" and to an essentially intellectual satisfaction? We mean an intrinsic beauty, like the one of the Renaissance's art, concerning as much the harmony as the exactness of the forms or the legitimacy of its contents. We mean an art which puts in a prominent position the mimêsis, the perspective's method or the religious motifs. Or would not it be better, in the intention to become able to judge of the esthetic value of contemporary art, to give a first place to the singularity of his causes and effects, at the same time we slide towards a "science of the sensibility" ? In fact, our parallelism between "work's esthetic" and "continuity", then between "effect's esthetic" and a possible "breaking" makes us think about reasons of this breaking, such as the refusal of profundity or as the figurative representation, as well asthe rejection of construction works or noble material. However, we have succeded to consider contemporary art as a real and new poiêsis, in spite of his specific political and technical ways of realisation. And we may assert that, today, undeniably, it is the matter of real art, and even of "epiphany", as soon as we refer to the ontological and laudatory point of view of the philosophe François Dagognet

The rate of acceleration of the biologic and synthetic world has for a while now, been in the process of exponentially speeding up, maxing out servers and landfills, merging with each other, destroying each other. The last prehistoric relics on Earth are absorbing the same oxygen, carbon dioxide and electronic waves in our biosphere as us. A degraded .jpeg enlarged to full screen on a Samsung 4K UHD HU8550 Series Smart TV - 85” Class (84.5” diag.). Within this composite ecology, the ancient limestone of the grand canyon competes with the iMax movie of itself, the production of Mac pros, a YouTube clip from Jurassic park, and the super bowl halftime show. A search engines assistance with biographic memory helps our bodies survive new atmospheres and weigh the gravities that exist around the versions of an objects materiality. Communication has moved from our vocal chords, to swipes and taps of our thumbs on a screen that predicts the weather, accesses the hidden, invisible, and withdrawn information from the objects around us, and still ducks up what we are trying to say. This txt was written on a tablet returned to stock settings and embedded with content to mine the experience in which mediated technology creates, communicates and obscures new forms of language. Life in a new event horizon — a dimensional dualism that finds us competing for genetic and mimetic survival — we are now functioning as different types of humans.

En 1989, François Delalande présentait pour la première fois, après dix ans d’élaboration, la notion de « conduites d’écoute » servant à distinguer différentes manières d’écouter une même œuvre. La méthodologie employée limitait les conclusions qui pouvaient en être tirées, mais la perspective proposée ouvrait un nouveau champ de recherches, dans lequel différentes conduites d’écoute pouvaient servir de base à diverses manières, parfois exclusives ou contradictoires, d’analyser une même œuvre. De plus, les expériences préliminaires de Delalande autour d’un extrait de Pierre Henry sont encore aujourd’hui l’une des rares occurrences de recherche sur l’écoute des musiques acousmatiques faisant appel à des auditeurs réels. Avec la reproduction et l’extension des résultats de Delalande, en parallèle de l’intérêt grandissant pour l’écoute au sein de la communauté musicologique ces vingt dernières années, il semblait nécessaire de faire le point sur l’état des recherches concernant les conduites d’écoute afin d’en évaluer la validité opérationnelle et de proposer un cadre théorique solide pour leur étude et leur description. C’est l’objet de ce travail, qui part d’une revue des discours sur l’écoute en musicologie, en psychologie de la musique et en pédagogie de la musique, avant de procéder à un examen critique des méthodologies existantes autour du modèle des conduites d’écoute, pour en arriver à une réévaluation de ce modèle avec des méthodologies plus robustes. Trois analyses esthésiques d’une même œuvre sont alors proposées pour faire émerger les besoins d’approfondissement et les perspectives d’application de ce modèle
In 1989, after ten years of research, François Delalande presented for the first time the idea of “listening behaviours,” distinguishing several ways to listen to the same piece of music. The methodology did not allow for many conclusions, but the approach began a new field of research, where diverse listening behaviours could serve as a basis for diverse, exclusive (or even contradictory) analyses of the same work. Furthermore, Delalande’s preliminary research based on an extract from Pierre Henry’s music is still one of the few instances of research about acousmatic music listening that addresses actual listeners. The last twenty years have seen the reproduction and extension of Delalande’s results, as well as a growing interest for listening in musicological circles. For this reason, it seems necessary to review research about listening behaviours to evaluate their operational validity and to propose a robust theoretical framework for their study and description. This is the thesis of this dissertation, beginning with a review of the musicological, psychological and pedagogical discourses about listening, following with a critical study of existing methodologies about listening behaviours frameworks in order to re-evaluate them with more robust methodologies. Three esthesic analyses of the same work are then used to propose a need for further investigation and possible applications of the framework

