Tesis sobre el tema "Lieux et paysage"
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Souto, Egídia Marques. "Nuno Júdice ekphrastique : lieux, corps, paysage". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030109.
Texto completoNuno Júdice is one of Portugal's contemporary poets who has, during his entire literary career, held a privileged relationship with the arts. Even before his first published book, Noção do Poema(1972), the poet endeavored to communicate with the painted image. He establishes a subtle slippage between poetry and painting, but also between painting and poetry. He mines a universe of inseparable memories of the pictorial world. This singular and fecund dialogue with painting allows us to observe how ekphrasis becomes a process of transposition and a base for a profound reflection on the poetic 'how-to'. Our research thus concerns the ekphrastic relationships, which are woven through his whole work. We analyze, with a thematic approach, the means with which the poet brings painting to his writing in moving from one artist's studio to another. We start from two hypotheses: the first stipulates that for Nuno Júdice, painting is the means of linking the two arts, allowing the creation of an another painting from the poet's words; the second emphasizes that the practice of ekphrasis stimulates a possibility of retrieving memories. In our interrogation of the intersemiotic play and the poetry/painting analogies, we show that landscape, place and body articulate around one and the same principle. Is it perhaps, ultimately, about provoking feelings and reinventing the world?
Bergé, Aline. "Philippe Jaccottet, trajectoires et constellations : lieux, livres, paysages /". Lausanne : Éd. Payot Lausanne, 2004. http://catalogue.bnf.fr/ark:/12148/cb39953489m.
Texto completoThémines, Jean-François. "Paysage et société : lieux, culture et enracinement au coeur du bocage normand". Caen, 1989. http://www.theses.fr/1989CAEN1060.
Texto completoThe sensitive and reasoned approach of the landscape makes it possible to reveal its functions, meanings and worth. From real places to imaginary horizons, from walking to the reading of archives, the landscape is looked upon, glanced at questioned and finally draw. Three approaches (industrial, domestic and local) are to be found in the last two centuries in the norman bocage ; the study each case and micro-scale are given greater importance, so as to save the utmost authenticity of human experiences in the places. The landscape of the bocage appears as the expression of a society and culture giving a greater importance to entrenchment. It also contributes to social reproduction, to the protection of the forbidden values, and to the own identification of this society
Cormerais, Anne Cécile Ballereau Françoise. "Pharmacien, un métier au cœur du paysage social état des lieux et évolution /". [S.l.] : [s.n.], 2009. http://castore.univ-nantes.fr/castore/GetOAIRef?idDoc=54236.
Texto completoBéguin, François. "La construction des horizons. Nature, lieux, paysages dans la litterature et la geographie". Paris, EHESS, 1991. http://www.theses.fr/1991EHES0318.
Texto completoConfrontation of literary texts and geographical items chosen amongst european and american authors having published between 1780 and 1950. These texts deal with notions such as locus, landscape and nature. The mains purpose of this study are : 1) an exam of descriptions where these three notions seem to be associated with precises experiences concerning spatial reality : horizonq, i. E. Objects observed from a determined point at a specific moment in history. We try to define the organisation of spatial relationships between these objects. 2) the geographical approach, where observers try to recognize the spatial elements issued from the major physical constallations - human as well as natural -, is compared with others approaches. The structural qualities observed by geographers are diffenrenciated from those resulting from the analysis of less formalised ans more fragile spatial's unitites that allows to control emotional effects. 3) the critical evaluation of several transformations of the earth's surface resulting from the evolution of technical equipments - especially transports is considered through the modifications of vulnerable and subtle configurations such as landscape and locus
Nys, Philippe A. "Eléments pour une herméneutique et une phénoménologie des lieux de l'habiter: jardin-architecture-paysage". Doctoral thesis, Universite Libre de Bruxelles, 1995. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212514.
Texto completoBrayer, Laure. "Dispositifs filmiques et paysage urbain : la transformation ordinaire des lieux à travers le film". Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENH008/document.
Texto completoStarting from a consideration of the landscape, as it is configured daily by individual and collective practices which are supported by the landscape and from which the landscape is being shaped, this PhD thesis in architecture focuses on the ordinary transformation of places and questions the ways through which we can understand it in order to think out the becoming of these places. How can we take into account the dynamic of the ambiance in order to think about the design of a place? In that perspective, this research questions the scope of film (as a medium, as a practice and in its reception): what does filming allow us to understand of the ordinary transformation of places? This work investigates the potential of audiovisual images in terms of perception, representation and shared designing of urban public spaces. How can film facilitate the understanding of the states and transitions of the relationship between space and bodies – considering that bodies perceive and act at the same time? In order to study that question, a specific methodological protocol, open to heterogeneous uses of film for the understanding and the designing of cities, was worked out. It led us to the analysis of four frameworks: 1. Collecting and selecting existing films; 2. Observing a video project within the context of an urban study; 3. Filmmaking; 4. Experimenting film practice with architecture students. These four frameworks address the question of filmmaking in different ways: status and stakes of the use of film, involvement in fieldwork through film practice (involvement in space, in time and in relation with others), film postures and relations to the world. Secondly, our research raises the question of film reception. It is, then, from a collective experience of reception that film becomes the base of a dialogue between people who are invited to share and debate about their own experiences. The plurality of registers coming from the film reception and its discussion (what is sensible, perceptive, interpretive, critical and creative) becomes the base to work out a common design. From these considerations of the scope of film, it appears in the background that the sensible register and collective improvisations are of paramount importance in the understanding and designing of urban public spaces
Brossard, Sylvie. "Rites et lieux de l'enfance, reconstruire l'idée de nature : éléments pour une pensée sauvage de l'architecture et des paysages". Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20023.
