Tesis sobre el tema "Images de guerre"
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Brouillet, Guilhem. "La guerre au "20 heures" : images de guerre / images de la guerre dans le journal télévisé (1954-1999)". Montpellier 3, 2009. http://www.theses.fr/2009MON30040.
This work is at the junction of the military history and of the media studies. It focuses on the visual representations of the wars in the Euro-Mediterranean area, on the French TV evening news, on the public broadcasting system since it was created. We wanted to show that the nature of the images presented depends mainly on the image that the newscasters want to give of a war. In other words our hypothesis is that the presentation of the war in images is driven by an ethnocentric vision, particularly regarding the violence of such wars. Beyond this idea, by centering our reflection on the question of Power and television in France, already largely studied by Jerome BOURDON (1994), we wanted to establish that the war is a “sensitive” field which consequently pushes the leading line of the TV news close to that of the government, whatever the time. The analysis was carried out through three case studies: the Algerian war for Independence (1954-1962), the Gulf war (1991) and the disintegration of Yugoslavia (1991-1995; 1999). The analysis of the reports selected in the databases of the National institute for audiovisual (INA) validate our hypothesis, particularly regarding the special treatment of the French Army in operation. Moreover, further comparative analyses of other conflicts highlighted the existence of a rupture in the information, in the same way that the comparison with the foreign TV news, particularly in the US, allowed us to record a French specificity in the way “of showing the war”, but also a similarity: war remains a “sensitive” matter. The media coverage of a war thus remains a strategic element which feeds the discussion on the limits of democracy
Chominot, Marie. "Guerre des images, guerre sans image ? : pratiques et usages de la photographie pendant la guerre d'indépendance algérienne : 1954-1962". Paris 8, 2008. http://www.theses.fr/2008PA082937.
During the Algerian war of independence, a conflict which officially did not carry the status of war, the two attending camps included photography in their strategies of justification and complex communication, putting into being an actual image policy. Within the internationalization of the conflict, French communication was in a continuous logic of countering the initiatives of Algerian nationalists. However, as we draw geographically near the heart of the conflict, the balance of power reverses and we clearly see a system of information being put in place by the French army and assumed by the political power, functioning also as a hegemonic system of representation of the conflict. Photography is at the heart of a vast undertaking to master the war. Used for the war (as an auxiliary of information), it's also used for the telling of it. The army organized a form of monopoly on production and diffusion of photographic images in order to master the stories given to public opinion by the media. It tried to dry up the flow of civil photographic journalism while feeding regularly the media system of diffusion which therefore sent, willingly yet compelled, a unified vision. The workings of the French system of information reveals many flaws of which creating an 'imageless war' is not the least. The invisibility of the conflict is the consequence of a system of representation which wants to be hegemonic and which, through applying successive filters, generates a banal vision
Mauss-Copeaux, Claire. "Images et mémoires d'appelés de la guerre d'Algérie, 1955-1994". Reims, 1995. http://www.theses.fr/1995REIML003.
This dissertation in oral history is based on interviews conducted in the french Vosges area from 1990 to 1994. The 39 interviewees are former draftees who performed their military service in Algeria between 1955 and 1962. The analysis sets out to clarify how the individual memory of a historical event based on actual experience comes to express and structure itself and how it interferes with collective memory. The interviews have been confronted with documents belonging to the interviewees as well as with the archives of the shat and the local press. The method takes into account the work done on oral history particularly at the ihp based in paris, and is a combination of contents and discourse analysis. The first part is devoted to the memory-forming process. It starts with the sources used and the methodology ; then, it introduces the interviewees with their social and family background as well as their position in the military institution. The analysis of a local newpaper, la liberte de l'est, makes it possible to define the general context of the period, besides assessing the influence of the concepts imposed by the political and military powers. The second part is first a study of the relatioins between individual and collective memories, of the interactions between history and memory as well as the formation of an individual historical consciousness ; finally, it dwells on the reactions of individual memory in the face of war violence and the confusion of the boundaries between identity and alterity. The third part offers an analysis of the albums of photographs taken by the interviewees. The corpus of 2,000 photographs of the period as confronted with the interviews helps to understand the evolution of memories. An appended volume presents the transcription of six interviews, together with a selection of photographs taken by the interviewees
Daakour, Samah Nadim. "Le Liban entre paradis et enfer : images littéraires du Liban en guerre". Nantes, 2005. http://www.theses.fr/2005NANT3010.
Christophe, Anne. "La Grande Guerre dans les images de presse en France, 1919-1939 /". [S.l.] : [A. Christophe], 2006. http://catalogue.bnf.fr/ark:/12148/cb40993815v.
Roux, Nathaëlle. "Rome et l'Italie chez Lucain, images de la patrie dans la Guerre Civile". Lille 3, 2009. http://www.theses.fr/2009LIL30042.
Italy is closely related to the idea of Rome in Lucan's Bellum civile and both of them form a notion of fatherland that is peculiar to Lucan. The representation of this Roman-Italian nation is first elaborated in reference to the Augustean poets, principaly Virgil, who developed a particular poetic image of Italy. The Virgilian heritage seems to be essential concerning Lucan's conception of Rome and Italy, their origins and their destinies (in which optimism and pessimism conflict wich each other), the territorial dimension of Italy and the representation of the Roman people. The study will be illustrated by two texts : the description of the Apennines (in book 2) and Caesar's visit to the ruins of Troy (in book 9). However, Lucan uses the epic narrative to represent the decay of the Roman nation. In the account of events which took place in Italy, Lucan reorganises the data from his sources, while developing shuttering pictures, with a view to representing Italy and the Roman people torn by the civil war. In his whole text, the poet gives each of the main three Italian territory and Rome. Pompey appears as the defender of a traditional Roman Italy rooted in the past and vainly trying to survive outside Italy. Caesar is rather the unscrupulous conqueror of the Italian territory and of the Roman power, and Cato is the organiser of an ideal Romanitas
BEURIER, Joëlle. "Images, violence et masculinités : les presses illustrées française et allemande en Grande Guerre". Doctoral thesis, European University Institute, 2007. http://hdl.handle.net/1814/25494.
Examining Board: Prof. Regina Schulte, EUI (Supervisor) ; Prof. Annette Becker, Université de Paris X-Nanterre (External Supervisor) ; Prof. Christian Delporte, Université de Saint-Quentin-en-Yvelines ; Prof. Heinz-Gerhard Haupt, EUI.
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
Ioannitis, Christos. "De Tarente à Pergame : la guerre des dieux et des Géants". Lyon 2, 2008. http://theses.univ-lyon2.fr/documents/lyon2/2008/ioannitis_c.
The new volute krater of the Darius Painter, an eminent apulian vase-painter, is the central point of this work. This document has been partially presented by Konrad Schauenburg in 2002. It is now at the Museum für Kunst und Gewerbe at Hamburg (inv. 2003. 130). It depicts the biggest Gigantomachy of greek art – the sculptures of the Pergamon Altar excepted. The vase is very fragmentary but a reconstruction of the battle is possible. Almost all the divinities of the greek pantheon are in fight but also heroes (Herakles, the Dioscures) and a personification, probably Delos. The rocks with architectures thrown by the Giants are a unicum in greek imagery. This work has a lot of common points with the attic amphora of the Suessula Painter (Louvre MNB810). We can presume that the two artists are using a common model (peplos of Athena or a wall painting). There are also a lot of cross hackings between the Darius Painter scene, the sculpture of the imperial period (Perge, Aphrodisias, Leptis Magna) and the latin epopee and particularly with the latin and greek Gigantomachy of Claudian
Southcott, Chris. "La Nation et l'appareil militaire : la guerre et les images nationales canadiennes : 1899-1919". Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37601349s.