La compagnie des Ballets russes, fondée par Diaghilev en 1911, constitue un tournant dans l’histoire de la scène occidentale. Reprenant le principe de l’œuvre d’art totale, la troupe propose des spectacles composés par des peintres, des chorégraphes et des musiciens. Leur succès est fulgurant et leur influence décisive. Cette thèse se propose d’étudier la réception des Ballets russes en Espagne. Alors que l’Europe est en guerre, la Péninsule constitue une terre d’accueil propice aux échanges. Les intellectuels du pays s’interrogent sur les possibilités de rénover la scène théâtrale et sont attentifs aux expériences qui viennent de l’étranger. Les ballets que propose la compagnie entrent en résonnance avec leurs propres préoccupations. Ils posent à la fois la question de la tradition au sein de la modernité, du national et du cosmopolitisme et s’exportent à l’étranger. Ce travail s’attache à confronter les différentes réceptions qui sont simultanément menées dans les deux capitales culturelles de l’Espagne au moment où les régionalismes s’affirment toujours plus. La présentation de l’état des lieux de la scène espagnole constitue le premier moment de cette thèse. La deuxième partie est entièrement consacrée à la première saison (1916) que la compagnie donne en Espagne ainsi qu’aux débats auxquels elle donne lieu. Les troisième et quatrième parties mettent en miroir les lectures qui sont faites à Madrid puis à Barcelone et présentent les singularités de chacune des deux capitales culturelles du pays
The Ballets Russes company was founded by Diaghilev in 1911, and marked a turning point in the history of the Western European stage art. Taking up the Gesamtkunstwerk, the company offered shows composed by painters, choreographers and musicians. Their success was immediate and their influence was decisive. This work will examine how the Ballets Russes were received in Spain. The Spanish peninsula offered a fertile ground for exchange while Europe was at war, with the country's intellectuals wondering about how to renew the theatre scene and being receptive to foreign experiments on the matter. The ballets offered by the company reflected those concerns by addressing the question of the role of tradition within modernity as well as the concepts of nationalism and cosmopolitism while managing to find an audience abroad. This study aims at confronting the simultaneous reception of the Ballets Russes in the two cultural capitals of Spain at a time when regionalism was becoming increasingly strong. The first part will give a description of the Spanish theatre and arts scene. The second part will be entirely dedicated to the company’s first season in Spain (1916) and to the debates it raised. The third and fourth parts will deal with the way the ballets were received and understood in Madrid and Barcelona, through a presentation of the particularities of each of these two cultural capitals
La compañía de los Ballets russes, fundada por Diaghilev en 1911, constituye un momento relevante de la historia de la escena occidental. Inspirándose del principio del Gesamtkunstwerk wagneriano, la compañía presenta espectáculos compuestos por pintores, coreógrafos y compositores. Su éxito es enorme y su influencia decisiva. Esta tesis estudia la recepción de los Ballets russes en España. Durante la Primera Guerra Mundial, la Península aparece como una tierra de acogida propicia a los intercambios. Los intelectuales españoles se interrogan sobre las posibilidades de renovar la escena teatral y están atentos a las experiencias realizadas en el extranjero. Las obras estrenadas por la compañía llaman su atención. Compaginan la tradición y la modernidad, lo nacional y el cosmopolitismo y se exportan al extranjero. Este estudio presenta una comparación entre las diferentes recepciones llevadas a cabo en las dos capitales culturales españolas en un momento en que los regionalismos se afirman cada vez más. Una presentación general de la escena español de aquel entonces constituye el primer momento de esta tesis. La segunda etapa se centra en la primera temporada rusa que la compañía presenta en España (1916) así como en los debates que surgen entonces. Las etapas 3 y 4 estudian las recepciones que tienen lugar en Madrid y en Barcelona comparando las características de cada una de las capitales culturales del país

Pour analyser la construction de la chirurgie esthétique, il faut comprendre ce qu'ont été les conditions de possibilité qui ont permis à cette chirurgie "futile" d'être pratiquée et répondre à la question de ce qui a rendu acceptable socialement des opérations sur des corps sains. Notre travail a dû élargir son objet à l'analyse sociohistorique de construction de la spécialité faisant fonction de matrice à la chirurgie esthétique, la chirurgie plastique. Aussi, il nous a fallu travailler sur l'histoire des rapports entre la chirurgie esthétique à sa matrice et sur les luttes de concurrence entre plasticiens et chirurgiens esthétiques dont l'enjeu est la définition de la pratique légitime, partant de ses contours, de son enseignement et de la construction d'un marché de l'esthétique avec ses diverses composantes. Au final, l'objet "futile" devenait un analyseur des transformations de l'espace chirurgical qui permet d'observer les luttes de concurrence entre chirurgiens et médecins