Texto completoThis thesis stems from the genesis at child age of the idea of Nature, a process that induces policies for land settlement, for space planning, or for the protection of nature. The first part accounts for the cultural dimension of the idea of nature, building upon a history of how nature has been taught about at school, the work of nature anthropologists, and a history of how landscape has been taken into consideration by town planning public research policies in France in the past 50 years. The conclusion of this part identifies the social demand for nature. The second part traces the genesis of the idea of nature in the child, who is totemist at his birth, then naturalist as soon as he feels himself loved, then animist when he thinks the world as finalized for the satisfaction of his needs. This part underlines the importance of education and living environment in the process of transformation of child’s naturalism into a less finalized representation of the idea of nature, and suggests it is of interest to accompany the affective foundation of the child’s representation of the world by a concrete and sensory practical experience. In the third and conclusive part, we invite the designers to walk down the path of living a wild idea of architecture and landscape planning and share it with their beneficiaries, in order to contribute to the necessary rebuilding of an idea of nature being territory-aware, concrete, and affect-responsible. This perspective is rendered by the proposal of setting up a National Landscape Plan aiming at building the landscape culture on new foundations, in particular for aesthetics
Brossard, Sylvie. "Rites et lieux de l'enfance, reconstruire l'idée de nature : éléments pour une pensée sauvage de l'architecture et des paysages". Electronic Thesis or Diss., Toulouse 2, 2013. http://www.theses.fr/2013TOU20023.
Texto completoThis thesis stems from the genesis at child age of the idea of Nature, a process that induces policies for land settlement, for space planning, or for the protection of nature. The first part accounts for the cultural dimension of the idea of nature, building upon a history of how nature has been taught about at school, the work of nature anthropologists, and a history of how landscape has been taken into consideration by town planning public research policies in France in the past 50 years. The conclusion of this part identifies the social demand for nature. The second part traces the genesis of the idea of nature in the child, who is totemist at his birth, then naturalist as soon as he feels himself loved, then animist when he thinks the world as finalized for the satisfaction of his needs. This part underlines the importance of education and living environment in the process of transformation of child’s naturalism into a less finalized representation of the idea of nature, and suggests it is of interest to accompany the affective foundation of the child’s representation of the world by a concrete and sensory practical experience. In the third and conclusive part, we invite the designers to walk down the path of living a wild idea of architecture and landscape planning and share it with their beneficiaries, in order to contribute to the necessary rebuilding of an idea of nature being territory-aware, concrete, and affect-responsible. This perspective is rendered by the proposal of setting up a National Landscape Plan aiming at building the landscape culture on new foundations, in particular for aesthetics
Baranes, Angela. "La formation d'un paysage chrétien au Danemark viking et médiéval : Logiques spatiales et pratiques sociales (VIIIe-XIIIe siècles)". Electronic Thesis or Diss., Université Côte d'Azur, 2024. http://www.theses.fr/2024COAZ2001.
Texto completoThe aim of this thesis is to study the making of a Christian landscape in Denmark during the period of Christianisation (8th-13th century), using a combination of textual, material, toponomastic and cartographic sources. The religious transition took place gradually, not imposed by the Christian neighbours, but by the gradual acceptance of the Christian faith by the elites. It involved social transformations that also had spatial consequences, modifying the form, practice and conception of spaces, places and landscapes. The aim of this research is to carry out a systemic analysis on a small scale, looking at historical Denmark in its entirety and breaking down the chronological and disciplinary boundaries (Protohistory and the Middle Ages; history, archaeology and geography) hitherto maintained in research. Divided into three chrono-thematic parts (missionary period, 'official conversion' and institutionalisation), the thesis sets out to understand the mechanisms and evolution of the establishment and sacralisation of places of worship and funerary sites, the forms of which vary from one period to another, as well as the development of pastoral territories. Ultimately, the aim is to determine whether the spatial and monumental expressions of Christianisation form part of a continuity or a break with the earlier pagan period, and whether there are similarities with the Christianisations carried out in Europe in previous centuries. This work is based on the development of several corpus of textual sources and inventories of monuments, objects and sites (ecclesiastical and funerary sites, liturgical objects, runestones with Christian characteristics, using cartographic production and GIS tools that place the sites in their context (biophysical occupation of the land and human occupation, roads, place names)
Dalmon, Sébastien. "Espaces et lieux de culte des nymphes en Grèce ancienne". Paris 7, 2016. http://www.theses.fr/2016USPCC105.
