Tesis sobre el tema "Marcel Duchamp"
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Toumazis, Yiannis. "Marcel Duchamp, artiste androgyne". Amiens, 2009. http://www.theses.fr/2009AMIE0003.
Texto completoThe present thesis illustrates the close relation of Marcel Duchamp’s work to Androgyny; the harmonious coexistence of the male and female principles, as we inherited them from the ancient myths of creation, the Platonic ideas, the Gnostic and Hermetic thoughts, the Alchemical beliefs and the way they are expressed in the corpus of Duchamp’s work. Part I, “L’ Androgyne”, presents the use and meaning of Androgyny in Ancient Myths of Creation, Classical Antiquity, Ancient Greek Philosophy and specifically Plato’s Symposium, Gnosticism, the Hermetic Philosophy of the Alchemists and Kabala. Part II, “Marcel Duchamp - L’ Artiste Androgyne” examines the work of Marcel Duchamp seen from an androgynous perspective in order to offer a different insight to his work. In particular it examines and extensively analyzes the two major works of Duchamp: Le Grand Verre and Étant Donnés and focuses on the androgynous characteristics of the works as they have been set in Part I
Pavan, Margot. "MARCEL DUCHAMP: IMPRESSÕES EM CONSERVA". Universidade de São Paulo, 1996. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-10022015-165909/.
Texto completoThis work selects specific texts of Marcel Duchamp: theoretical texts in which Duchamp reflects about the art world. This texts are lectures that Marcel Duchamp gave at universities, letters and catalogs for the exhibitions that he organized and whose texts Duchamp signed. This material is essential to understand how a so radical artist understood art as he struggled to propagate his views. Duchamp played an important role in introducing European art to the United States by working as curator for a long period. It\'s amazing to read his texts presenting Picasso, Calder or Matisse. Or even defending the reasons why every artist should attend the university. These are texts that every art student or art lover should read. This material was selected and translated from the originals published on the books Duchamp du Signe - écrits (Paris, Flammarion, 1975) and The Writings of Marcel Duchamp (New York, Da Capo Preess, 1989), organized by Michel Sanouillet with the collaboration of Elmer Peterson (both contain the same texts, the first one in French, the second one in English). This selection covers 25% to 30% of these books. I left out of my selection all the notes that are part of the own works of Duchamp and have an intense poetic character, often using sophisticated puns. Besides the translation of theoretical texts, my work have two more parts. An afterword, which is a view of Duchamp\'s works illuminated only by the texts which are translated at the first part and an Appendix - which is the part I like best. This appendix is a joke on Duchamp. I propose a Ready-made to define a profile of his work cutting from the texts he wrote about other artists only traces that are strongly present in his own work. It´s almost a psychoanalytic reading that indicates how we see in others what we have in us.
Raymond, François. "Marcel Duchamp et le multiple dans l'art moderne". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/NQ56699.pdf.
Texto completoLe, Penven Françoise. "Les notes de Marcel Duchamp ou l'art d'écrire". Paris 1, 2000. http://www.theses.fr/2000PA010657.
Texto completoStévance, Sophie. "Impacts et échos de la sonosphère de Marcel Duchamp". Rouen, 2005. http://accesdistant.bu.univ-paris8.fr:2048/login?url=https://www.dawsonera.com/abstract/9782296230903.
Texto completoOn the forefront of modernity, Marcel Duchamp leaves us a work for which analysts are quite creative to name it (“avant-gardist”, “new”, “out of time”, “innovator”). Paradoxically, it is only known as Readymade. Yet, Duchamp's early interest for music and related matters has been widely ignored by a vast majority of the public and the University microcosm so far. His exploration of the sound sphere offers several musical compositions. Most of them were written in 1913 : Musical Erratum, for three voices, The Bride Stripped Bare By Her Bachelors Even/Erratum Musical, for keyboard, and the Musical Sculpture “that lasts”. They are followed by some “sonorous” Readymades (With Hidden Noise, 1916). In order to understand Marcel Duchamp's sonosphere and its implications on the work of other artists (exceeding Plastic-Arts by far), four methods are proposed : “permissive”, “performative”, “perceptual” and “perditive”. The new composer's own influences, his “horizon of waiting”, can be distinguished within these categories. From the first European and American experiments to Electronical Music, from Sound Poetry to Multimedia, from the Indeterminacy to Improvisation, from Audio Installation to Ambient Music, from Minimalism to Mass Musical Maximalism, this essay explores boundaries, now neutralized, between the “Musique Savante” and the “Oral” tradition. It also clarifies the historical, philosophical, political, sociological and artistic contexts through which concerns the acoustic or acousmatic conceptions of Marcel Duchamp, one century full member of musical instabilities
Piteira, Paula. "A influência da cronofotografia na obra de Marcel Duchamp". Master's thesis, Universidade de Évora, 2010. http://hdl.handle.net/10174/12267.