To analyze the construction of platic surgery, it is necessary to understand what conditions of possibility enabled this "futile" surgery to be practiced and to answer the question of what made operations on healthy bodies socially acceptable. Our work had to widen its object to the sociohistorical analysis of construction of the specialty using the matrix of aesthetic surgery : plastic surgery. Also, it was necessary for us to work on the history of the relation of cosmetic surgery to its matrix and on the fights of competition between plastics surgeons and aesthetics surgeons whose goal is the definition of the legitimate practice, on the basis of its contours, of its teaching and the construction of an esthetics market with its various components. Finally, the "futile" object became an analyzer of the transformations of the surgical space which makes it possible to observe the struggles and competitions between surgeons and doctors

La thèse étudie le rapport de la scène théâtrale à une figure devenue centrale dans les sociétés européennes contemporaines : la victime. Appartenant aux fondations de la culture occidentale, des rituels sacrificiels à la figure christique, la victime devient au cours de l’histoire moderne une catégorie juridique, et émerge en tant que subjectivité politique à part entière à la fin du XXe siècle. Elle se trouve alors au fondement d’une nouvelle reconnaissance sociale, qui ouvre des droits à la réparation de la violence subie. La décennie 1990-2000 est prise dans ce « paradigme victimaire ». Il se trouve là une mutation fondamentale de la sensibilité contemporaine quant au regard sur la souffrance, redéfinissant les codifications morales des régimes démocratiques et les perspectives des luttes contestataires et émancipatrices. Cette recherche en Études théâtrales propose d’observer ce mouvement à partir de la scène contemporaine, et de renouveler l'approche de l’histoire récente des spectacles au prisme de cette figure. A partir d’un large corpus de spectacles, textes dramatiques, et initiatives d’artistes de la scène qui marquent le paysage théâtral européen entre 1990 et 2000, la thèse dresse un état des lieux du statut de la victime sur ces scènes, pour déterminer la singularité du théâtre dans l’élaboration de ce nouveau paradigme. Elle explore également en quoi l’hyper-présence scénique de la victime travaille les corps, affecte la façon de regarder et mettre en scène les mécanismes de la violence politique, entraine la pratique du théâtre vers un nouveau rapport au réel et aux régimes du performatif. Ce phénomène génère de nouveaux partages émotionnels, sensibles, et politiques des spectacles. Pour caractériser cette mutation en l'articulant à l'histoire contemporaine, l’analyse des œuvres et la réflexion critique est complétée par des références à des travaux issus des études visuelles et des sciences humaines et sociales
This thesis in Performative Arts explores the theatrical representations of the victim, which has become a central figure in European contemporary societies. Rooted in the foundations of occidental culture, from images of sacrificial rites to the figure of the Christ, the victim has evolved into a judicial category throughout modern history and later on emerged as a specific political subjectivity, in the end of the XXth century. Victims then began to acquire a form of legitimacy, through the social recognition of the violence they endured, as well as the possibility of repairing the harm done. The core of this paradigm is settled in the 1990’s, with a striking shift in public sensitivity and interest regarding experiences of oppression/suffering, thereby redefining democratic regimes and opening new fields of political resistance.This research studies this movement from the point of view of contemporary performative arts. It aims at renewing the recent history of dramatic arts, through the prism of the victim, seen as a figure. Based on a corpus of plays, playwriting, and artistic events that played a significant role between 1993 et 2000 in the European scene, the thesis assesses the figure of the victim in order to define the specific role of Theater in the construction of this new paradigm. The presence of victims on stage affects bodily representation, as well as the ways to stage political violence. It also leads contemporary theater to a new sense of realness, and to an organic link with performative systems. In order to analyze this shift in relation with contemporary history, the analysis of the corpus and of the theoretical framework is put in perspective by various references to other visual studies and social science