Reyburn, Karen Ann. "Blurring the boundaries, images of women in Canadian propaganda of World War I". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ35925.pdf.
Marchand, Vanessa. "Images construites dans le discours journalistique : le cas d'hebdomadaires américains et français pendant la guerre du Viêt-Nam". Nantes, 2002. http://www.theses.fr/2002NANT3021.
The aim of this research was to produce some knowledge about the discourse of the media by the analysis of articles from American weekly magazines: Time and Newnveek, and French I 'Express and le Nouvel Observateur (Partie I-B), during the Vietnam War: from March to June 1965 and from February to May 1968 (Partie I-A), with semantic and pragmatic linguistic tools (Part I1). All the articles about the conflict are analysed (Appendix), except the editorials. Values, images constructed in the discourse are analysed with the " Grille d'Analyse du Discours " (completed with other semantic and pragmatic theorical tools) (Part 111) and their use with the " Argumentation dans I'Analyse linguistique du Discours " (Part IV, only 8 texts analysed). The results (Conclusion) reveal an elaborated, dissembling and " manipulating)) writing in context
Fassio, Giulia. "Images et représentations de l'Italie et des italiens à Grenoble depuis la fin de la seconde guerre mondiale". Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENH041.
This thesis aims to analyze, in an interdisciplinary perspective, the Italian migrations in Grenoble since the World War II and its representation. I tried to examine the various trends and generations of Italian immigrants in Grenoble and their relationship with Italy, also considering variables such as age, period of immigration, employment, social position. Moreover, analyzing quite a long time, I was able to compare the elements of continuity and discontinuity between present and past migrations, and among immigrants and their descendants.From a methodological point of view, I studied many sources: oral sources (about 80 interviews), archival sources, bibliographical sources, statistical data ... trying to maintain an interdisciplinary perspective.The thesis is divided into nine chapters and two main parts that follow a chronological order: the first part covers the period between World War II and the Nineties and the second part analyzes the contemporary migrations and the Italian presence in Grenoble. In the first part, I used archival sources and oral sources: in particular, I tried to describe the state policies on migration after the World War II, the regularization of immigrants and illegal migration across the Alps. I also described the efforts of some Italian immigrants to build a positive image through associations linked to the resistance and anti-fascism.Analyzing the following decades I have tried to examine some particular issues such as the social ascent of some immigrants, the role of women and family networks, the role of regional associations and the Italian church, the relations with immigrants of other countries, the development of economic and emotional links with Italy. The second part of this thesis studies the current situation: the new Italian immigrants in Grenoble and the different forms of self-representation, their identity as citizens of Italy and Europe, and later, examines the relationship between new and old immigrants and their children and grandchildren. I tried to show the complexity of the links between Italians and the country of origin; their relations with Italy, in fact, depending on the generation, social class, age and other individual variables. In this regard, for example, I have examined the question of mixed marriages and I analyzed all marriages of the Italian church since 1965.I described the places most frequented by Italians in Grenoble, and those who have a symbolic value. I also described the travels in Italy of immigrants, that include the holidays at places of origin, and also the weekend in Turin to buy food and other Italian products. Finally, from the analysis of individual and collective trajectories, I tried to reflect on the condition of the migrant in the past and present and to question some analytical categories, such as integration or assimilation
Zind, Alain. "Irak, 2003 : une expérience de guerre filmée : les soldats comme acteurs et témoins". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080051.
This PhD analyses videos directed, produced and uploaded on Internet by the main actors of 2003 Iraq War. It mixes historical and aesthetical problematic, and questions thematic as: intentionality, writing configuration, temporality and reception of these visual documents. Since it’s distributed on the Internet, we also need to observe migration, virality and sustainability phenomenon. We proposed the storytelling of soldiers’ war experience through their own film productions. We also observed how external viewers understood these footages. This PhD also carried the project of setting and securing a writing process that is always moving due to the freedom that the Internet gives. Accordingly, It was important to give back to this transformable data its historical substance. But we also needed to analyze it though cinematographic tools, since the authors of the films also used the cinematographic language. We observed their composition and directing choices, the storytelling they proposed, the editing choices, and also the cultural and artistic inspirations that may have influenced their work. Eventually, these footages, released online, finally reached movie industry, and great directors worked on this material – for example Brian de Palma or Ang Lee
Feugain, André Sauveur Michel. "Iconologie et iconographie : analyse contrastive des affiches de propagande pendant la IIe république et la guerre civile espagnole 1931-1939". Orléans, 2008. http://www.theses.fr/2008ORLE1096.
As a provider of information and propaganda, the poster appears very often in a context where men live a double reality : one arising from personal experience and the other linked to the media and other communication systems, hence the need to study the formal structures, the intrinsic features and the models of propaganda in such support. Base on a nine hundred posters corpus from the Second Republic and the civil war, this thesis is an analysis of the propaganda poster, of the link between the argument and the iconological and iconographic representation, and finally of its relationships with history. Starting from the idea that interference between the rhetoric message and the iconological message is not a sine qua non condition of an actual coherence between image and text, as they belong to two different semiotic systems, we prefer the idea of contextual signifiance of the elements in connection with their co-text and their context of production. We are then both in the world of semiotics when dealing with dealing with the interpretation of iconic elements, and in the world of pragmatics when it comes to the interpretation of linguistic elements. In addition to the answer given to the issue of knowing how the Republicans and the insurgents use the circumstances for propagandist purposes, the thesis develops a multi-criteria analysis involving two complementary approaches : a list of the questions which must be asked when analyzing propaganda posters and an inventory of the propaganda mechanisms to make-see, make-believe and make-do, that were used in the Spanish pre-dictatorship period
Perez, Morales Junior Wagner. "Visualité et contre-visualité. Les images de guerres et de conflits tournées par des amateurs, et leur utilisation dans l’art contemporain. Une politique des images sur un « bruit de fond » godardien". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA101/document.
Considering the idea that war and images are two interdependent concepts, the thesis deals with two key concepts: visuality and counter-visuality. Visuality as a way of perpetuating the war represents dominant discourses. Contemporary art would therefore be a possibility of constructing counter-visuality. The contemporary “global war” - total and dispersed - would have a visual production that would correspond to it: the amateur images, also scattered and widely circulated. How are these images - usually related to the private sphere - converted into records of contemporary war? How does art face war and the dominant visuality by utilizing these images?The research attempts to characterize this amateur production of images and to frame it in the conflicting time of the present. Would such a production be a resistance to the current visuality or, on the contrary, something that strengthens it? From then on, by analyzing a circumscribed corpus of four contemporary visual artists (Clarisse Hahn, Rabih Mroué, Coco Fusco and Thomas Hirschhorn), we work on the hypothesis that the reuse of these images can contribute to the construction of a counter-visuality: by the artistic gesture, the removal of this material from a certain flow would cause a stop, a deviation towards a reconfiguration of the sensible where the conflicting factor would be highlighted. In a third moment, the thesis looks at the work of Jean-Luc Godard and Anne-Marie Miéville on the 1970s, when they question the strengths and weaknesses of militant cinema and challenge images and their potentialities. Some of their creative procedures are examined in retrospect because in our opinion they are still directly or indirectly present in the artistic practice of the aforementioned artists
Mamillon, Charlene. "Le rôle de la télévision française dans la transmission de la mémoire collective de la Seconde Guerre mondiale au travers de documentaires". Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080019/document.
