Literatura académica sobre el tema "Réceptions – Dans l'art"
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Artículos de revistas sobre el tema "Réceptions – Dans l'art":
Molinié, Georges. "Coda : Topique et littérarité". Lectures 36, n.º 1 (15 de marzo de 2006): 151–56. http://dx.doi.org/10.7202/036175ar.
Moisan, Clément. ""L'art poétique à l'usage du Petit Séminaire de Québec"". Études littéraires 22, n.º 3 (12 de abril de 2005): 77–85. http://dx.doi.org/10.7202/500914ar.
Michaud, Yves. "Redimensionner l’esthétique – et revisiter la philosophie de l’art". Figures de l'Art. Revue d'études esthétiques 10, n.º 1 (2005): 99–109. http://dx.doi.org/10.3406/fdart.2005.1379.
Macours, G. "Het Testament Van Jan Frans Vonck En Het Romeinse Recht (1792-1814)". Tijdschrift voor Rechtsgeschiedenis / Revue d'Histoire du Droit / The Legal History Review 57, n.º 3-4 (1989): 375–95. http://dx.doi.org/10.1163/157181989x00065.
Fumaroli, Marc. "Rhétorique d'école et rhétorique adulte: remarques sur la réception européenne du traité "Du Sublime" au XVIe siècle". Revue d'histoire littéraire de la France o 86, n.º 1 (1 de enero de 1986): 33–51. http://dx.doi.org/10.3917/rhlf.g1986.86n1.0033.
Siebert, Gérard. "La réception de l'art géométrique grec dans l'historiographie (fin du XIXe-milieu du XXe siècle)". Ktèma : civilisations de l'Orient, de la Grèce et de Rome antiques 35, n.º 1 (2010): 299–312. http://dx.doi.org/10.3406/ktema.2010.2505.
Galtier Marti, Fernando. "Le corps occidental des églises dans l'art roman espagnol du XIe s. : problèmes de réception d'un modèle septentrional". Cahiers de civilisation médiévale 34, n.º 135 (1991): 297–307. http://dx.doi.org/10.3406/ccmed.1991.2501.
Zimmermann, Tania y F. Michael Zimmermann. "La spirale, forme de pensée de la création : le Monument à la IIIe Internationale de Tatline et sa réception dans l'art du XXe siècle". Genesis 24, n.º 1 (2004): 105–38. http://dx.doi.org/10.3406/item.2004.1318.
Tesis sobre el tema "Réceptions – Dans l'art":
Kim, Sunga. "Le retournement du regard : le spectateur regardé dans les oeuvres théâtrales contemporaines depuis les années 2000". Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080067.
The thesis focuses on the study of a phenomenon of the reversal of the spectator's attention towards himself, as observed in contemporary works with strong theatricality and called the "gaze's turnaround". Occurring punctually or spanning throughout work as a conceptual principle, the gaze's turnaround questions the hierarchy of theatrical presence and the issues of responsibility related to the gaze induced by the spectator's function. This phenomenon, transversal and impregnating many contemporary artistic practices, can be understood both as a link between heterogeneous and often transdisciplinary modes of expression, whose generic classification is becoming increasingly difficult, but also as a dramatic tool for introducing into works one of the subjects that seems to be recurrent in them today: the spectator himself. The study will be composed of three movements designed for a progressive and chronological approach to the whole phenomenon. First, a contextual analysis, then a definition of the reversal, passing through a theoretical point on the gaze, a categorization of the different triggers of the reversal and the analysis of examples from contemporary artistic practices (Castellucci, Bernat, Rimini Protokoll, Jatahy, etc.), and finally a projection of the hypothetical consequences of the reversal, on theatrical creations, the figure of the spectator and the very nature of the theater. This thesis is therefore intended to be both an overview of the spectator function at the beginning of the 21st century, but also an analysis of the ways in which the theater addresses the spectator and takes into account the problems of his time
Coavoux, Samuel. "Sociologie de l'expérience esthétique. Contextes et dispositions dans les réceptions muséales d'un tableau de maître". Thesis, Lyon, 2016. http://www.theses.fr/2016LYSEN009.
Drawing on an ethnographic study of the receptions of a Nicolas Poussin's painting curated at the Fine Arts Museum in Lyon, France, this dissertation analyses the position of museum visiting in the leisure repertoire of the middle and upper-middle classes. Three main data sources are used: about 50 days of observation of the activities of museum visitors, 45 reception interviews carried out inside the museum, and 18 biographical interviews on visiting habits with occasionnal or regular museum visitors. The dissertation sheds light on the central role of the artwork's status in their orientation and the distribution of their attention. This practical use of cultural legitimacy leads to a paradox: the painting is considered a masterpiece, but it has little aesthetic appeal. A lexicometric analysis of a corpus of newspapers articles confirms that this perspective may be extended to professional audiences, such as journalists. The unease this contradiction provokes in the audience is a reminder of the centrality of statutory artistic skill. The dissertation then analyses how mediation devices are used to fill this gap. The disconnection between the use of devices and the contemplation of the painting might be interpreted as the sign of how important the authorized, institutional discourse on the artwork is for visitors with low to average levels of specific resources. Finally, an analysis of visitors' biographies demonstrates that a normative injunction to visit greatly weights in visitors' practices, but that visits mostly occurs when they are embedded into leisure routines
Bessette, Anne. "Du vandalisme d’œuvres d’art. Enjeux et réceptions. Destructions, dégradations et interventions dans les musées en Europe et en Amérique du Nord depuis 1970". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA120.