Texto completoThe common representation of the Nymphs often narrows them down to the condition of female deities of natural areas. This piece of work contemplates going beyond this somewhat reducing vision, by precisely assessing these deities’ relations with different types of places and spaces, and in doing so, tries to unfold their specific modes of action, including the mediation they operate within the ancient Greek polytheistic system. Part one endeavors to bring out various types of Nymphs and how they act in the spaces they inhabit in the traditional narratives known to literary sources, especially poetry (from the Archaic to the Hellenistic period, combining the Greek Anthology): water world (sources, rivers, wetlands, maritime space), rural spaces (mountains, caves, woods and forests, grasslands), remote locations (fringes of the world, underworld) or close to human beings (gardens, homes and the city space). Part two deals with Nymphs’ various places of worship (springs, caves, altars, urban and other sanctuaries), studying their diverse configurations, archaeological and epigraphic accounts, rituals put in context and divine associations one can discern (limited to mainland Greece up to Thessaly and the outstanding site of Delos). One may also have to look into the consistency–or occasionally, the disparity–of the Nymphs’ depiction in poetic sources, with the reality of cults and their location
Banaré, Géraldine. "Edouard Glissant et les arts plastiques : imaginaire du monde et topographie des "Lieux"". Thesis, Antilles, 2020. http://www.theses.fr/2020ANTI0599.
Texto completoThis investigative work explores how Glissant’s words combine with the plastic lan-guage. Édouard Glissant's relationship with the visual arts is intimate, sensitive. In La Cohée du Lamentin (2005), for example, the writer offers his reflections on artists from Latin Ameri-ca and the Caribbean, whose aesthetics he has studied or who personally frequented : the Cu-bans Wifredo Lam, Agustín Cárdenas and Jorge Camacho ; José Gamarra, the Uruguayan ; Roberto Matta, the Chilean ; Seguí, the Argentinean ; Pancho Quilici, the Venezuelian. For Glissant, artistic creation is reflected in a poetic relationship to the space-world, through a topographic dimension where dream or real places are printed. The poet invites us to think of creation in relation to the primordial energies, where the sites of genesis and of digen-esis keep traces, memories, passages, the contacts of the imaginary, from which the unpredict-able, which initiate novelty. The imaginary of the world is created, develops in a complexity where the senses, the visions of the world are mixed together, through the multiple sensitivi-ties. We discover that the poet’s writing echoes the field of the plastician, but his writing is also developed through contact with paintings and sculptures or through exchanges with his plasticians friends. Writing is consistent with the plasticity of shapes, colors, materials, creat-ing a sensitive, even fusion, relationship to places and landscapes
Bélanger, Michelle. "Vers le paysage : photographie et aménagement des territoires miniers". Doctoral thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/34173.
Texto completoThese past years, a change of attitude towards mining territories can be felt. Long seen as derelict or even ruined, those territories are now perceived as important historical witnesses and are, therefore, preserved as heritage landscapes. In 2012, for example, the Nord-Pas de Calais Mining Basin was included in the World Heritage List as an organically evolved cultural landscape. Having unique characteristics, mining landscapes are also requalified, in certain regions , as touristic attractions. They then become , just as natural landscapes are today, vectors of economic growth. The mine, harnessed for its natural ressources, is now assigned new values and, as well, new roles. Indeed, who would have thought that it would one day be managed and planned the same way beautiful landscapes are ? Conveying this new attitude towards mining sites , more and more photographers, from all backgrounds, represent them as landscapes. Artists , for example, showcase their wide range of shapes through esthetic images. With the advent of the digital era and online photography sharing, the amateur photographer , who is always searching for spectacular places to photograph , reclaims this type of representation. Disseminated on the web in an ever - increasing number, these photographies do not only attest of a new way of seeing mining territories as landscapes, but without a doubt also shape their perception. This research aims mainly at better understanding the spread of a new way of perceiving mining sites as landscapes . Since the photographic image stands as a witness and possibly as an actor of this phenomenon , it is used as the connecting piece to examine how mines can become landscapes. Focusign on the province of Quebec , this thesis analyses the practices through which mining sites are modeled and converted into landscapes, like patrimonialization, tourism development and nature restoration. These pratices, taking part in a process called empaysagement minier (mining landscaping), are then examined through photography and the landscape archetypes it produces. The photographic image quickly reveals itself as influencing not only the way we see mining sites, but it also seems to guide the way they are reappropriated and inhabited once they are perceived as landscapes . Therefore, photography and planning of mining territoires both reveal themselves as being more and more landscape oriented .
Estager, Sylvain. "Un objet géographique entre marginalité et territoire : la vigne en Haute-Saône". Thesis, Lille 1, 2008. http://www.theses.fr/2008LIL10128/document.