Texto completoChang, Young Hae. "La Prise de conscience de la langue dans l'oeuvre de Marcel Duchamp". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37603803b.
Texto completoPAIVA, CARMEN SILVIA MAIA DE. "LA CONSTRUCTION DU CORPS CHEZ PABLO PICASSO ET MARCEL DUCHAMP". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9129@1.
Texto completoFUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
Cette recherche a pour but une réflexion sur l intersection entre corps et processus de création dans les parcours de Marcel Duchamp (1887-1968) et Pablo Picasso (1881-1973). Bien qu ils aient vécu le même moment historique, leurs travaux révèlent des conceptions distinctes de l art et indiquent différentes prises de positions sur les plans historique et culturel. Comme les processus de création opératoires qui structurent le travail artistique sont constitués par un ensemble de créations et de transferts de sens qui se constituent et se métamorphosent dans l action de chacun des artistes, cette étude est liée aux impasses et aux possibilités mises en place par les processus de civilisation et de modernisation. La métaphore du corps chez chacun de ces artistes indique des attitudes et des réflexions quant aux notions d adhésion ou de distance très particulières et fécondes pour comprendre l art et de la culture aujourd´hui. Ainsi, comme la formation du symbolique se réfère aussi à la façon dont les hommes s organisent matériellement et économiquement, ainsi qu à l analyse de leurs poétiques et de leurs stratégies diversifiées, nous examinerons surtout sur les conditions modernes du travail, c est à dire, la logique de l émancipation de la notion actuelle de travail et la séparation entre idéation et exécution, liées à l avènement et au déploiement de la modernité. Dans l ´uvre de Pablo Picasso, nous constatons la constitution d´un concept du corps comme métaphore et élaboration de l´espace comme réversibilité. La notion de métamorphose, l assimilation de certains principes constructifs de l art primitif et la relecture de l´histoire de l art élaborent un concept plus élastique de la représentation du corps. À ce mouvement dramatique de reconnecter le corps et l individu fracturés par la modernité à une notion impossible de totalité, Marcel Duchamp interpose un corps devenu marchandise et fragment. À la conception de l art chez Picasso, liée à la position de l homme emmêlé au langage corporel, Duchamp oppose la manifestation du décollement entre le langage et les choses como si telle était la condition elle-même de la création: un texte fracturé.
Esta pesquisa tem como tema uma reflexão sobre cruzamento entre corpo e processo criativo nos percursos de Marcel Duchamp (1887- 1968) e Pablo Picasso (1881-1973). Embora partilhem o mesmo período histórico, suas trajetórias de trabalho revelam distintas concepções de arte, bem como modos diversos de inserção nos domínios históricos e culturais. Como os procedimentos operatórios que estruturam os trabalhos artísticos se ligam a um conjunto de criações e de transferências de sentido que se constituem e se metamorfoseiam na ação de cada artista, este estudo encontra-se vinculado aos impasses e às possibilidades referentes aos processos civilizadores e de modernização. A metáfora do corpo em cada um dos artistas indica atitudes e reflexões quanto às noções de adesão ou distanciamento muito particulares e fecundas para a compreensão da situação da arte e da cultura hoje. Assim como a formação do simbólico também se refere ao modo como os homens se organizam material e economicamente, à análise das poéticas e estratégias diversificadas dos artistas em questão, uniremos o exame das condições do trabalho elaboradas quando do surgimento e desenvolvimento da modernidade, isto é, a lógica da emancipação da noção de trabalho e a separação entre ideação e execução.Tomamos por base o fato da obra de Pablo Picasso e sua noção de corpo fazer metáfora e constituir um espaço de reversibilidade. A partir da noção de metamorfose, da assimilação de princípios construtivos da arte primitiva e da releitura da história da arte, constatamos a elaboração de um conceito mais elástico de representação de corpo. A essa busca dramática de religar corpo e indivíduo fraturados a uma noção impossível de modernidade, Marcel Duchamp interpõe um corpo transformado em mercadoria e fragmento. À concepção de arte em Picasso, do indivíduo enredado à linguagem corporal, Duchamp contrapõe a manifestação do descolamento entre homem e linguagem como se esta fosse a própria condição da criação: a de um texto fraturado.