Notre hypothèse de travail est la suivante : sous le couvert d’un pacte de fausseté et de jeu, Baudelaire met en œuvre le passage vers une poésie qui, pour s’interroger désormais profondément sur elle-même (fondements, référents, métamorphoses, essence et nécessité), exige et engendre sans cesse son foyer propre de vérité, au-delà de tout système. Ainsi, à la différence de ses prédécesseurs, le poète ne fait plus porter principalement son attention, ses efforts, ses doutes et soupçons, sur la portée lisiblement et socialement constructive de ce qu’il écrit, mais sur le rapport entre une apparence poétique ou artistique qui se tient (la figure, l’image) et le tréfonds de l’homme, soit un certain effondrement. La perspective esthétique et morale que nous cherchons donc à définir dans l’œuvre baudelairienne interroge le lien de la parole avec celui qui l’émet d’une part, et celui qui la reçoit d’autre part : la mise en cause de la langue en tant que vecteur effectif est donc posée, ainsi que la recherche anxieuse qui l’accompagne. À la fois nés et déjà distanciés du Romantisme, ce nouveau point de mire et cette réflexivité libèrent, exacerbent et menacent le poétique : c’est ainsi qu’à travers les motifs de l’hypocrisie, du mensonge, du masque, et de l’art lui-même, le poète défie cet idéal au fur et à mesure qu’il l’initie, tout en vivant une véritable passion poétique dans laquelle il s’investit et se consume, corps et esprit, non sans une forme d’intégrité. Tels sont les paradoxes envisagés. En quels termes peut-on parler de vérité poétique dans l’œuvre de Baudelaire ? En extrait-il l’idée vers un déploiement et une postérité assurément fertiles, ou bien l’étouffe-t-il dès sa source dans la clairvoyance qui le caractérise ? Une telle lucidité peut-elle travailler contre l’authenticité du geste artistique ? Où, quand et comment se joue donc le vrai du poème ? Pourquoi et vers quoi ? En quoi l’œuvre trouve-t-elle à travers ce fil une cohérence particulièrement éclairante en tant qu’initiatrice de la modernité ? Mais également, avec quelles limites ? Comment et pourquoi le sens poétique peut-il et doit-il échapper au souci dialectique, donc se jouer pareillement des travestissements et de toute adhérence systématique - notamment d’une fidélité à toutes les évidences de gravité ? Il s’agit donc de tenter de comprendre en quoi le poétique, à partir de Baudelaire, et conséquemment à son travail, dans les transports et substitutions qu’il suppose, dans son improuvable et sa mystification, mais également dans la rigueur qui le caractérise, peut-être mis est en rapport avec le vrai, non pas selon des systèmes constants extérieurs et préalables, mais selon des entrées, des perspectives interférant avec la parole créatrice, notamment avec l’expérience de l’inspiration, de la composition, et de la lecture du symbole. Puisque telle vérité ne peut évidemment pas être posée comme un théorème ou axiome positivement prouvés et applicables, elle ne sera donc pas envisagée à travers un prisme théorique et philosophique précis, mais bien confrontée méthodiquement à la littérarité du texte, au poème, en ce qu’il présente et initie une forme d’existence intrinsèque, dont l’originalité et le paradoxe seraient précisément de ne pas être positive, au sens d’appuyée sur quoi que ce soit de préjugé, où tendue à dessein vers un objectif prescrit
Our working hypothesis is as follows : under the cover of a pact of falsehood and play, Baudelaire implements the passage toward a poetry which, in order to deeply question itself henceforth with regard to its groundings, referents, metamorphoses, essence, and necessity, requires and incessantly engenders its own center-of-truth beyond any system. Thus, as distinct from his predecessors, the poet no longer aims his attention, efforts, doubts and suspicions at the readably and socially constructive import of what he writes, but at the relation between a poetic or artistic appearance that holds together (the figure, the image) and the inmost depths of humankind, that is, a certain dejection or collapse. The esthetic and moral perspective we seek thus to define in Baudelaire’s work questions the connection between the word and the person emitting it on the one hand, and those receiving it on the other: hence the calling into question of language as an actual vector as well as the anxious research that accompanies it are posed. At once born of and already distanced from Romanticism, this new focus and reflexivity free, exacerbate, and threaten the poetical: thus, by way of the motifs of hypocrisy, lying, the mask and art itself, the poet challenges this ideal in the very process of initiating it, all the while living a veritable poetic passion in which he invests and consumes himself, body and mind, not without a form of integrity. Such are the paradoxes envisioned. In what terms can one speak of poetic truth in Baudelaire’s work? Does he extract the idea of it toward an unfolding and assuredly fertile posterity or else does he stifle the upsurge with his characteristic clairvoyance ? Can such lucidity work against the authenticity of the artistic gesture? Where, when, and how does trueness come into play in a poem ? Why and with a view to what? In what manner does the work, by way of this strand, find a particularly illuminating coherence as initiator of modernity? But equally, within what limits? How, why, can and must poetic meaning escape dialectical concerns and hence deceive, likewise, all travesties and systematic adherence — and especially faithfulness to all obvious facts of solemnity? It’s about attempting to understand in what way the poetical, starting with Baudelaire, and as a result of his work, within the transfers and substitutions it presupposes, in its unprovability and its mystification, but equally in the rigor that characterizes it, may be placed in relation with the true, not according to constant external and pre-existing systems, but according to access-ways, perspectives interacting with creative speech, namely with the experience of inspiration, composition, and the reading of symbols. Since such a truth obviously cannot be posed as a theorem or axiom positively proven and applicable, it will therefore not be envisioned through a precise theoretical and philosophical prism, but rather confronted methodically with the literariness of the text, with the poem, in that it presents and initiates an intrinsic form of existence whose originality and paradoxy would be precisely not to be positive, in the sense of supported by anything pre-judged whatsoever, or tending by design toward any prescribed objective