Texto completoStatically, in Haute-Saône, vine growing in today a marginal culture. Nevertheless that region is full of vine prints like micro-parcels for hobby; front trellised vines, vine grower architecture or constructions, feasts, lieux-dits or local dictum in relationship with vine ... Taking ail those vine prints into consideration leads to believe that vine growing is not such a marginal culture. As a matter of fact, vine vestiges or sorne practices of everyday Iife remains to an important vine-producing past. Until the beginning of the XXè century, it used to take an important place in those countries. Vine producing economy's disappearing is often explained as a consequence of phylloxera. ln fact, it is necessary to examine dynamics that leads to a no longer valid production system. Vine growing turns away from commercial production to specialize in subsistence farming production. It is still an essential component of everyday life for those countries' inhabitants. As for as knowhow and practices which have reference to vine are full of remembrance, of things which have been lived through, and of an emotionallink, it enables to built a sort ofidentity for people of this area. At last, this object of study, even if it looks Iike marginal, opens on values of identity, remembrance and territory
Aubry, Hélène. "Postmodernité et bouddhisme zen japonais : d'une sémiotique de lieux, le cas du jardin sec Ryôan-ji". Doctoral thesis, Université Laval, 1991. http://hdl.handle.net/20.500.11794/33546.
Texto completoLes conditions particulières du transhistorique réalisent encore une forme de consensus de l'historia entre les passages de frontière d'un tel corpus historique pluraliste et des séquences d'argumentation, dont notamment l'inclusion de modèles stratégiques. D'où l'intégration possible des champs de la postmodernité et de la proto-philosophie bouddhique japonaise, qui rejoignent un processus de montage et de démontage des ruines textuelles, en regard d'une dialectique opératoire de conformité et de non-conformité du sens. L'histoire du code, la protophilosophie et l'esthétique bouddhiques zen japonaises entre les 12e et 15e siècles, supposent ainsi une rhétorique et un métalangage dont les règles du savoir véhiculent des paramètres langagiers paradoxaux. Les kôans évoquent à cet égard un encodage communicationnel du texte qui exige une réceptivité de l'entendement hétérodoxe d'après les modèles langagiers performatifs. L'analyse du métasystème bouddhique japonais permet alors une validation critique des corpus textuels afin d'établir une spéculation hypothétique quant aux agrégats interprétatifs.
Le corpus textuel de cette recherche vise principalement les positions de Toshihiko Izutsu, Abe Masao, Martin Colcutt, Hebert V. Guenter, Chung-Ying Cheng, Philip Yampolsky, Robert D. Baird, Tom J.F. Tillemans; ainsi que celles de certains philosophes tels que Nishida Kitaro, Hisamatsu Shin'ichi, Hajime Nakamura, Jacques Masui, T.P. Kasulis, Sung Bae Park, David Appelbaum, et David E. Shaner. Dans ce contexte d'érudition, les approches méthodologiques et théoriques de Roland Barthes, Julia Kristeva, Linnart Mail, Ryôji Nakamura, René de Ceccaty et Gilles Deleuze sont aussi prises en considération comme valeurs d'interprétation de certaines problématiques soulevées en cours d'analyse.
En outre, l'étude d'un concept, celui de vide par exemple, soit le sunyata, réfère tant aux discussions sur la valeur symbolique du dispositif zérologique en psychanalyse, qu'à la mise en forme d'un espace de non représentation. Car dans l'état de crise actuelle du discours occidental, le statut même du silence comme de l'éthique remet en cause la conception du logocentrisme européen. En sémiotique des lieux, l'étude du jardin sec, le Ryôan-ji, serait en conséquence un tel recoupement synthétique de la tradition du système esthético-philosophique bouddhique zen japonais et des théories postmodernes. Cette grammaire in situ intervient sur des praxis actuelles en histoire de l'art: soit, a priori, sur les postulats du musicologue Daniel Charles dans ses «Gloses sur le Ryôan-ji» et au niveau du corpus critique sur l'oeuvre de John Cage.
C'est dans ce contexte que la philosophie cosmogonique et l'oeuvre «Atlas Eclipticalis» de Cage se définissent sémiotiquement avec le structuralisme, une logique triadique et une architecture des théories du jardin, ainsi qu'une application du corpus peircéen sur la trichotomie du signe. Là, un archétype topologique, le ma (1'espace-temps), permet de circonscrire les paramètres discursifs et cognitifs clés actualisés par l'architecte d'avant-garde, Arata Isozaki. Dans le modèle du jardin Ryôan-ji plus particulièrement, le fondement des propriétés cosmologiques comme valeur hypothétique du lieu architectural, concernerait dès lors hic et nunc les relations céleste/terrestre, diurne/nocturne, dans la redéfinition pragmatique d'une grammaire in situ.
Montréal Trigonix inc. 2018
Davrinche, Anne. "Le paysage religieux de Senji. Étude architecturale et iconographique des édifices religieux de la ville de Senji (Tamil Nadu, Inde du Sud) et de sa région". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA074/document.