Miller, Shelby E. ""The Cult of Cézanne:" Marcel Duchamp, Clyfford Still, and Banksy". Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149471175808765.
Texto completoAntoniani, Riccardo. "Biowritings : the Body and the Text in Marcel Duchamp and William Seward BurroughsBio-écritures : le corps et le texte chez Marcel Duchamp, William Seward Burroughs". Paris 7, 2011. http://www.theses.fr/2011PA070017.
Texto completoIn the XX Century European and American Literature it is possible to highlight a number of writers for whom the body invested a major relevance in the organization of their works: the physicality of their experience became the base of which they created new narrative ways of expression. By opting for Marcel Duchamp and William Seward Burroughs, I formulated a counterpoint between the biography and the bibliography. My aim was to show how to certain experiences of the body corresponded a precise organization of their art. In order to do so, I took as an example Roger Shattuck's and Marcel Schwob's criteria. For what concerns Duchamp, I demonstrated how his passion for the chess game and his desire of freedom were fondamental to the edition of the Notes after which he created the Large Glass poem. For what concerns Burroughs, I showed how his addiction worked as a metaphor of power and therefore the use of literary mechanisms such as the "cut-ups" and the "fold-ins" provided him a strategy to exceed any coercion. I also highlighted how the thematic of denudation played a predominant role along their production and was the condition sine qua non to achieve a truth within the text and the body
Senaldi, Marco. "Anemic Photoplay. Marcel Duchamp : physiologie, psychologie et esthétique de l'image-mouvement". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA057.
Texto completoIn this research, we tried to decipher the fruitful presence of these sources, both on the theoretical, but also on the visual, and even technical level, in the complex and multifaceted work of Marcel Duchamp. In particular, efforts have been made to reconsider the entire duchampian artistic itinerary, focusing on his cinematographic collaborations and his television contributions of the 1950s and 1960s, with the aim of revising all his work as an example of an « Image movement » (in the deluezian sense) - an image closely related to the experiments carried out in the laboratories of physiology and psychology applied between the end of the nineteenth and the beginning of the twentieth century and to the correlative philosophical reflections
Siebauer, Jean-Roch. "Alfred Jarry, Marcel Duchamp, la machine, le verbe et la pataphysique". Aix-Marseille 1, 1995. http://www.theses.fr/1996AIX10007.
Texto completoJouret, Quentin. "L'art de la discrétion ( l'infranuance et le petit usage)". Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20141/document.
Texto completoAs Maurice Blanchot observed that daily, "is what is most difficult to find," Jouret Quentin finds that keeps changing appearance and beyond our control desire. The problem is therefore not so much to define the everyday, but rather to see how "the discretion is how the daily exchange imperceptibly." More practically, discretion is a way to learn how to see the world around us, to grasp the tiny modulations. For the artist as for the photographer, this will be attentive to opportunities that arise, just for a brief moment. As Roland Barthes aspired around the term "diaphrologie" to build a science of nuances, Quentin Jouret called alternately the neutral concepts Roland Barthes, to dettaglio at Daniel Arasse of blandness in François Julien, of inframince with Marcel Duchamp or to infraordinaire at Georges Perec. The memory consists of a volume of 590 pages, duplex printing, whose characteristic is to insert between each page a narrower slip, non folioté, reserved for the reproduction of images of the author and to a lesser extent those works referenced artists. This work intends to emphasize the primacy of artistic experience in research in the visual arts