Qu’est-ce que le tableau dans le roman du tournant des Lumières en France? Durant cette période, le tableau qui représente une situation dramatique est fréquemment employé dans le roman noir français et le roman pornographique, et il est l’objet de changements significatifs depuis la conceptualisation qu’en a faite Diderot dans ses Entretiens sur le Fils Naturel. Ce n’est plus uniquement une composition picturale dans laquelle les personnages sont présentés par hasard et qui est naturelle et vraisemblable. Chez des auteurs tels que Bellin de La Liborlière, Nerciat et Sade, le tableau peut être programmé afin de susciter un certain effet. Cette recherche tâche d’explorer le tableau à partir de la définition de Diderot et offre des critères pour l’identifier dans les romans noir et pornographique de la fin du XVIIIe siècle. Notre recherche s’articule surtout autour d’approches critiques esthétiques pour étudier différents effets dans le tableau du roman du XVIIIe siècle, tels que le pathétique, le sublime, l’étonnement, le délice et la jouissance. Elle emprunte aussi aux intrigues de représentations de théâtre de l’époque, ainsi qu’aux machines et machinations théâtrales. En examinant les différents usages et effets créés dans les tableaux, on constatera que cette modalité dramatique permet d’étudier le tableau dans plus d’un genre de roman de ce siècle. C’est aussi un outil qui souligne des enjeux sociaux et politique de l’époque, et qui permet de mieux comprendre le roman du tournant des Lumières
What is meant by the tableau in late eighteenth-century Novels in France? During this era, the tableau in which a dramatic situation is represented was frequently used in the roman noir and in the French pornographic novel, and was significantly transformed after Diderot’s conceptualisation of it in his Entretiens sur le Fils Naturel. It is no longer simply seen as a picture in which is found a random arrangement of characters in a natural and realistic setting. Authors such as Bellin de La Liborlière, Nerciat and Sade, have arranged the disposition of the tableau in order to create a specific effect. This study explores the tableau as described by Diderot and offers various criteria by which it can be identified in the roman noir and in the French pornographic novel from the end of the eighteenth century. Our study focuses mostly on important esthetic approaches, examining the different effects in the tableau of the in the eighteenth-century novel, such as pathos, the sublime, astonishment, delight and pleasure. It also relies on theatrical notions, theatre machinery and theatrical plots from the era. By examining the different uses and effects produced by the tableau, it will be evident that this dramatic modality allows us to study it in several different genres of novels. It also helps us to understand the social and political concerns of that era and to better understand the late eighteenth-century novel

My goal in this thesis is to frame, through design, an existing environment in a manner that fosters the witness and embrace of the reality and beauty of decay—which acts as a marker of the passage of time. My intent is to engage in a careful renewal of a neglected, and largely forgotten, urban landscape, which does not ignore its temporal context. My hope is to explore the full potential of the life cycle of buildings and discover the lesson of mortality in modern American ruins.Things fall apart. This is a simple truth about the physical world that humanity inhabits, which surrounds, invades and defines the human condition. Because [or in spite] of this we live in a culture that values progress, newness, and speed, that proselytizes through marketing the belief that comfort can be found in surrounding oneself with new things, pushing reminders of death away. The current world of architecture and design nurtures this mentality, selling projects through the production of sleek renderings of pristine and clean objects, a state that will only last for a short time. I argue that, in spite of this mind-set, the realization of entropic inevitability is necessary to provide a healthy temporal context through which to view daily life. Its acceptance is crucial to an appropriate perspective on life and the human condition, allowing positive forward movement in the midst of the change and deterioration that define life. I hope to show how architecture can foster this acceptance through adaptive re-use which values and interacts with the marks of time and traces of past use. The question that I am positing ultimately is this: How can new architecture breathe life into neglected spaces while also preserving the found beauty of the state of its breakdown, what one might call its ‘character’? Can architecture take cues from and be molded and enlivened by the people, events and nature that it interacts with and is transformed by? Can architecture enact a resurrection that deftly navigates between outright neglect and sterile renovation? And what is the appropriate way to do this?