Texto completoThe archaeological site of Senji (Gingee) stands in Tamil Nadu, in Southern India. Senji is famous for its fortified walls and castles built upon and between the three main granitic hills of the area, which contributed to change this part of the Tamil country History between the 15e and the 19e centuries. Known for its military aspects, the religious architecture of Senji had yet never been under proper and full study. This dissertation tries to make a detailed study of the Hindu stone temples and places of worship in Senji and its close area. The research focuses on the pan-Indian Hindu temples and analyses the existing relation between them and the local goddesses whom places of worship are not systematically built in long lasting materials. Monuments are situated in the original historical context, mainly in the 16e century during Vijayanagara-Nāyaka domination. The history of Senji’s Nāyaka dynasty is also analysed in order to understand the concepts that rules temples constructions à these times, and the use of religious architecture in this troubled and warfare context, serving the purpose of legitimacy of their power on the 16e century. This research also tries to consider Senji as the object of conservation and preservation, and in terms of Indian cultural and architectural heritage
Boucher, Louise Nathalie. "Interculturalité et esprit du lieu : les paysages artialisés des chutes des Chaudières". Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/22800.
Texto completoPenhoat, Hervé. "Mutation(s) du paysage contemporain : entre analogique et numérique : hors-champs, instants, non-lieu". Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H314.
Texto completoWe can be in one place in the world and take pictures of places located at hundreds of kilometers away. The distance, that up to now, used to be limited to our eyes’ perception, has no more limits, thanks to new technologies. This thesis analyzes the position of the artist in the treatment of landscape in view of the choices offered between analogue and digital.This would be the multiplicity of the technological possibilities, that through the hands of the artist, allows to mutate the contemporary landscape. According to our hypothesis, the Mutation(s) of contemporary landscape, would not be based exclusively on a temporal continuity, following the technological evolution, that progressively forgets the analogue in favor of the digital. There would be this In Between that would be at the center of our questioning. The thesis develops itself in 3 parts, like a sort a tryptique: off-track - instants - out of place, based on our practice as artist. Departing from our Brittany origins, we will immerse into the Celtic legends (the “Anaon”, the “intersigne”, etc.) and cultures that will take us to Asia (the “evaporated” in Japan, etc.), shifting between the technologies, between the visible and the invisible, between the real and the virtual.In the end, the mutation (in plural) is one and many at the same time. This complex representation (in the sense of Edgar Morin) reminds that of Yi-Jin, of which his definition suggests the relationship between signs. It is not without the proximity of the Oghamic writing, that is an ancient Celtic alphabet. Our position is that the Ogham, in connection with the Yi-Jin, would be part of a new definition of the contemporary landscape
Fortin, Marie-José. "Le paysage comme lieu d'expression de l'identité rurale : le cas de la communauté de Petit-Saguenay". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ40548.pdf.
Texto completoPillant, Laurence. "La frontière comme assemblage : géographie critique du contrôle migratoire à la frontière orientale de la Grèce". Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0268/document.
Texto completoSince the start of the millenium Greeceʼs eastern border has witnessed an increase in the flow of irregular migrants from Africa, the Middle East and Asia. Although the country entered Schengen a few years back, its immigration laws catered mainly for arrivals from Albania, an immigration that the autorities wanted to keep under control and where expulsions were possible. Throughout the noughties, new places of confinment were built in response to increasing numbers of migrants at the border between Greece and Turkey, and based on a combination of political decisions taken locally, nationally, at European level and even globally. This essay deciphers these trends, what is at stake and the consequences that they carry. From a theoretical and methodological point of view, encompassing a social and political approach in geography, borders are considered as an assemblage. This makes it easier to understand how migratory control expands beyond the geographical line of separation between Greece and Turkey and into new spaces involving new players. This expansion of the borders is the result of the legal framework, the policing practices at all levels and the sociocultural environment of these areas. The way in which these various elements come together to form a border that is both reticular and performative, enables us to position our thoughts within the geographical debate on new forms of contemporary borders and their localisation. From crossing the border to life inside the greek territory, this thesis presents the ways in which border situations are created and reproduced for the migrants in that country
Hilaire, Sylvain. "Port-royal des champs, haut lieu de mémoire : étude des jardins et des paysages culturels". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCD073.