Oliveira, Maria Silvia de. "Étant Donnés = a mise-en-scène eclipsada do jogo anadiômeno de Marcel Duchamp = Étant Donnés: the eclipsed mise-en-scène of the anadyomene game of Marcel Duchamp". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284552.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa tem como objetivo dissertar sobre "Étant Donnés: 1º la chute d'eau, 2º le gaz d'éclairage", uma poderosa criação realizada silenciosamente ao longo de 20 anos e eternizada através da sobrevivência das idéias de Marcel Duchamp. Espelho ou porta, o fato é que entre nós e as formas irreais que esfolam o olhar com suas arestas, há uma sala escura, tornando-nos sujeitos irremediavelmente cinematográficos. Aqui o cinema, mais especificamente o documentário, por registrar parcialmente a representação de fatos, envidou noções de verdade e realidade, abrindo um espaço privilegiado ao ser utilizado como fonte na sua forma mais envolvente e instigadora, alavancando dados norteadores para o desenvolvimento cognitivo do raciocínio. Ao atravessarmos a quietude de Étant Donnés vemos a "falta", um pedaço de tempo detido na mise-en-scène "feita para não ver" e somos transformados, à revelia, em voyeurs. Diante de tal espetáculo voyeurístico, embaraçoso e revelador, nossa culpabilidade é de quem surpreendeu um segredo. Partindo para novos padrões de interpretação desta obra inusitada, eclipsada e essencialmente carnal, vimo-nos forçados a passar pelo emaranhado tecido da memória de Marcel Duchamp. Enfim, saciando a fome de nossas almas famintas, Duchamp concretiza sua imagem cenográfica nesta iluminura tridimensional e nos permite colher, de um jardim medieval, a "Rosa de um Romance" e encontrar um banquete anadiômeno de maravilhas, onde, através de sonhos e espelhos, somos colocados frente a frente a nós mesmos
Abstract: This research had his focus on the study of "Étant Donnés: 1º la chute d'eau, 2º le gaz d'éclairage", a powerful creation performed silently for 20 years and immortalized through the survival of the Marcel Duchamp ideas. Mirror or door, the fact is that between us and the unreal forms that hurt the eyes with its edges, have a dark room, making us subject hopelessly cinematographic. Here the film, specifically the documentary, that made the partly record of the representation of facts and showed notions of truth and reality, opened a privileged space to be used as a data source in its most engaging and instigator, that guided us to the development of the cognitive reasoning. When we go through the stillness of Étant Donnés see the "lack", a piece of time detained in mise-en-scène "made not to see" and we are processed, involuntarily, in voyeurs. Faced with such a voyeuristic spectacle, embarrassing and revealing our guilt are some who surprised a secret. Leaving for new Standards of interpretation of this unusual masterpiece, eclipsed and essentially carnal, we found ourselves forced to pass through the tangled memory texture of Marcel Duchamp. Finally, satiating the hunger of our hungry souls, Duchamp realizes his scenographic image in this three-dimensional miniature and allows us to reap, of a medieval garden, the "Rose of a Romance" and find an anadyomene banquet of wonders, where, through dreams and mirrors, we are placed face to face ourselves
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Blunck, Lars. "Duchamps Präzisionsoptik". München Schreiber, 2008. http://d-nb.info/992317177/04.
Texto completoLee, Michelle Anne. ""Puppeteer of your own past" : Marcel Duchamp and the manipulation of posterity". Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5631.
Texto completoCeballos, Velásquez Margoth Jeanette. "La mirada lúdica de Marcel Duchamp en la obra de Samy Benmayor". Tesis, Universidad de Chile, 2015. http://www.repositorio.uchile.cl/handle/2250/129687.
Texto completoEl Arte y lo lúdico tienen una estrecha relación desde la edad antigua, Federico Nietzsche lo sitúa en el origen de la tragedia griega. Durante el Renacimiento Leonardo Da Vinci dentro de su espíritu creador construyó ingeniosas obras de arte vinculadas con lo lúdico. Actualmente, es explicado por Gadamer (2001) como un espacio de libertad de creación en un intercambio social, un círculo mágico en búsqueda de su forma de ser, visto por Adorno como la utopía que el Arte entraña en lo más íntimo. En este complejo escenario, cabe preguntarse si el arte lúdico procedente del Dadá permanece vigente en artistas del siglo XXI. Para responder a la interrogante se investiga la mirada lúdica de Marcel Duchamp en la obra de Samy Benmayor. En el ámbito del arte lúdico las investigaciones realizadas por Hans George Gadamer, Howard Gardner, Huizinga, López Quintas, fundamentan la investigación, asistida por otras teorías que exploran el tema desde la filosofía, el aprendizaje, lo lúdico y el caos. La metodología de la investigación correspondió a un análisis comparativo de dos artistas como Marcel Duchamp y Samy Benmayor en el aspecto biográfico, histórico e iconográfico de su vida y obra, para establecer la existencia de una mirada lúdica de Duchamp en la obra de Benmayor
Chang, Young Hae. "La prise de conscience de la langue dans l'oeuvre de Marcel Duchamp". Paris 1, 1987. http://www.theses.fr/1987PA010533.