The collective memory corresponds to the souvenirs shared by a group of people or by society. It can be transmitted from people to people. So it testifies of the group’s identity. There are a multitude of collective memories since every social group gets one. One person can be a part of several groups and then, get various collective memories.Television creates a collective memory of the Second World War through repetitions. Indeed, each year, it broadcasts a lot of documentaries which always use the same archive images.Most documentaries resort to the testimony of witness and play with their emotions so that the audience retains their stories for long. The collective memory is also transmitted thanks to the illustrative comment that gives sense to the images. The images in documentaries are often the same and the audience can recognize them, remember them and never forget them.Sometimes, the archive images are in colour in order to make them more attractive. The colour images do not represent reality more than the black and white images. They are a lie for the audience.However, there is another way of making documentaries. Shoah, Claude Lanzmann’s movie, do not use archive images. The director used the pictures of extermination camps that he filmed and the testimonies of the survivants.This documentary became a benchmark thanks to its singularity
Rouquet, Camille. "Les icônes du Vietnam et leur pouvoir : mécanismes de consécration des images photojournalistiques et rhétorique de l'influence des médias depuis la guerre du Vietnam". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC278.
This dissertation focuses on those press photographs from the Vietnam war considered to be “iconic”. In recenthistory, only about 30 or 40 photographs, whether documentary, art, or fashion images, have been consecrated as“icons”, a word that denotes their capacity to symbolize or embody various concepts. Among these images, fourhave surfaced from the visual archive of the Vietnam War. These icons are photojournalistic images whose contentwas considered shocking because of their sensational and graphic nature and which have appeared consistently inthe press since the end of the war and remediated in various artistic fields. Their fame has caused thehistoriographers of the Vietnam War and the public to think of them as influential objects; they have been credited with, or blamed for, turning public opinion against the war or for causing the ultimate defeat of American forces.This dissertation examines closely the relationship between “icon” and “influence” by way of a review of thehistoriography of the media during the Vietnam War and, afterwards, through its memorialization. Even thoughthe notion of influence is refuted by some experts in very precise and well-documented case studies, it remains anintegral part of the definition of photojournalistic icons of media content today. This essay exposes in detail theunique characteristics of the Vietnam icons and their progress in the press from the 1970s to the 2000s so as toexplain how these images have become representative of the influence theory, and to what extent media discoursehas contributed to educating the public by using icons. The aim of this essay is to show that icons have truly unique compositions and are fully meta-photojournalistic objects that testify to the media’s attachment to their adaptability and familiarity. The American public is no longer the only recipient of their symbolism ; icons—from Vietnam andfrom other contexts—have now reached an international status. Consequently, in contemporary times, icons contribute to problematizing and theorizing studies in visual culture
Dentone, Catherine. "Images de la francophobie en Espagne : l'écriture de la crise de 1635". Paris 4, 2000. http://www.theses.fr/2000PA040245.
Gantet, Claire. "Discours et images de la paix dans des villes d'Allemagne du Sud aux XVIIe et XVIIIe siècles". Paris 1, 1999. http://www.theses.fr/1999PA010503.
Deriving from a reflexion about the specific forms of collective memory linked to a political conflict, this thesis analyses the perceptions of the thirty years' war and the progressive definition of peace, which led to the treatises of Westphalia (1648), then their reception and their ritualisation until the very end of the 18th century. The thirty years' war was aimed to define a modus vivendi allowing the coexistence of several confessions in the holy roman empire. To neutralize the conflict-provoking potentiality the problems were settled on the civil level, bey keeping out the dogmatical questions. But war cannot be reduced to e mere matter of law. Its conclusion required also a work on fears led in order to make feel its dread, a memorization of the events meant to teach the horror of a civil war. The peace of westphalia decreed the general amnesty, the public silence, in order to build up again social links for the time being. But fully reconciliation required a memory of the persecution. The peace festival celebrated for the signature of the treatises (174 different ones between 1648 and 1650, 204 until 1660) expressed this double movement of political oblivion and religious memory. Work of the jurists, the peace settlement forced the clergies to redefine their political role. The celebration of the treatises was launched by the lutheran clergy, who attributed the peace to the sole action of god. In the cities were catholics and protestants coexisted, the peace festival were institutionalized, celebrated by the lutheran exclusively, each year sometimes till nowadays as in Augsburg. In these cities, the peace aroused the development of specific features, emphasizing the religious difference. Peace festivals became demonstrations of lutheranism. But the precise analysis of the discourses and images of peace produced for theses festivals shows that the confessional affirmation always managed to respect and make prevail the common civic values. In these cities, a habitus of peace was formed
Rahal, Ghada. "Images d’après : l’espace-temps de la guerre dans le cinéma au liban, du « nouveau cinéma libanais » (1975) aux pratiques artistiques contemporaines (de 1990 à nos jours)". Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100214/document.
The thesis proposes less of an inventory of lebanese films, but more so it aims to collect and analyze the cinematographic forms and contemporary artistic practices that respond to tragedies, uncertainties, identity crises, and forced amnesia resulting from the incessant civil war (1975-1990.) using the notion of ‘images in the aftermath,’ the thesis explores the crisis of representation that impacts the modes of storytelling, addressing of speech, and figuration, as well as individual and collective forms of memory and history. from this ‘knot of tensions’ stems an art of erosion of language, space, and time. a seismic temporality problematizes and breaks the linear and factual, which shakes the core of categories that are linked to the real and the imaginary, documentary and fiction. this process is at firsthand questioned with lyricism and critical distancing by filmmakers such as borhane alaouié, maroun bagdadi, and jocelyne saab, then through the works of a generation including joana hadjithomas and khalil joreige, lamia joreige, jayce salloum, mohamed soueid, and akram zaatari. in addition to the fictional and figurative use of a spectral temporality leading artists such as ghassan salhab to exploit the fantastic, the lebanese artistic creations of the post-war era invent and explore a new syntax and complex aesthetic tools capable of recreating and renewing authentic ties with the real. the post-war works that are observed and studied transliterate a creative and discursive practice that is poetic, and characterized with the use of various media whose dynamics invoke the ability to think of, and apprehend, the traumatic events that may then be historicized
Boitel, Isaure. "L'image noire de Louis XIV : Provinces-Unies, Angleterre, France (1668-1715)". Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080047/document.
This doctoral dissertation studies the dark image of Louis XIV in the iconography of three European powers: France, United Provinces and England. The corpus rests on diverse sources : prints, medals, and even playing cards, all produced between the outset of the War of Devolution (1667) and the king’s death in 1715. These criticism and satire through imagery come as a reaction to the French military offensives as well as to the domestic policy led from Versailles, especially regarding religious affairs.First, we will analyse how this iconography started, by setting the context, identifying artists and sleeping partners, and by stating the targeted market. Then, we will focus on specific art works. As the target of these graphic attacks, Louis XIV is described as a bloody tyrant craving for a universal monarchy and as a follower of devious morals. A diachronic view allows us to observe the evolution of the accusations cast towards the king and to show the close relationship between sources and current affairs. Finally, we will analyse the rhetoric used by the accusers and focus on the aims and impacts of these defamatory images.Produced while the power of the press was emerging and then passed on through pamphlets and subversive songs, this iconography represents cutting remarks against surging images glorifying the Bourbon, and proves the growing politicization of Europeans at the end of Great Century and the dawn of the Enlightenment
Poisson-Gueffier, Jean-François. "La Cathédrale Rouge. Images de la mort dans le Haut livre du Graal". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA105/document.