Texto completoThe study develops a global approach to the history of a Chief place of memory, Port-Royal des Champs, using the lens of the garden and the landscape as a heuristic key to re-read the history of Port-Royal and Jansenism, but also the stakes of classical modernity in the 17th and 18th centuries. The methodology crosses approaches in cultural history and environmental history, with a multidisciplinary approach of the notion of "Port-Royal Rosette". It first consists in observing the levels of religious interpretation, from biblical, monastic and Augustinian acculturations, to the Tridentine revival of the first 17th century, and their oscillations between the ascetic desert and the garden of paradise. Aesthetic, poetic and pictorial approaches are then deployed, with their primitivisms and naturalist temptations, through the search for traces of an original nature, without forgetting their technical translations into horticultural, botanical and agronomic knowledge. Finally, there are landscape and territorial dimensions, which mark the expression of a Versaillian counter-model incarnated in space. This landscape myth crossed the centuries, from the networks of the Republic of Letters of the seventeenth and eighteenth centuries, to the interpretive waves of the Revolutionary period, the Romantic age until the middle of the twentieth century. The aim is to propose a global study of a "landscape figure of the Nation", its founding principles, its memory flows and ebb, and its long term processes of (de)sacralization and patrimonialization
De, Marco Rosa. "La construction du lieu à l'époque de l'Utopie véritable : le Pic du Midi de Bigorre : pour une connaissance sensible et faisable du lieu et du paysage". Paris, EHESS, 2003. http://www.theses.fr/2003EHESA121.
Texto completoNowadays, thanks to new technological instruments we can know about places and events without actually being there; consequently, the "questions of place and of landscape" become more and more important and necessary. This doctoral thesis aims at defining the notion of "place" and an appropriate methodology to conduct it. In the first part, a dialectical process explains the interdisciplinary status quaestionis about space, place and landscape. It leads to the "asymptotic definition" of place, based on the notions of multidimensional spaciality in which the human body has a central role. In the second part, this theoretical system is applied to a concrete case : the construction of the Pic-du-Midi de Bigorre in the last two centuries, before and after the astronomical observatory was built. This place is studied from various aspects-symbolic, measurable, sensitive, memorable-which makes up its spatitality
Labrusse, Sébastien. "Sentiment de la nature et esthétique du lieu chez Jean-Jacques Rousseau". Paris 12, 2002. http://www.theses.fr/2002PA120040.
Texto completoThis thesis shows how Rousseau transformed the meaning of the word Nature. He first developped the idea of Nature to reflect on politics. It occured to him that nature was a place where violence had no dominion, insofar as it was outside of history. But this primitive state of nature has been lost to such an extent that it is no longer neither possible nor desirable to return to it. Nevertheless, Rousseau passionately sought a "wilderness" or "desert " that had survived intact. But he was only able to encounter this within his own heart. By deliberately confusing it with subjective experience he proposed a radical re-definition of nature which cannot be reduced to objective fact. External nature, place and landscape exist only in relation to a subject. We hold, therefore, that Rousseau's aesthetics can only be understood with reference to his philosophy of the inner life
Grenet, Sylvie. "Le génie du lieu dans l'aquarelle anglaise (1750-1850)". Paris 4, 2004. http://www.theses.fr/2004PA040041.
Texto completoThe function of the genius of [the] place, whose sacred origin dates back to antiquity, is to preside over a given place and to maintain its sacred and ancient characteristics. The expression "genius of [the] place" reappears in English literature during the 1730s, particularly when the authors describe real places. British watercolours of the Golden Age (1750-1850) also represent real places. The goal of this thesis, based on the study of these watercolours, is to demonstrate that 18th-century artists still keep the sacred alive, even when they represent real places. It also aims to show that the only way for artists to keep the place alive is to deny 18th-century rational thought, which tends to make the place disappear, and to reassert the existence of sacred thought. The study of the relationship between sacred thought and watercolours is divided into two parts. The first is devoted to an overview of 18th-century watercolours (Chapter 1) and of the texts mentioning the genius of [the] place (Chapter 2). The second deals with the analysis of nature (Chapter 3) and history (Chapter 4) in relation to the sacred
Taunay, Benjamin. "Le tourisme intérieur chinois : approche géographique à partir de provinces du sud-ouest de la Chine". Phd thesis, Université de La Rochelle, 2009. http://tel.archives-ouvertes.fr/tel-00538154.
Texto completoLescot, Shantala. "Création contemporaine et territoire, résidences d'artistes et génie du lieu : contextes, modalités, valeurs". Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30030.
Texto completoWhy, where and when artist residencies have established in the Aquitaine region? How did they approach the implementation of institutional recommendations? What are these so-called structures and how are they organised in rural areas to ensure an actual visibility of contemporary art? Between art phenomenon, cultural programming and social actions, how does landscape immersion require to rethink art practice and its relationships with territorial collectivities, people and nature? Unprecedented encounters and experiences may happen thanks to showcase, design, life experience and key situation of artist residences in the heart of territories. The artist’s presence might reveal or wake up one’s qualities and full potential, enabling to give an unexpected picture of places and connections between territories and people. It is precisely because the “artist in residence” concept and the “artist residencies” facilities have different approaches to the ideas of places and landscape contexts that we decided to review the evolution of the artist’s relationship to space, landscape and populated areas – throughout his “migratory path” – so as to be able to understand the effect of mobility experience on artistic creation and connection to places. While distancing conventional definitions of landscapes, we will present the idea of a living and stimulating entity from which a new way of seeing and designing the world may occur. The revealed Genius Loci appears to have its temporary roots, dynamic and complicit with creative work
Ndemby, Manfoumby Wilfried Hermann. "L'écriture des lieux de mémoire dans quelques romans d'Afrique et des Antilles". Thesis, Lyon, 2019. http://www.theses.fr/2019LYSES029.