Texto completoNajjar, Sherin. "Die unsichtbare Farbe : der Gebrauch und die Funktion der Titel im frühen Werk Marcel Duchamps /". Weimar : VDG, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3010490&prov=M&dok_var=1&dok_ext=htm.
Texto completoGarver, Jacob David. "The space between art and life: the continuity and contradiction of Marcel Duchamp and pop art". Thesis, Boston University, 1998. https://hdl.handle.net/2144/27651.
Texto completoPLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
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Olvera, Karen M. (Karen Marie). "Marcel Duchamp's The Large Glass as "Negation of Women"". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc935841/.
Texto completoShin-Lee, Jiho. "L'objet banal en tant qu'oeuvre d'art : chez Marcel Duchamp et Nam June Paik". Paris 1, 1997. http://www.theses.fr/1997PA010608.
Texto completoConsidering the ordinary object as intermediary material like the extreme oriental thoughts, we analyse the variations of the ordinary object according to the evolutions of society through the works of art choosed : the ready-made of Marcel Duchamp and the television of Nam June Paik
Subotincic, Natalija. "The anamorphosis of architecture : a co-incidence of desire and embodiment (an excursion into the world of visual indifference)". Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55638.
Texto completoZappa, Polyana. "Etant donnés: a construção de uma contradição". Universidade Presbiteriana Mackenzie, 2008. http://tede.mackenzie.br/jspui/handle/tede/1964.
Texto completoFundo Mackenzie de Pesquisa
The research presents as study object the reflection on Marcel Duchamp's last work Etant donnés ", relating: the reflection of the work-object, the woman's construction image, the link of the work with the Great Glass considered as the artist's most significant work. As enxadrista/artista established a game among the spectator, the work and the History of the Art. The work Etant donnés was chosen by presenting contradictions with the artist's own production and the eroticism opened in counterpoint with the underlying eroticism in the other works. The contradiction was always present in the speech, in the creations, in your thoughts and with this last east fact it is confirmed.
A pesquisa apresenta como objeto de estudo a reflexão sobre a última obra "Etant donnés" de Marcel Duchamp, relacionando: a reflexão da obra-objeto, a construção imagem da mulher, o elo da obra com o Grande Vidro considerado como o trabalho mais significativo do artista. Como enxadrista/artista estabeleceu um jogo entre o espectador, a obra e a História da Arte. A obra Etant donnés foi escolhida por apresentar contradições com a própria produção do artista e o erotismo escancarado em contraponto com o erotismo subjacente nas outras obras. A contradição sempre esteve presente na fala, nas criações, em seus pensamentos e com esta última este fato se confirma.
Coudraud, Philippe. "Les Ménines en vitesse : la mise à nu de la peinture comme critique du "temps social" dans l'oeuvre de Marcel Duchamp". Paris 10, 2005. http://www.theses.fr/2005PA100100.
Texto completoIn what the Duchamp's word is mannerist? The iconographic study of paintings and drawings made in between 1910 and 1912 (principally Young Man and Girl in Spring, Yvonne and Magdeleine Torn in Tatters, Dulcinea, Sonata, Nude Descending a Staircase, Portrait of Chess Players, The King and Queen Surrounded by Swift Nudes, The Passage from Virgin to Bride, Bride) convenes a multitude of artistic and literary works (Bosch, Leonardo, Bellange, Arcimboldo, Vélasquez, Goya, Hogarth, Bartholdi, Gutfreund and also Laforgue, Jarry, Villiers de l'Isle-Adam, Goethe, Ossian, Mallarmé) which emerge as many fragments wisely recomposed. Duchamp, like the mannerists of the 16th century towards the great masters of the Renaissance, submits his sources into a complex narration which finds its result in The Large Glass. The "stripping bare" of the painting has as a corollary the subject of the garment, compulsion and source of alienation exercised on the body by the profane rituals of a society having as a mythological base the biblical episode of the Giving of the garment. Critic of "social time" gives birth to another tension, the confrontation of the Classicism and the Baroque : a disillusioned mannerism which brings his works in level of allegory of painting
Humbert, Michèle. "Pour une iconologie du silence : sur les traces de Marcel Duchamp et de l'iconographie". Paris 1, 1997. http://www.theses.fr/1997PA010620.