The main scholars always depicted the High Book of the Grail as a novel which borders on barbarism. The bursting of the frames of arthurian writing is significant in its most iconic episodes as well, which reveal a huge gap between "High Scripture" and a glorification of the materiality of beings. The novel seems based on a double postulation up and down, towards materiality and spirituality. The study of events and senefiances of death applies to grasp the writing of in-between, while emphasizing the study of two major elements: the inherent visual dimension to the representation of death and methods of its own writing which sketches the outlines of a "funeral writing." Visual paradigm relays the evocative power of the dead narrated while that fateful dominant narrative seems to be one of the most efficient guarantee of the unit of a work whose structure is relevent to illusion or arcana. The hermeneutic thought process of this study considers at first the vocabulary of death, before addressing the circumstances of the "instant mortel", the two spiritual and temporal sides of death, the always powerful unity of the living and the dead. After some stylistic considerations, as well as rhetorical, historical and anthropological ones, the last chapters move to the field of poetics, in a world where death appears fundamentally ubiquitous
Teulié, Gilles. "La guerre des Boers et les images de l'Afrique du Sud : iconographie, littérature et récits : analyse de l'origine des systèmes de représentation et des mentalités en présence". Montpellier 3, 1999. http://www.theses.fr/1999MON30013.
Moroz, Nataliia. "Patrimoines, patrimonialisation, dépatrimonialisation : quelles images et quelles pratiques touristiques pour l'Ukraine ?" Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2030.
Ukraine, as an object and a field of study, has a double challenge, both scientific and operational. This country, remaining still unattractive to European customers for its tourist and heritage resources, wishes to embark on a process of improving its positioning on the tourist market by drawing inspiration from French practices and expertise. This doctoral research therefore has two necessarily interlinked components: firstly, the study and analysis of Ukrainian tourism and heritage systems, and secondly, the proposals based on French know-how, intended to participate in Ukrainian research in this field.The current geopolitical context of the Ukrainian territory since November 2013 and its worsening during the 2014–2015 period has influenced the development and the established areas, but even more in the context of the problems initially posed. That development, initially focused on the strategies of the Ukrainian tourism sector starting from the example of 4 territories including Crimea, in fact was reoriented towards the study of cultural heritage as an Ukrainian tourist resource in order to develop a new tourist segment.Two approaches are used in order to identify points of tourism attraction in Ukraine for foreign tourists and the territorial markers necessary for establishing niche tourism. The first one is to find the means to objectively define the "image" of the country and its territories; the second one is to characterize the heritage elements likely to contribute to better Ukrainian visibility. These approaches have required the relevant delimitation and analysis of several corpuses: travel guides, lists of classified cultural heritage, questionnaires among tourists.Geopolitical changes and tensions in Ukraine have significantly disrupted access to data: some of them have completely disappeared. First of all, there are the tourist statistics of certain regions in tension (Donetsk, Luhansk, Crimea regions). In addition, the lists of classified cultural heritage have undergone transformations following the so-called "de-Sovietization" laws, leading to the abolition of heritage lists from the Soviet period. This "de-patrimonialization" also concerns certain monuments and heritage objects considered as "bearing the ideology of the communist regime". Finally, this difficulty of access to sources that are comparable over time on a national scale, such as official depatrimonialisation movement, has led to a partial repositioning of the research issues, with old and new heritages mobilizing the question of memory and Ukrainian identity in a different way.The diachronic approach used in explaining the tourism and institutional heritage evolutions has been put into perspective over a longer period of time. This is how the exploration and analysis of travel guides since the beginning of the XXth century has made it possible to resituate more widely the representations and discourses relating to tourism and therefore to Ukrainian identity through its heritage.Data representation work - graphs, synoptic tables, maps – has been carried out to better visualize the comparative elements, in their diachrony as well as in their spatializations. It has contributed to a diagnosis highlighting the disparities relating to tourist flows, territorial markers as well as classified heritage objects. These analyses lead to some recommendations for the implementation of niche tourism, centered on the articulation of tourist-heritage offers, based on accessible statistical data, but with a concern for vigilance as to their reliability
Righi, Dominique. "Les images dans les manuels de lycee (manuels d'histoire, de français, de philosophie et de langues vivantes publiés de 2000 à 2003) : les représentations des pouvoirs et des conflits politiques de 1815 à nos jours". Poitiers, 2007. http://www.theses.fr/2007POIT5014.
Throughout this research, two levels of analysis are carried out in parallel _one relating to the original images and the other concerning the modes of reproduction in the handbooks_ from a historical and history of art perspectives. The introduction delivers the historiography of the subject and analyzes the sources, i. E. The programs and the images chosen by the authors of the handbooks according to their nature and their place in these works. The first part concentrates on the political power representations and the second relates to the armed confrontations representations. The third part continues with the civilian images during the conflicts and the traces of the wars including genocides, and finishes with the various memories representations. A volume of appendices counts the exhaustiveness of the images reproduced _3651 images_ as well as the precise statistics in order to show and to justify the established reports
Massé, Alexandre. "La "domination morale" : les consuls de France dans l’Orient grec (1815-1856) : images, ingérences, colonisation". Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20099.
The consuls of France are professionals' corps. They have for mission to defend the interests of France and to inform the Ministry of Foreign Affairs of all that they observe. Their mission is not only economic and political. They care for France’s image, image which they contribute to form. In 1820s, facing Greek insurrection, they promote the image of France which main concern would be humanity. Thanks to its neutrality, France would be above the conflict, working only for the happiness of all. The consuls lean on this image of France to promote the idea that their country has to exercise a "moral domination" in the interest of all and in the name of the European civilisation which she represents. By leaning on their representations of the Alterity, they justify the interference of France in the crisis among the Greek insurgents and the Ottoman, then within Ottoman Empire and Kingdom of Greece, from 1830s. Influenced by the ideas of fraternity and of collective liability inherited French revolution and Philhellenism and influenced by Saint-Simonianism, the consuls of France contribute to the creation of the notion of civilizing mission, which the European State would be invested. From 1820s, persuaded of the superiority of France, they start supporting numerous projects of colonization in all territories of the Greek East
Rousselle, Denis. "Classification d’objets au moyen de machines à vecteurs supports dans les images de sonar de haute résolution du fond marin". Thesis, Rouen, INSA, 2016. http://www.theses.fr/2016ISAM0020.
This thesis aims to improve the classification of underwater objects in high resolution sonar images. Especially, we seek to make the distinction between mines and harmless objects from a collection of mine-like objects. Our research was led by two classical constraints of the mine warfare : firstly, the lack of data and secondly, the need for readability of the classification. In this context, we built a database as much representative as possible and simulated objects in order to complete it. The lack of examples led us to use a compact representation, originally used by the face recognition community : the Structural Binary Gradient Patterns (SBGP). To the same end, we derived a method of semi-supervised domain adaptation, based on optimal transport, that can be easily interpreted. Finally, we developed a new classification algorithm : the Ensemble of Exemplar-Maximum Excluding Ball (EE-MEB) which is suitable for small datasets and with an easily interpretable decision function
Versteeg, Wilco. "The reliable image : Documenting contemporary warfare with photography". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC277.
This dissertation asks in which ways war photography can still serve as a reliable source of information about the world. Can, in today’s skeptical visual culture, an image still be considered reliable, or will it always be greeted with an academic, postmodern relativism that has become a feature of our common culture? And if an image can still be considered reliable, which role can it play in today’s media and society? The projects and practices discussed in this thesis all try to renew photographic practices to save documentary images from this generalized distrust. John Tagg famously asked under what conditions “a photograph of the Loch Ness Monster (of which there are many) be acceptable?” (Burden 5). This dissertation will stretch this question, and ask under which conditions any documentary photograph, in today’s skeptical West, could be considered reliable. All projects discussed in this dissertation are engaged with the possible futures of photography and try to imagine and use methods that, despite blanket skepticism, want keep photography in lock-step with developments in society at large, including the skepticism that faces down institutions and systems of believed that have shaped our worldview for more than a century. Although the fog of war has always been an integral part of warfare, today’s drone warfare seems to expand this fog to thus far unseen levels A dissertation should foremost be readable and therefore is bound to limit itself to examples, to discuss in depth various representative examples rather than provide a sweeping overview of completion. The nature of contemporary warfare and our digitizing world does not allow for this completion yet, and perhaps never will
Rousselle, Denis. "Classification d’objets au moyen de machines à vecteurs supports dans les images de sonar de haute résolution du fond marin". Electronic Thesis or Diss., Rouen, INSA, 2016. http://www.theses.fr/2016ISAM0020.