Texto completoThis thesis aims at re-defining the French concept of« place of memory » as defined by Pierre Nora in the West Indian and African spaces through the relationship between literature and history. Indeed, slavery, colonisation and apartheid serve as a background to a wide range of representations of places of memory in West Indian and African literatures. This thesis is composed of three main sections. The first section provides some historical context that allows connecting Africa and Caribbean Islands. The second section scrutinizes the topographic aspect of the places of memory in various ways: toponymy, heterotopia, spaces of power and landscapes. The third section, which sheds light on the notion of figure of memory, focuses on the experiences of historical and fictional characters, which enable to define new kinds of heroism.To that extent, this study leads to think about the challenges of collective memory of people in a postcolonial background in which « memories war » spreads out
Fortin, Marie-José. "Paysage industriel, lieu de médiation sociale et enjeu de développement durable et de justice environnementale : les cas des complexes d'Alcan (Alma, Québec) et de Péchiney (Dunkerque, France)". Thèse, Paris 1, 2005. http://constellation.uqac.ca/535/1/24605668.pdf.
Texto completoGodoi, Emília Pietrafesa de. "Le système du lieu : usages et représentations de la terre chez les paysans du Sertão (Piaui - Brésil)". Paris 10, 1998. http://www.theses.fr/1998PA100158.
Texto completoRoudeau, Cécile. "Pays, pages, paysages : écriture du lieu : la Nouvelle-Angleterre de Sarah Orne Jewet, Mary E. Wilkins Freemen, Alice Brown et Rose Terry Cooke". Paris 4, 2007. http://www.theses.fr/2007PA040225.
Texto completoThe thesis argues that New England women writers, and Sarah Orne Jewett principally among them, rewrote New England as a literary locus and territorial muse. Their rewriting is placed within the larger context of New England’s transition from a normative and synecdochic center of the nation to a region among others. By choosing a genre and a literary object which had been classified as minor, these women-writers transformed the place to which they had been assigned in the world of letters into a site of creation (lieu)–that is a site of continuous invention. They used the malleability of the margins to reshape the tropes of the New England imaginary in their own words. In lieu of a New England which has been interpreted alternatively as either a site of local color or, more recently, a deterritorialized region, the thesis reterritorializes the life and shape, history and memory of this locus which both framed the work of women writers at the turn of the twentieth century and was reinvented by them
Schalchli, Edouard. "Le non lieu imaginaire de la guerre : pour une lecture de la "Lettre aux paysans sur la pauvreté et la paix" de Jean Giono". Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30002.
Texto completoThe Lettre aux paysans sur la pauvreté et la paix (Letter to the Peasantry on Poverty and Peace), written before the Munich Agreement and published after it, in 1938, has become an illegible text. Related to Virgilian idylls, it nonetheless differs from them because it does not elaborate about peasants but addresses them. If Giono is a distinguished novelist, his essays are judged severely, his romantic lyricism is felt to be ineffective in non-fiction, and they appear to miss the fertile ambiguity of his novels. Thus, they were knowingly ignored or taken for awkward concessions to some weak social discourse. Worse, this anti-technological stance for peace and for peasantry, fed by the experience of the World War I, seems to be emptied of all substance by the historical events which followed it and by the vague appropriation of some of its themes by Petainism, that will contribute to put Giono on the official blacklist of banned writers after World War II.From tales on "current times", the novelist turned after the war to fictions rooted in a Stendhal-related temporality. And chronologically, the Letter is the pivot of Giono’s "two" works or “two” styles and reflects an inner crisis that sheds light on their elusive bond. Why did-it then remain a sort of blind spot, impossible to face? Examining this letter and its reception, acutely raises the issue of the relationship of the text with both its writing and reading contexts, especially as the Letter aims to be an action, with an effect on History. Albert Camus has read and chronicled it at the time; Bernard Charbonneau, the precursor of political ecology, was without a doubt inspired by the Letter without actually quoting it, and Maurice Blanchot’s silence in the article he wrote on Giono in 1942 is also significant.What happens if one chooses another context for the Letter, if one reads it from the point of view of the 1970s moral and political crisis, under the light of the Larzac struggle, if it is considered from the stance developed in Jean Baudrillard’s writings? What then is entering the moment in which the text and its reader coexist?
Bigando, Eva. "La sensibilité au paysage ordinaire des habitants de la grande périphérie bordelaise (communes du Médoc et de la basse vallée de l'Isle)". Phd thesis, Université Michel de Montaigne - Bordeaux III, 2006. http://tel.archives-ouvertes.fr/tel-00148440.