Texto completoTThis thesis on the iconology of silence is divided into three parts. The points of reference and the choice of themes came out of a study of marcel duchamp's work. With my tongue in my cheek serves as the starting point in a serie of considerations which resulted in a more general reading, founded on this presumed invariant of art. Silence and muteness abound in the interpretation or manipalation of titles, fragments of titles, peudonyms, annotations and declarations : mutt, tu m', meme, retard en verre, tr est tres important, silent et listen, etc. . . And in certain procedures in the construction oh the works of art. The second part studies a set of ancient sources, concerning three divinities of silence, harpocrates, angerona, tacita, and a philosopher, pythagoras. These are manifestations of the themes transmitted by figurative culture through the main sources of information, i. E. , emblems, collections from antiquity and, of course, the works themselves. The third part concentrates on an analysis of the figurative gestuality of silence, essentially the index or others fingers placed on the mouth. The general outline of this thesis was determined by the previous collection of iconographic material. The works of art, which form the basis of this research, have been organized on the basis of written sources on the symbolists and on religious, mythological and historical subjects
Fardy, Jonathan R. "Double Vision: Reviewing Man Ray and Marcel Duchamp's 1920 Photo-Text". Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1196371696.
Texto completoDuboy, Philippe. "L'Architecture civile de Jean-Jacques Lequeu (1757- ?) "ready-made rectifié" par Marcel Duchamp, 1887-1968 /". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37604690s.
Texto completoRogakos, Megakles. "A Joycean exegesis of 'The Large Glass' : Homeric traces in the postmodernism of Marcel Duchamp". Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19758/.
Texto completoEnrico, Philippe. "De uma dimensão à outra: um percurso pela obra de Marcel Duchamp através da estereoscopia". Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/JSSS-8Z8PWM.
Texto completoNa véspera do seu desaparecimento, Marcel Duchamp tem a alegria de reencontrar os binóculos coloridos que permitem ver em relevo um dos seus últimos trabalhos. Nossa reflexão pretende remontar o curso do tempo para observar de mais perto, desde os seus primeiros desenhos, como e em qual contexto artístico, mas também literário e científico, a atração de Duchamp por tudo o que se pode inverter, tanto as palavras, os objetos quanto as ideias, toma corpo e em quaisdimensões, em direção a que possível estética aponta tal empreendimento. Buscaremos compreender como Marcel Duchamp, no sentido inverso às tendências vanguardistas, se interessa àquilo que está aquém e além do plano da tela, com que exatidão e com que precisão ótica, em que ironia. Uma atenção redobrada direcionada ao dispositivo estereoscópico, essa física divertida, deveria nospermitir ver com mais relevo o que Duchamp permuta e contradiz, de distinguir por fim as falsas ambiguidades de sua ambivalência criativa que o consagraram, sem que ele o tenha procurado tanto, pela indiferença a mais determinada.
Noury, François. "Duchamp, le regardeur et la scène de l'art : un théâtre dada". Paris 8, 2006. http://www.theses.fr/2006PA083675.
Texto completoAuffray, Fabienne. "La dimension cachée de l'objet 1913-2013". Thesis, Université Côte d'Azur (ComUE), 2016. http://www.theses.fr/2016AZUR2042/document.
Texto completoThe mundane and manufactured object has taken an increasing place on the artistic scene since its irruption, by the act of Marcel Duchamp in 1913. From 1913 to nowadays, this object is problematic: 1/ because it is both an everyday thing and a piece of art; 2/ because, when it is exhibited, it is submitted to a device of communication which simultaneously reveals and creates the meaning; 3/ because more the object is reducing itself, more the discourse about it is important.Throughout this century, the meaning of the object has changed and an evolution is discernable: more the object is abstracting or digitizing itself, more it exists by the discourse and the communication. This gives us to see an irreducible thing, a fundamentally human leftover.Analysed by aesthetic, anthropologic and institutional perspectives, the object, apparently simple, reveals its clear complexity. It is functional, useful, sometimes decorative, and more rarely a piece of art; and something of the subject, who uses, peers, creates its, sets in itself. The object, as a paradigm of the human communication, follows, induces, endorses at any rate progresses and regressions of society. In increasingly significant, interactive and sophisticated exhibitions’ devices, the piece of art is an essential indicator for a best understanding of the present time
Dear, Jackie. "What possibilities for art are represented by the 'new' and the 'public' of new genre public art". Thesis, University of Essex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310054.