This thesis aims to improve the classification of underwater objects in high resolution sonar images. Especially, we seek to make the distinction between mines and harmless objects from a collection of mine-like objects. Our research was led by two classical constraints of the mine warfare : firstly, the lack of data and secondly, the need for readability of the classification. In this context, we built a database as much representative as possible and simulated objects in order to complete it. The lack of examples led us to use a compact representation, originally used by the face recognition community : the Structural Binary Gradient Patterns (SBGP). To the same end, we derived a method of semi-supervised domain adaptation, based on optimal transport, that can be easily interpreted. Finally, we developed a new classification algorithm : the Ensemble of Exemplar-Maximum Excluding Ball (EE-MEB) which is suitable for small datasets and with an easily interpretable decision function
Peixe, Rita Inês Petrykowski. "Imagens que (re) constroem história : alegoria e narratividade visual da guerra sertaneja do contestado". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/139418.
This thesis focuses on the study of visual narratives about the Guerra Sertaneja do Contestado (Brazil 1912-1916) (the backcountry war in the area of Contestado), an important historical event for the constitution of the state of Santa Catarina and for the Brazil This episode was the subject matter for many artists. Hence the need for a survey of the visual production about this theme. What the visual narratives tell about the Contestado War, how they “show” it, and which meanings they construct are the main questions faced in this research. Its theoretical framework includes authors from the art studies, visual culture and cultural history, with the aim to think about how the images that are part of the documental body on this war (re)construct this fact. All the biographical information and the images (photographs taken on the field and/or acquired through the Web) were obtained through a close exchange with the artists and the institutions responsible for their art works’ preservation. They were then compiled and organized for the study of the reflective possibilities offered by the images themselves, taking in account the possible references for its production (books and/or other images), and for the analysis of its own processes. This survey resulted in a group of twelve artists and in a body of works of more than a thousand items (1912 to 2011), a veritable art collection on the theme of the Contestado War. The analysis of this ample and variegated art production focused on the following themes: General Aspects (the Contestado area, landscape and natural and social environment); Main Characters (and their role in the conflict); War Context: The Organization And The Military Actions Against The Strongholds; and Outcome of the Episode The results show that the diffusion of the images about the war, in the books that treat the theme, shows disparities, especially when they are used as a simple layout resource/editorial expedient or as a vague allusion to the episode without any reflective concern. The analysis of the art processes has made possible many interesting inferences and reflections. With the support of numerous images, the research concluded that the artists’ different idioms, styles and creative processes constructed different effects and meanings, making possible the reconstruction of the Contestado War under different allegorical and narrative forms.
Maranhão, Cristina. "Imagens da guerra: Brasil, Palestina e Portugal". Pontifícia Universidade Católica de São Paulo, 2013. http://tede2.pucsp.br/handle/handle/2418.
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This thesis seeks to comprehend the imagetic construction of contemporary wars transmitted by national and international media, through the case study of two current conflicts: the war between police and drug dealers at Rio de Janeiro´s favelas of Complexo do Alemão, and the armed conflict between israelis and palestinians in the Gaza Strip, involving the Palestine Question. Devided in two parts, war and image, this work shows how significative changes occurred in the form of the warfare, associated to new global economic formula, originated from globalization and mundialization. These changes reflected in the form of representing the armed conflicts and therefore in the current photojournalism. . From the observation of significative diferences in the field of images, we focus in two aspects: the image as an action of imagination, and the image as excessive production of clichés from the society of the spectacle . This thesis proposes the construction of a western imagery catalog, elaborated from the relationship between the analysed images of conflicts and the images collected from paints, engraving or photographs. This proposition occured because we realised that there is an imagetic construction of war, wich is responsable for the imaginary of the warrior and of conflicts. Images of war today have changed along with changes of the armed conflict universe, demonstrating a reverberation of images and specific subjects turned into simple pictural clichés, wich in many cases do not represent the violence experienced by the population envolved. This reverberation expresses the generalization of images of war today
Esta tese procura compreender a construção imagética das guerras contemporâneas veiculadas pela mídia nacional e internacional por meio do estudo de caso de dois conflitos atuais: a guerra travada entre policiais e traficantes nas favelas cariocas do Complexo do Alemão e o conflito armado entre israelenses e palestinos na Faixa de Gaza que envolve a Questão Palestina. Dividido em duas partes, guerra e imagem, o trabalho mostra como ocorreram mudanças significativas na forma de guerrear associadas a nova formulação econômica global proveniente da globalização e da mundialização. Estas mudanças refletiram-se na forma de representar os conflitos armados e consequentemente no fotojornalismo atual. A partir da constatação de diferenças significativas no campo da imagem, nos concentramos dois aspectos: a imagem como uma ação do imaginar e a imagem como produção excessiva e formadora de clichês provenientes da sociedade do espetáculo . A tese propõe a construção de um catálogo imagético ocidental elaborado a partir da relação entre as imagens analisadas dos conflitos e imagens coletadas seja na pintura, em gravuras ou na fotografia. A proposta deste ocorreu, pois percebemos que existe uma construção imagética da guerra esta que é responsável pela elaboração do imaginário do guerreiro e dos conflitos. As imagens de guerra na atualidade se modificaram juntamente com as alterações do universo dos conflitos armados, demonstrando uma reverberação de imagens e de temas específicos transformando em meros clichês imagéticos que em muitos casos não representa a violência vivenciada pela população que está envolvida. Reverberação, esta, que expressa a generalização das imagens de guerra na atualidade
Mutter, Hélène. "La guerre à l'épreuve de l'image Art et dispositifs visuels". Doctoral thesis, Universite Libre de Bruxelles, 2020. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/313181.
Doctorat en Art et Sciences de l'Art
info:eu-repo/semantics/nonPublished
Nunes, Gabriel Carneiro. "O cinema vai a guerra : imagens em movimento da Guerra Hispano-Americana (1898-1901) /". Assis, 2019. http://hdl.handle.net/11449/190979.