Willful degradation or destruction of symbolic goods is omnipresent in Human history. Most of the times, works were damaged because they embodied deities, symbols of power, spiritual or social constructs. With the advent of museums and the transformation of the status of the works they preserve, this phenomenon shaped into new forms.Deliberate attacks on the integrity of works of art, when they occur in museums, carry specific issues that this thesis aims to analyze. Today, they are generally referred to as vandalism, which conveys representations that are to be questioned. This research, based on the analysis of a body of cases of vandalism perpetrated between 1970 and 2014 on works exhibited in art museums in Europe and North America, focuses, from a sociological perspective, on examining the causes of these acts as well as the various reactions they generate. The confrontation of discourses and points of view gathered during interviews with various actors concerned by this topic reveals diverse dispositions towards works of art. The analysis of the social reception of these actions constitutes a privileged approach to specific processes of disqualification, including some within the artistic field. Parts of these gestures are meant to initiate an artistic dialogue or even to create; therefore, they will be looked upon with particular attention as they can highlight some of the mechanisms of the artistic scene
Ortega, Orozco Adriana. "Les expositions d’art mexicain dans l’espace transnational : circulations, médiations et réceptions (1938 – 1952 – 2000)". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA024.
Located in the intersection of the fields of History of Exhibitions and History of International Cultural Relations, this thesis studies the construction of a particular image of the Mexican nation abroad through the medium of art, and the ways in which this image was perceived by diverse audiences in different countries. The thesis analyzes the circulation, mediation and reception of Mexican art in a transnational context for the first major traveling exhibition of Mexican art in Europe.Between 1952 and 1953, the exhibition Art mexicain du précolombien à nos jours (Mexican art from pre-Columbian times to the present day) was successively presented in Paris, Stockholm, London and Mexico City. This cultural event draws upon a long prehistory that dates back to the 1920s. After several failed attempts, the idea of presenting an exhibition of Mexican art in Europe reemerges in the postwar period driven by the Mexican government and a constellation of European state and non-state actors, leading up to the opening of the exhibition in Paris on May 20, 1952.The thesis studies the stakes that various promoters had in the exhibition as well as the ways in which its curatorial discourse crystallized a nationalist rhetoric that stresses the continuity of the mexican artistic genius through the ages. It further investigates the different receptions and interactions within the Euro-American space by analyzing the various representations of Mexico articulated by the European publics; conversely, it examines the ways in which Mexican society resignifies the European reactions vis-à-vis Mexican art and adapts them to the local context. Moreover, this work scrutinizes the approvals and rejections expressed by the Mexican public with regard to the particular image of lo mexicano promoted by the state. The thesis demonstrates how this exhibition became a model for the display of Mexican art abroad, reappearing several times in various declensions over the following decades as a trademark of Mexican cultural diplomacy
Pinto, Maria Helena. "Devenir(s) contemporains : émergence et évolution de la figure du danseur contemporain mozambicain d'après les trajets, les discours, les œuvres et leur réception localement et à l'étranger". Paris 8, 2014. http://www.theses.fr/2014PA084158.
A contemporary Mozambican dance movement expresses itself since 1995. Through a creative choreography it explores the distancing from traditional dances and performances of the past models. We study the emergence and evolution of the figure of the contemporary dancer. A field of fifteen dancers were chosen for the heterogeneity of their course, the diversity of body, of thoughts, of gestural material and their involvement in the contemporary Mozambican dance factory. The first part, 'being dancer' focuses on Augusto Cuvilas, Virgilio Sitole and Pelina Sitoe. The second part, 'being contemporary,' addresses the singular figure of the contemporary Mozambican female dancer: how do these artists construct and assert themselves in the local context? The creative process for the piece 'Um solo para cinco' by Augusto Cuvilas is parsed as a laboratory from which emerges a contemporaneity. The nakedness of the Mozambican woman treated in this piece, creates other contemporaneity meanings and new ways of being contemporary. The third part, 'being artist,' defines several individual artistic identities according to their relation to the abroad and to the local. In the context of a strongly Eurocentric look at art from Africa, performances of the “Danse l’Afrique Danse” meeting illustrates the problem of choreographic markets. The processes of ‘becoming’ contemporary dancers, artists, bring face to face values, representations of art and dance of North and South. Mozambican artists transform the local choreographic art in an attitude of resistance and create a space of debate on societal issues
Caliandro, Stéfania. "Le métavisuel dans l'art". Paris, EHESS, 1999. http://www.theses.fr/1999EHES0096.