Texto completoHowells, Annie. "Avant-garde nu och då : ett föränderligt koncept?" Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-33224.
Texto completoJang, Young-Girl. "L'objet duchampien : approche esthétique". Paris 1, 2000. http://www.theses.fr/2000PA010580.
Texto completoBarros, Manuela de. "Art et théories du langage : Kandinsky, Malévitch, Duchamp". Paris 8, 1998. http://www.theses.fr/1998PA081517.
Texto completoThis phd thesis starts with the idea that, in xxth century art, the influence of language theories induces internal changes in art, bringing the decomposition of the image. The use of written words in painting is a long lasting tradition, and theories exported from literature relatively commonly influenced the way art was considered to be done. Nevertheless, with our century, and particularly with cubism, this influence leads up to gradual dislocation of the representation as it was since then. The image becomes elliptic, losing its shape. Mimesis gives place to another space, which is already a combination of many spaces, and among them semantic space. Then the emergence of modernism comes with the invasion of the image with language, progressively but also very strongly. Furthermore, this questioning of art about the "semantic sphere" goes with the beginning of semiotics, philosophy of language and sometimes uses them. It also uses experiences in poetics. The researches are done in parallel and often go in the same direction. Sometimes the artists don't know about them (picasso, braque), or they intentionally use the theories (conceptual art). Those researches of artists of the century on language or about models issued of language were useful to analyse the profound modification of art, in its aims and formal achievements. The study of these interactions between art and language theories brought comprehension of the plastic and conceptual metamorphosis of the codes of representation. This study analyses this subject through three artists : kandinsky, malevitch, duchamp, the work of each of them being the paradigm for one interaction between art and language theories
Colombet, Marie J. A. "L'humour objectif : Roussel, Duchamp, "sous le capot : l'objectivation du surréalisme /". Paris : Publibook, 2008. http://catalogue.bnf.fr/ark:/12148/cb41299753h.
Texto completoPereira, Caroliny. "Fragmentos Instantâneos: um estudo do mecanismo cinematográfico bergsoniano na pintura Nu descendo uma escada, de Marcel Duchamp". Universidade Federal de Uberlândia, 2012. https://repositorio.ufu.br/handle/123456789/12314.
Texto completoThe research called Snapshots Fragments; a study of Bergsonian cinematographic mechanism in the Marcel Duchamp´s painting Nude Descending a Staircase, is based in arts and reflections in which paint is performed a study of the cinematic mechanism concept from the philosopher, Henri Bergson. The research starts from the questions about wich intersection point can exist between an art work and a philosophical concept, that were deeply relevant and fruitful in modernity with contemporary developments in both discussions: arts and philosophy. In other words, this work was done intending to find similarities and differences between Duchamp\'s painting and Bergson´s concept. The research was developed aiming to enable the dialogue establishment between art and philosophy, given through an element that would be the embrace of both: the movie.
A pesquisa intitulada Fragmentos instantâneos, um estudo do mecanismo cinematográfico bergsoniano na pintura Nu descendo uma escada de Marcel Duchamp, trata-se de uma pesquisa em fundamentos e reflexões em artes, no qual são realizados estudos da pintura Nu descendo uma escada , de Marcel Duchamp, e do conceito de mecanismo cinematográfico, do filósofo Henri Bergson. A pesquisa inicia-se a partir dos questionamentos sobre a possibilidade de haver um ponto de intersecção entre um trabalho em arte e um conceito filosófico, os quais foram profundamente relevantes na modernidade e profícuos de desdobramentos na contemporaneidade e, nas discussões tanto no campo das artes, quanto na filosofia. Em outras palavras este trabalho foi realizado objetivando-se verificar em quais aspectos há convergências e divergências entre a pintura de Duchamp e o conceito de Bergson. A pesquisa foi realizada visando possibilitar a instauração de um diálogo entre arte e filosofia, dado através de um elemento que seria o amplexo de ambos, o cinema.
Mestre em Artes
El, Hadri Nabil. "Mecanicismo y dinamismo en las obras de Marcel Duchamp, Fernand Léger y Umberto Boccioni. Tres estilos diferentes". Doctoral thesis, Universitat Politècnica de València, 2008. http://hdl.handle.net/10251/2003.