Banca: José Luis Bendicho Beired
Banca: Carolina Amaral de Aguiar
Resumo: A Guerra Hispano-Americana (1898) aconteceu em decorrência da expansão imperialista dos Estados Unidos no momento em que sua industrialização crescia em ritmo acelerado. Eliminando os últimos resquícios da colonização espanhola no continente americano, Cuba e Filipinas foram os primeiros alvos de uma política agressiva dos nacionalistas estadunidenses para assegurar o slogan proposto pela Doutrina Monroe, "América para os Americanos". Nos principais centros urbanos dos Estados Unidos, a modernidade atingia a percepção dos indivíduos por meio da inovação tecnológica que dimensionava o tempo e o espaço, a velocidade da máquina mesclava o orgânico e o mecânico. Nas ruas, inúmeras propagandas visuais atordoavam os olhares, os jornais impressos traziam notícias sensacionalistas de interesses políticos e o comportamento dos cidadãos se padronizava através das revistas periódicas. Os vaudevilles, teatros de variedades, canalizavam essa sociedade caótica através da miscelânea de espetáculos e shows, o cinema se desenvolvia neste ambiente. Quando o conflito entre a Espanha e os Estados Unidos entrou em vigor, o cinema participou pela primeira vez de uma guerra, se misturando com todas as formas de comunicação do período e exercendo, de forma inédita, uma postura ativa na formação da opinião pública. O trabalho a seguir compreende como foi a participação dos filmes produzidos pela Edison Company e pela American Biograph e Mutoscope, diante desse enredo. Utilizando 68 filmes presentes... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The Spanish-American War (1898) happened as a result of the United States's imperialist expansion at the time its industrialization grew at a accelerated pace. Eliminating the last remnants of Spanish colonization in the American continent, Cuba and the Philippines were the first targets of an American nationalists's aggressive policy to ensure the slogan proposed by the Monroe doctrine "America for Americans". In the main United States's urban centers, modernity reached the individuals perception through technological innovation that dimensioned the time and the space, the machine's speed merged the organic and the mechanic. In the streets, countless visual advertisements stunned the looks, the printed newspapers brought sensationalist news of political interests and the citizens behaviour was standardized through periodic journals. The vaudevilles, variety theaters, channeled this chaotic society through the miscellaneous of performances and shows, the cinema was being developed in this environment. When the conflict between Spain and the United States came into effect, the cinema participated for the first time in a war, mingling with all forms of communication in the period and exerting, in an unprecedented way, an active posture in the public opinion formation. The following work compromises how was the participation of the films produced by the Edison Company and the American Biograph and Mutoscope, before this plot. Using 68 films present in the Spanish American War... (Complete abstract click electronic access below)
Mestre
Lacour, Claude Viry-Babel Roger. "Image(s) de la Résistance ou résistance(s) à l'image : 1939 - 1945 Histoire et mythologies cinématographiques /". Nancy : Université Nancy 2, 2002. http://cyberdoc.univ-nancy2.fr/htdocs/docs_ouvert/doc136/2002NAN21026_1.pdf.
Alvarinho, Daniela Alexandra Ramos. "Eterno Passado: uma curta metragem de cinema de animação inspirada em memórias de guerra". Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/30319.
Lacour, Claude. "Image(s) de la Résistance ou résistance(s) à l'image : 1939 - 1945 : histoire et mythologies cinématographiques". Nancy 2, 2002. http://docnum.univ-lorraine.fr/public/NANCY2/doc136/2002NAN21026_1.pdf.
With bringing together and comparisons between the forty three films of the corpus, we are planning to analyze the relations between the film and the concept of resistance kept up by the society, between the film and the way that the resistance to look to itself. By bringing to the fore the different elements which compose the picture, the organisation of the picture in the narrative construction and the tremporal combinations that emerge out the many levels which constitute the film, it appears a narrow tie between the film and the memory, between the film and the history. History takes place in the film through it production context. This research, carrying out a systematic analisis of the films, results in the exposure of a representation of the resistance through a opposition system to the collaboration, which is destroyed by its representation and in the next verification : the film about the resistance subject to the historical writing and to the movements of our social memory and of our construction of identity
Lima, Rodrigo Ignácio Pires. "O gênero de guerra: um estudo sobre a representação da guerra do Golfo no cinema americano". Universidade Anhembi Morumbi, 2009. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1428.
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
O projeto tratará da integração entre espetáculo e platéia gerada por filmes de guerra. Deve-se analisar o contexto social sob o qual eles foram concebidos e traçar relações entre o real e o fictício, assim como identificar os interesses militares e estratégicos que movimentam a concepção desse gênero. Baseado principalmente nos conflitos contemporâneos do Golfo Pérsico e no estudo do gênero de guerra, este estudo busca comparar os filmes atuais e os concebidos durante as décadas de 40, 50 e 60, época áurea do gênero. Nesse contexto, há também o objetivo de estudar as tendências desse magnífico gênero e o desenvolvimento gradual dos arquétipos que a ele identificamos. A importância do cinema na divulgação de valores e ideais às populações que foram alvo de campanhas de incentivo e apoio aos conflitos também será ressaltada. E o mais importante: apresentar como o cinema lida com o processo bélico, quais são as imagens, sons e interpretações utilizadas para definir um fenômeno tão contemporâneo. Como o cinema retrata com imagens e sons o soldado, o inimigo, e o horror da guerra em películas que têm por objetivo enviar em cento e vinte minutos, uma mensagem de fatos que levaram, às vezes, décadas para serem gerados.
Fillon, Catherine. "La profession d'avocat et son image dans l'Entre-deux-guerres". Lyon 3, 1995. http://www.theses.fr/1995LYO33008.
This work first concerns the profession af a barrister in france during the between-war-yaers and its development. Heir of xixth century traditions, the french bar receives a new regulation in 1920. At the same time, professionnal organizations appear : a sociation nationale des avocats (national barrister's association) and the unions des jeunes avocats (youg barrister's associations) confronted with social and economic crises intthe 1920's and 1930's, the bar is divide between traditon and a will to change the profession (widening the scope of activities, easing of work methods, professionnalism, and possible merger with the solicitors) the intense debate through this period gave non immediate concreat results, but prefigured a major part of the ulterior development of the profession. A study of barrister's image follows, showing his professionnal activity as well as life outside the law courts, in family and politics. In response to certain view poinbts, the barristers tried to improve the most negative aspects of the collective perception. Being so preoccuped by their image, drove them to certain perversions as they tried to forbid access to the profession to newly naturalized foreingers, thus opening the way to the discriminatory and racial law of the vichy government
Lerman, Ricardo Terdiman. "Harun Farocki e a (des)montagem do olhar". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-06022018-095900/.
The present work intends to deepen in the conception and method of Harun Farocki\'s work and investigate the relation between his cinematography art, history and the symbolic constructions that are made since the development of the post-industrial world. There is a double movement in Farocki\'s film. The first one involves sketching trough images that circulate in the interior of society an audiovisual history of the civilization that emerges with the invention of photography to locate the convergence between war, economics, politics and representation. The second one consists in investigate the role of the director in the the contemporary world and therefore to question the technique, morals and politics of his activity, in order to interrogate the cinematographic practice in a contemporary world saturated with it. This work of research will seek, through de procedure of film analysis, to discuss the social and political aspects of the production of images in the present time according to the work of Farocki, anchoring itself in the critic of photography (Flusser) and the history of culture (Benjamin). The research will show how the formal structures of his films construct a singular relation between the archive images and the corresponding historical process in the films \"Images of the world and inscriptions of war\" (1988) and \"Videograms of a Revolution\" (1992).
Robic-Diaz, Delphine. "La guerre d'Indochine dans le cinéma français (1945-2006) : image(s) d'un trou de mémoire". Paris 3, 2007. http://books.openedition.org/pur/91438.
The Indochina War is not merely the topic of several movies directed by former soldiers who enrolled in the “Army movie department” (Service cinématographique des armées) such as Pierre Schoenderffer or Claude Bernard-Aubert. For more than half a century, it has also been a mass phenomenon which tenuous but recurring presence can be felt in French fictions from all genres directed by such acclaimed filmmakers as Louis Malle, Claude Chabrol, Georges Lautner, Pierre Granier-Deferre, Yves Boisset, Gérard Corbiau, Bertrand Tavernier, Régis Wargnier, etc. The Indochina War is never clearly expressed in these films but it is never totally hushed as if it were a kind of cinematic repressed always attempting to return onscreen. As a cinematic blank mind, this conflict has been turned into a myth inherited from colonial cinema and renewed by the stakes of postcolonial representations. The many references to the Indochina War are thus often cryptic and always haunting. They point at a lapse or at a lack not only for the characters who tend to stigmatize this War (Indochina veterans) but also within the narratives that allude to it without staging it. To paraphrase the title of a book by Paul Ricoeur, the representation of the Indochina War in French cinema may be the perfect example of a potential link between History and Memory through Forgetfulness/Forgetting
Solano, Rodríguez Remedios. "La influencia de la guerra de indpendencia en Prusia a través de la prensa y la propaganda : la forjadura de una imagen sobre España (1808-1815) /". Madrid : R. Solano Rodríguez, 1998. http://catalogue.bnf.fr/ark:/12148/cb37693224h.