Laborde, Cécile. "L'effet pornographique : sémiostylistique pour une réception physiologique de l'art (verbal)". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040220.
The main idea of this thesis is not only that literature and sexuality are related, but also that the sexualization of art, during the writing and the reading as well, is not restricted to specific literary genres (sentimental, erotic, or pornographic). The sexualization, always uncertain, is both due to the strength of style and to the readers’ sensitivity. The theory of reception we intend to elaborate is based on the idea that there is neither high art nor low art. Art is an effect caused by the encounter of a work and a public. Art is nothing but sensation. Art can recreate some reality by means of invoking sensations.The effect of art reaches its paroxysm when it becomes pornographic.This pornographic effect is derived from literary texts whose style attracts, seduces, captivates and ravishes readers, by revealing the most deep and the most secret intimacy of humans : their sex. We intend to see where, when and how this effect may happen. First, we’ll try to define what we mean by “pornographic style”, in other words what in style manages to create a pornographic effect on readers. Then, we'll attempt to bring to light the many phenomena it induced. However, even if the pornographic effect is the main purpose of art, it has to remain an horizon. Therefore, we'll have to consider the limits and risks of all pornography
Riado, Benjamin. ""Parergon" : une herméneutique documentaire dans l'art contemporain : le cas du Land Art". Paris 1, 2013. http://www.theses.fr/2013PA010518.
Kim, Sang-Sook. ""In transit" : la place vide de l'installation appréhendée de visu dans son contexte". Paris 1, 1997. http://www.theses.fr/1997PA010669.
The empty place is an aesthetic of the returning. The work is there called in question by its very environment. The empty place implies an aesthetic of the returning, which could have, as its metaphorthe ball game where the ball is thrown to and received back. This aesthetic of reciprocity intervenes after the work has bieng received by the spectator and forms the very relationship in the exbition of the work. This aesthetic of the returning reflects the characteristis of the empty place in three dierent ways: first of all, the aesthetic of the returning proposes a relation between the object and the architectural space as far as this space is linked in its source to a representation. It is the topic of the investigations of andre bazin under the name of "doing a turn" between the spectator and the object shown. Secondly, the aesthetic of the returning of the empty place expresses it self in the shifting of the critical function. In the aesthetic of the returning the eyes no longer cling to a centre but to the parergon, we are referred there fore our ability to express an aesthetic judgment. Thirdly, the aesthetic of the returning of the empty place implies a altural conflict. By very meeting of and in the empty place, this "presence-place", we may think afresh about the essence of the cultural consensus. The empty place, being the space where all the posibilities in the realm of communication can be composed- a composition that is actualized by the spectator-so produces a philosophical discourse, which ends in describing the empty place itself
Daengklom, Sayan. "Érotique et réception de la peinture dans les salons de Diderot". Paris, EHESS, 2000. http://www.theses.fr/2000EHES0118.
Libros sobre el tema "Réceptions – Dans l'art":
[Exposition. Fontainebleau, Musée national du château de Fontainebleau. 2004-2005]. Le Pape et l'Empereur: La réception de Pie VII par Napoléon à Fontainebleau, 25-28 novembre 1804. Paris: Somogy, 2005.
Christophe, Beyeler y Musée national du Château de Fontainebleau., eds. Le pape et l'empereur: La réception de Pie VII par Napoléon à Fontainebleau, 25-28 novembre 1804. Paris: Somogy, 2005.
Giroud, Nicole. Une mosaïque de Fr. Bartholomé de las Casas (1484-1566): Histoire de la réception dans l'histoire, la théologie, la société, l'art et la littérature. Fribourg: Editions Universitaires Fribourg Suisse, 2002.
Giroud, Nicole. Une mosaïque de Fr. Bartholomé de las Casas (1484-1566): Histoire de la réception dans l'histoire, la théologie, la société, l'art et la littérature. Fribourg: Editions Universitaires Fribourg Suisse, 2002.
France) Forum l'art sur la place (1998 Lyons. L'art contemporain: Champs artistiques, critères, réception : actes du colloque du Musée d'art contemporain de Lyon, 16, 17, 18 octobre 1998, organisé avec la collaboration de l'Observatoire des politiques culturelles dans le cadre du Forum l'art sur la place. Paris, France: Harmattan, 2000.
Rancière, Jacques. The emancipated spectator. London: Verso, 2011.
Rancière, Jacques. The emancipated spectator. London: Verso, 2009.
Mouchtouris, Antigone. Sociologie Du Public Dans Le Champ Culturel Et Artistique. Harmattan, 2003.