Texto completoEl Hadri, N. (2008). Mecanicismo y dinamismo en las obras de Marcel Duchamp, Fernand Léger y Umberto Boccioni. Tres estilos diferentes [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/2003
Palancia
Verner, Lorraine. "Qu'est-ce que penser en art ? du "conventionnalisme" de Marcel Duchamp et la construction des notes de la Boîte verte". Paris, EHESS, 1991. http://www.theses.fr/1991EHES0317.
Texto completoIn order to make visible his ideas of reality, marcel duchamp (1887-1968) attempts to rethink the relationships between the visual ant the conceptual in art, and calls on an approach to reality which is informed by geometry. In this respect, he introduces into the ream of art 19th and turn of this century concepts of philosophy of mathematics, notably those of french mathematician and philosopher henri poincare (1854-1912), in particular from the foundations of science : science and hypothesis (1902), the value of science (1905)n science and method (1908), mathematics and science : last essays (1913). It is the criticism of a notion of realism which favors conceptual expression in art which led marcel duchamp to a reflexion on formal structure inspired from the geometric concept of group of transformations. Group of transformations is a key concept of the conventionalist philosophy of henri poincare. This thesis attemps to understand the nature of the philosophical and the mathematical recurrence in marcel duchamp's work, particulary so in the context of the hundred or so notes which contitutes the green box (the bride stripped bare by her bachelors even) written from 1911 to 1923 and published in 1934. The thesis draws upon certain meaningful connections among the notes in discussing how the concept of group of transformations takes shape in the green box and thus informs general structure of the large glass
Zapperi, Giovanna. "Stratégies artistiques et masculinité : Marcel Duchamp et son entourage entre avant-garde et culture de masse, 1909-1924". Paris, EHESS, 2005. https://buadistant.univ-angers.fr/login?url=https://www.cairn.info/l-artiste-est-une-femme--9782130606543.htm.
Texto completoThis dissertation focuses on the relationship between the artist's masculinity and mass-culture in the context of the 1910s avant-garde. Exiled in New York because of the war, several European artists, experienced an industrial, sexual and social modernity that led them to call into question their own identity as artists. Marcel Dchamp gave his most radical expression to this artistic crisis in a context dominated by the upheaval of the old sexual paradigms and the rise of industrial capitalism. The mechanization of labor, the development of mass- consumerism and the transformations in the condition of women strongly affected the avant-garde of the years and determined various strategies adopted by the artists in order to redefine their masculinity
Gustafsson, Frida. "Picasso möter Duchamp : En narratologisk undersökning av performativitet, positionering och värdering i Moderna Museets katalogtexter". Thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104909.
Texto completoRichardson, Colleen. "Edgard Varese and the visual avant-garde a comparative study of integrales and works of art by Marcel Duchamp /". Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1123684300.
Texto completoTitle from electronic thesis title page (viewed Mar. 2, 2006). Includes abstract. Keywords: cubism; futurism; dada; fourth dimension; non-Euclidean geometry. Includes bibliographical references.
Ledoux, Michel. "Couleur, piano, marbre, etc-- : du rapport entre l'ouverture et les aspects multi-langagiers du Grand verre de Marcel Duchamp". Thesis, University of Ottawa (Canada), 1990. http://hdl.handle.net/10393/5854.
Texto completoGobbato, Gilberto Genova. "Essai pour une clinique de l'objet art". Paris 8, 1997. http://www.theses.fr/1997PA081314.
Texto completoHopkins, David. "Hermeticism, catholicism and gender as structure : a comparative study of themes in the work of Marcel Duchamp and Max Ernst". Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328353.
Texto completoLeung, Dallas G. "The erotic state of D. & V". Thesis, Virginia Polytechnic Institute and State University, 1992. http://hdl.handle.net/10919/51919.
Texto completoWissman, Jeffery S. "CONTEMPORARY DEFINITIONS OF ART AND THE METAMORPHOSIS OF ORDINARY OBJECTS". University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997893495.
Texto completoRichardson, Richardson. "Edgard Varèse and the Visual Avant-Garde: A Comparative Study of Intégrales and Works of Art by Marcel Duchamp". University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1123684300.
Texto completoWoithe, Gabriele. "Das Kunstwerk als Lebensgeschichte zur autobiographischen Dimension bildender Kunst". Berlin Logos-Verl, 2007. http://d-nb.info/991379152/04.
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