Barbat, Victor. "Roman Karmen, la vulgate soviétique de l'histoire : stratégies et modes opératoires d'un documentariste au XXème siècle". Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H047.
With the study of Roman Karmen’s cinematographic work, we want to retrace a heritage and to identify its implications through an historiographical approach. Not only did the Soviet filmmaker’s images go down in history but they also contributed to shape the twentieth century into a single object. Indeed, the metonymic properties of Karmen’s shootings (cinematographic photography and live action) upset our perception and contributed to build an historical account that sustains a new order. It is a complex visual narrative bringing together live action and staging, subjects and emblems, main characters, secondary characters and anonymous masses. Disseminated, Roman Karmen’s work is the main reservoir of “archival images” often used by contemporary documentary filmmakers as a mean to present “first-hand History”. Following Roman Karmen’s artistic itinerary allows us to gain a better understanding of these images: their initial purposes, their making process, and their relationships in a work within which story merges with History. We assume that this narrative consisting of pictures, cinematic newsreels, and documentary films shaped the “Soviet vulgate of history”
Le, Fur Didier. "Les Impérants Rois : images des rois de France pendant les premières guerres d'Italie (1494-1517)". Paris 10, 1996. http://www.theses.fr/1996PA100051.
De, Paula Jeziel 1956. "Agonia & gloria : imagens, mitos e memorias da guerra civil brasileira de 1932". [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280271.
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: o objetivo básico deste traballho foi investir no potencial dramático e narrativo de alguns aspectos singulares da guerra civil brasileira de 1932: os símbolos, alegorias, metáforas e mitos guerreiros, dentre eles, especialmente a aviação militar. Para isso, foram utilizadas diferentes memórias construídas em tomo da guerra. O propósito não foi concentrar esforços na interpretação global do acontecimento ou, ainda, reescrever a trajetória de suas principais causas e conseqüências. Para percorrer os caminhos do binômio imagem-memória em suas múltiplas vertentes, foi preciso retomar o episódioa partir da pluralidade de seus anônimos protagonistas. E através de fontes documentais pouco utilizadas pela bistoriografia predominante, recuperar suas visões divergentes e por vezes essencialmente contraditórias. Explicar a partir de uma compreensão empática pressupõe a capacidade de se viver a subjetividade do outro. Buscar na memória dos contemporâneos a ambigüidade, os conflitos e as contradições. Escutar as vozes daqueles que viveram o cotidiano da guerra, na retaguarda ou nas frentes de combate. Conhecersuas opiniões e motivos pessoais que os levaram à batallha. Enfim, tentar mostrar um "outro lado da guerra" no qual os sujeitos silenciados se debateram nessa trama tecida de agonia e glória
Abstract: The basic objective of this work was to invest in the dramaticand narrative potential of some singular aspects of the Brazilian civil war of 1932: the symbols, allegories, metaphors and warlike myths, amongst them, especially military aviation. For this, different memories constructed around the war had been used. The intention was not to concentrate efforts in the global interpretation of the event or, still, to rewrite the path of its main causes and consequences. To cover the paths of the binomial image-memory in its multiple aspects, it was necessary to retake the episode ftom the plurality of its anonymous protagonists. And through documentary sources few used by the predominant historiography, to recover its divergent visions and sometimes essentially contradictories. To explain from an empathic understanding estimates the ability of living the subjectivity of the other. To search in the memory of the contemporaries the ambiguity, the conflicts and the contradictions. To listen to the voices of those who had lived the daily one of the war, in the rear or the fronts of combat. To know their personal opinions and reasons that bad taken them to the battle. At last, to try to show " another side of war " in which the silenced citizens bad debated in this weaved woof of agony and glory
Doutorado
Doutor em História
Carvalho, Fábio Reynol de 1973. "Ciência de Almanaque = como as imagens de Eu Sei Tudo construiram uma guerra". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270454.
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Muito antes de uma guerra começar, uma outra fora construída no imaginário de leitores brasileiros. A guerra que ainda não começara era a Segunda Guerra Mundial. Aquela construída foi uma guerra mundial de contornos próprios gerada, principalmente, a partir dos efeitos provocados por imagens e por conjuntos imagem-texto publicados durante o ano de 1939 no almanaque Eu Sei Tudo, do Rio de Janeiro. Fotos, ilustrações e textos e o conjunto desses elementos distribuídos nas páginas da publicação proporcionaram interpretações, sensações, fantasias e movimentaram jogos de significação únicos e que vão além da lógica representacional formal e trazem novas visões e formam novos sujeitos. Reimaginar essas realidades e analisar os efeitos possíveis dessas matérias foram os eixos que guiaram este trabalho. Aproximar-se da potência e das potencialidades de uma fotografia e mergulhar nesse mar de significações fizeram parte da metodologia
Abstract: Well before starting the war, another one was built inside imagination of Brazilian readers. The not yet started war was the Second World War and the built one was a world war with its own contours generated due to effects of pictures and picture-text sets published during 1939 year at "Eu Sei Tudo" almanac, from Rio de Janeiro. Pictures, illustrations, texts and a set of these elements distributed on pages of that publication provided interpretations, sensations, fantasies and played unique games of significations which go beyond formal logic and bring new visions and form new subjects. Reimagining these realities and analyzing possible effects of the magazine stories were the base of this work and helped to guide it. Approaching the power and potentiality of a picture and diving into the sea of its significations made part of adopted methodology
Mestrado
Divulgação Científica e Cultural
Mestre em Divulgação Científica e Cultural
Deweweire, Ingrid. "Image de l'autre, image de soi : ressemblances et divergences thématiques entre la presse américaine et la presse britannique pendant la crise et la guerre du Golfe". Thesis, Pau, 2013. http://www.theses.fr/2013PAUU1005/document.
The invasion of Kuwait by Iraqi troops on 2 August 1990 triggered a large-scale military operation conducted by Washington as well as a huge media campaign. This study seeks to compare the American press with the British press during the crisis and the Gulf war. The main objective is to examine the journalistic discourse of opinion as developed by newspapers belonging to the so-called quality press and deconstruct the ways in which this discourse was developed. This raises questions about the language adopted by editorialists and journalists and in particular about the way in which the Other ‒ enemy and allies ‒ and the “Self” ‒ the USA and the UK ‒ were described by the American daily papers, the New York Times and the Washington Post and the British daily papers, the Times and the Guardian and the Sunday newspapers, the Sunday Times and the Observer during the crisis and the war. The thesis is based on a comparative study of editorials, opinion editorials and letters to the editor published in selected newspapers in order to highlight subjects and themes in connection with the image of the Other and the Self and show the differences and similarities in the processing of information in both the American and the British press
Brás, António Adriano de Matos. "1940. Bordeaux e Lisboa: imagens e viagens". Master's thesis, Universidade de Aveiro, 2003. http://hdl.handle.net/10773/21445.