Texto completoReyna, Alejandro Jose. "La construction de l'hétérogène dans la musique de Luc Ferrari : lieu, récit et expériences. : analyses d’Hétérozygote, Far-West News et Chantal, ou le portrait d’une villageoise". Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080107/document.
Texto completoThe objective of this thesis is to understand how Luc Ferrari builds the heterogeneity of his music. The composer conceives creation as a space in which, according to his words, ideas that do not “necessarily have links between them” meet each other. Pieces then become a space of cohabitation, of friction, in which other components share space with "music", in the narrow sense. The propositions “place, story and experiences” are attempts to characterize these others components that constitute the heterogeneous of Ferrari’s music. In the first part, "music and place," we see how pieces become, at times, places. Real spaces, externals, in relation to a lived experience. In this part we will analyse Hétérozygote. In the second part, "music and story", we study the importance that composer give to the narrative in his work, starting from the sons anecdotiques to the general evolution of scenarios. With the analysis of Far-West News, we measure how Luc Ferrari’s works rely as much on musicals forms as on the development of stories. Finally, with the third part, "music and experiences", we want to refer to a confluence of experiences: the anecdote of the composer resonates in the experience of the listeners, who dump their experiences into the pieces. Through the expression of his experience, Luc Ferrari calls and works with these subjective experiences of listeners, who will also share the spaces of works. To explain this idea, we will analyse Chantal, ou le portrait d’une villageoise
Quirion, Dominique M. "Métamorphoses du paysage religieux et paroissial à Montréal : les dimensions socioculturelle, paysagère et territoriale au coeur d'un développement local et communautaire en contexte multiconfessionnel". Thèse, 2005. http://hdl.handle.net/1866/17603.
Texto completoSanterre, Mélissa. "Les paysages décapés, l'art comme stratégie de ralentissement et comme prémisse à la création du lieu-autre". Thèse, 2011. http://constellation.uqac.ca/2139/1/030189085.pdf.
Texto completoVincent, Stéphanie. "Espaces de retour : dynamiques spatiales, mémorielles et identitaires dans Le premier jardin d’Anne Hébert et Surfacing de Margaret Atwood". Thèse, 2016. http://hdl.handle.net/1866/19087.
Texto completoCe mémoire porte sur les interrelations entre les dynamiques spatiale, mémorielle et identitaire dans Le premier jardin d’Anne Hébert et Surfacing de Margaret Atwood. Ainsi, on cherche à savoir comment les concepts d’espace et de lieu permettent de mieux comprendre les dynamiques mémorielles et identitaires en jeu dans les récits de retour. En s’appuyant sur une expérience commune, celle du retour au pays natal, nous étudierons comment les difficultés qu’éprouvent les personnages à se remémorer, à se situer, à habiter ou tout simplement à être sont liées à leur relation conflictuelle à l’espace. Même si elles sont tentées par l’oubli, le retour aux lieux de l’enfance impose aux protagonistes une mémoire sensorielle. Le retour montre également comment les êtres sont liés au lieu, voire façonnés par lui, et comment ils peuvent cependant agir en retour sur lui. Le désir d’exister à travers une identité cohérente en est aussi un d’habiter et d’appartenir à l’espace. Finalement, nous verrons comment il est possible de repenser l’espace du retour à partir de la notion de non-lieu d’Alexis Nouss.
This work examines the interrelations between space, memory and identity in Le premier jardin by Anne Hébert and Surfacing by Margaret Atwood. We seek to know how the concepts of space and place can provide a better understanding of the memory and identity dynamics involved in return narratives. Based on a common experience, that of returning to homeland, we will study how the characters’ difficulties in recalling, situating, living or simply being are linked to their conflictual relationship to space. Even if they are tempted by oblivion, the return to the places of childhood imposes on the protagonists a sensuous memory. The return also shows how beings are linked to place, even shaped by it, and how they can however act on it. The desire to exist through a coherent identity is also one of dwelling and belonging to space. Finally, we will see how Alexis Nouss’ concept of non-place of makes it possible to rethink the space of return.
Fournier-Dery, Milly-Alexandra. "La documentation photographique de l'espace limitrophe comme lieu de médiation : Interface (2014), de Taysir Batniji". Thèse, 2016. http://hdl.handle.net/1866/18339.
Texto completoThis research in art history investigates the photographic series Interface (2014) by Palestinian artist Taysir Batniji. Photographed in Bahrain, the work presents a topographic and metaphorical vision of the archipelagos, focused on the representation of vernacular structures and interstitial sites. Our analysis of the iconographic motifs of the images and their mode of production suggests that Batniji's work presents a subtle critique of Bahrain's contemporary sociopolitical situation. The focus of this thesis is the photographic representation of bordering spaces as places of mediation through which relevant viewpoints on current sociopolitical, economic and environmental questions are set to emerge. The concept of mediation intervenes in many forms and is central to our analysis. We are borrowing from its use in social theories of art history, where material and contextual conditions are considered, as well as in various perspectives rooted in philosophy in which the artistic object functions as a device able to act upon our perceptions and our attitudes.