Em consequência da Segunda Guerra Mundial, muitos milhares de pessoas, vindas de toda a Europa, procuraram refúgio na cidade de Bordeaux. Este êxodo, provocado pelo avanço das tropas de Hitler, atingiu proporções críticas em Junho de 1940, sobretudo após a ocupação de Paris. Com a derrota da França e a chegada das tropas alemãs a Bordeaux, Lisboa torna-se, então, o único porto de abrigo seguro para tantos refugiados que ansiavam, acima de tudo, pela obtenção de um visto e de uma passagem de barco ou de avião para a liberdade, do outro lado do Atlântico. As imagens que alguns escritores traçaram destas viagens e da breve permanência, quer em Bordeaux, quer em Lisboa, daqueles que fugiam ao horror nazi, ajudam-nos, hoje, a compreender melhor esse período conturbado e sombrio da história da Europa: uma história que foi escrita e desenhada, de um modo mais humano e intimista, pelos momentos de medo e de angústia de quem partiu rumo ao exílio e ao desconhecido.
As a corollary of the 2nd World War, many thousands of people, coming from all over Europe, sought refuge in the city of Bordeaux. This exodus, occurring as a response to the advance of Hitler’s troops, became more noticeable in June, 1940, particularly after Paris had been occupied. As France was defeated and the German troops entered Bordeaux, Lisbon became the only safe harbour to shelter so many refugees who wished, above all, to obtain a visa and a ship or plane ticket which would enable them to reach freedom, on the other side of the Atlantic Ocean. The images that some writers traced of these journeys and of the brief permanency, either in Bordeaux or Lisbon of those that ran from the nazi horror, help us, today, to better understand that agitated and shadowed period of European history: a history that was written and designed, in a human and personal manner, by the moments of fear and anguish of those who departed to exile and to the unknown.
Au tout début de la Seconde Guerre Mondiale, plusieurs milliers de personnes, de toute l’Europe, ont cherché refuge dans la ville de Bordeaux. Cet exode, provoqué par l’avancée de l’armée allemande, atteindra des proportions paroxystiques en juin 1940, après l’occupation de Paris. Au lendemain de la défaite de la France et de l’arrivée des troupes d’Hitler à Bordeaux, Lisbonne devient, alors, le seul port d’abri assez sûr pour tant de réfugiés qui espéraient, avant tout, l’obtention d’un visa et une place sur un bateau ou dans un avion vers la liberté, de l’autre côté de l’Atlantique, au Brésil ou à New York. Les images que quelques intellectuels ont esquissées de ces voyages et de ce bref séjour, à Bordeaux et à Lisbonne, de tous ceux qui fuyaient l’horreur nazie, nous aident à mieux comprendre, aujourd’hui, cette période sombre et tourmentée de l’histoire de l’Europe: une histoire humaine et intimiste dans laquelle sont gravés à jamais, de façon tragique et profonde, les moments d’angoisse et de détresse de tant d’êtres qui ont dû tout quitter et se jeter, à corps et à coeur perdus, sur la route de l’exil, vers un ailleurs inconnu.
Fraga, Joana Margarida Ribeirete de. "Three revolts in images: Catalonia, Portugal and Naples (1640-1647)". Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/664390.
Esta tesis tiene como objetivo analizar el papel de la comunicación política visual durante las revueltas de 1640-1647 en Cataluña, Portugal y Nápoles. Las fuentes visuales han jugado un papel de gran importancia en el desarrollo de los conflictos armados, sobre todo si tenemos en cuenta que un elevado porcentaje de la población no sabía leer ni escribir. Imágenes, entre las cuales grabados y lienzos, eran encargados a artistas locales e internacionales de forma a reproducir los mensajes de las dos partes participantes en el conflicto. Éstas eran a menudo exhibidas en lugares públicos y durante las ceremonias. Por veces, una tercera parte – como por ejemplo Francia – participaba en el proceso de producción y difusión de imágenes contribuyendo con sus propios argumentos. En esta tesis he querido responder a preguntas como: ¿quién encargaba las imágenes? ¿Quién era el público? ¿Qué reacciones provocaron? ¿Qué mensajes contenían y cómo fueron percibidos? ¿Cómo contribuyó esta forma de comunicación a los conflictos en causa? Argumento también la importancia de estudiar las tres revueltas como parte de un evento único, la Guerra de los Treinta Años. Al hacerlo, uno va más allá de asumir que se tratan de conflictos aislados y que, como tal, pueden presentar características parecidas en lo que dice respecto a los argumentos que legitimaban las causas, políticas y las consecuencias de las insurrecciones. Este abordaje comparativo me permite detectar posibles intersecciones e interpretar las revueltas como compartiendo una cultura común y de una misma conjetura política. Pese a los posibles peligros de esta metodología y a la inevitable tensión que crea entre generalización e idiosincrasias, me permitió establecer hasta qué punto ciertos argumentos eran – o no – específicos a un territorio. Por fin, me dedico también a analizar cuestiones relacionadas con ritual y comportamiento por parte de las poblaciones afectadas. ¿Era la violencia justificada? ¿Obedecía a un ritual previamente establecido? ¿Cómo reaccionaban las gentes? ¿hay similitudes entre los tres territorios?
Aït-El-Djoudi, Dalila. "Image des combattants français vue par l'ALN : 1954-1962 : l'exemple de la wilaya III". Montpellier 3, 2004. http://www.theses.fr/2004MON30051.
This work on fighters' memory of the algerian war underlines the reflexion (thought) of a restrocpective look from a french point of view and from the algerian perception of the conflict. We try to confront fighters of the “ ALN ” with the image they convey and with the perception they have of the french combatants. This approach allows to take in account the opinion, the judgment of the other side, the same judgement against witch the french combatant fought. The vision of the french combatants is as much a matter of strategy as a matter of the evolution of the conscience. It reveals a certain state of the mind but above all, it constitutes in times of fighting a privilegied means of propaganda. The representation of the enemy (opponent) is linked to the rejection of the colonial system. The feeling of otherness (alterity) is influenced by the political nature of war. This work of reconstruction whose recollection makes up on the privilegied contributions of this thesis, comprises a corpus of seventy-nine testimonies from veterans of the “ ALN ”, recorded in Algeria and more particulary in Kabylia (the old wilaya III) between 1999 and 2002
Al, Khaled Khaled. "L'image du Yémen dans les hebdomadaires français depuis la première guerre du Golfe jusqu'à l'attentat manqué du 25 décembre 2009". Thesis, Paris 2, 2012. http://www.theses.fr/2012PA020086.
In the international media, Yemen today is irrevocably associated with the topic of terrorist violence. From a fantasized Yemen know as Arabia Felix, the French weeklies seem to have moved now to a criminalized Yemen, that of the experts on terrorism and geopolitical threats. The media high exposure per cycle of such country, usually low-profile, produces mainly its own set of shortcuts. Paradoxically, areas that were the cradle of ancient civilizations of Yemen have now become the most backward tribal areas and the most criminalized. The most populous country which is also a singular place and the only republic of the Arabian peninsula, continues to be the subject of so many fantasies as well as ignorance. Poor, tribal, and Islam as its single cultural horizon, with bands of Al-Qaeda rising powers and political instabilities in the north and south, Yemen is presented by a caricature in the studied weekly for 20 years, starting from the first Gulf War ending with the failed attack on December 25, 2009, considering of course September 11 and its aftermath. This thesis seeks to know why the country's image of “The Queen of Sheba” went to the "Origin of the bin Laden family" and also "Country of sixty million arms": the clichés abound on Yemen. At the same time, this thesis aims to provide analysis and insights on the complexity of Yemeni society, which is complex and critical at all levels, and now engaged in a revolutionary turn