Tesis sobre el tema "Réflexivité (philosophie) – Dans l'art"
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Brosseau, Lise. "Les propositions curatoriales de designers graphiques (2006-2016) : mutations et réflexivité d’un champ par l’exposition". Electronic Thesis or Diss., Rennes 2, 2024. http://www.theses.fr/2024REN20001.
Texto completoDuring the 2000s and 2010s, after several decades of debates and considerations regarding the recognition of practice and culture of graphic design, and the importance to write its history, graphic designers from a same generation began to organize - mainly in Europe - temporary exhibitions dedicated to their own field of productions. These curatorial projects are characterized by a certain complexity that lies in their conceptual and reflexive approaches, often involving exploration or experimentation, and sometimes using fiction or speculation. What emerges from these graphic designers' proposals is a desire to promote the work of their peers who are mostly part of the same network of acquaintances - and a predisposition to mobilize different cultural sectors, such as education and publishing. More importantly, these approaches reflect an intention to generate discussion, to interrogate and reformulate the boundaries of graphic design from the perspective of practicing graphic designers. In the broader context of technological shifts that are challenging the role and status of graphic designers, this dissertation aims to examine the historical and theoretical significance of exhibitions that have been relatively understudied in France. These events were envisioned both as space for asserting the identity of graphic design and the professionals operating within this field, a place for expanding and extending the practices of said professionals, but also occasions during which they engage in the reflexive archaeology of their own discourses and specificities
Lepin, Franck. "L'animalité dans l'art contemporain". Rennes 2, 2002. http://www.theses.fr/2002REN20031.
Texto completoAt a time in which issues of animality have been the subject of many changes, this thesis provides a first study of his place and his part in contemporary art fro 1960 until the end of the nineties. From an unpublished historical and theoretical research, it analyses the work of about thirty artists among Joseph Beuys, Jannis Kounellis, Rebecca Horn and Rosemarie Trockel. Several topics are examined according to a thematic plan. It shows first how some artists have used animality to question human nature, his foundations and his boundaries. Then it explores the use of animality in works discussing art and creation. Several aspects of human identity are expanded afterwards, through the question of otherness, and next through gender identity and social identity. Finally, these survey comments on works offering a new experience of living and on others in which it is about our link to nature
Jaffro, Laurent. "Shaftesbury et l'art d'écrire dans la philosophie morale". Paris 10, 1994. http://www.theses.fr/1994PA100142.
Texto completoThis study argues that the problem of philosophical authorship is the only way to unify Shaftesbury’s published (characteristicks) and unpublished writings. What does it mean for a philosopher, to become an author? The government of others requires self-government and what Foucault calls "subjectivation". The question is how to enable oneself, by the means of private askesis, to publish moral philosophy. The essay "soliloquy" is the published theory of the unpublishable askemata. Enthusiasm means a primitively undifferentiated state of communication. The development of communication implies the pragmatic presupposition of sensus communis, which is a form of civility open to improvement and decay. Philosophy necessitates an art of writing defined as a theory of styles and genres, as well as the classical art of writing: a technique of dissimulation and oblique communication. The private deist faith can't be openly published. Philosophy demands a practice of secret and the inward recesses of soliloquy. The relations between public sphere and philosophical authorship, between community and faith, are built to one pattern: that of the theologicopolitical scheme of occasional conformity. Shaftesbury's moral philosophy tries, through the religious and political languages of its time, to formulate the ethics of the communication of ethics
Kim, Hyeon-Suk. "L'esthétique du vide (空) dans l'art". Paris 8, 2007. http://faraway.parisnanterre.fr/login?url=http://www.harmatheque.com/ebook/9782343036670.
Texto completoThe origin of the word for vacuum in Buddhism is related to the Chinese ideogram, 空, which derives from Sanskrit Śūnya. Śvi, the root of the word of Śūnya, means at the same time swollen and empty inside, like a soap bubble which forms by our breath and disappears at once when it meets the air. From research on the origin of the vacuum, we appreciate the spirituality of the Asian wisdom of Buddhism, Confucianism, Tao of Tchouang-tseu (莊子), Tao of Lao-tseu (老者), Yi-King (周易), Just medium (中庸), and the Upanishads. The spiritual aspects of Asian wisdom evoke some Western concepts as well : the Visible one and the Invisible one of Merleau-Ponty, Being and Nothingness of Sartre, “The Existence and Nothing” of Bergson, “And, between” of Deleuze, and “the Origin” of Benjamin. In the East, for a long time, monks and well-read men devoted themselves to penmanship, Zen poems, and painting landscapes, as a practice of meditation, like the Mandala of Kalachakra of Tibet, to find the state of meditation and the state of the Zen which lead to the essence of the vacuum. This way of reflecting can be found by analyzing some works -- traditional, modern, and contemporary, those of the East and those of the Occident – with attention to key topics : the threshold of the vacuum (空), Zen (禪), the breath of the poem Zen (禪詩), the breath and the painting of the landscape (山水畵, 風景畵: the painting of the landscape of the wind), and the Mandala
Kim, Mi-Young. "Fluxus : une tentative d'insertion de l'art dans la vie". Paris 8, 1996. http://www.theses.fr/1996PA081139.
Texto completoOne of the main issues addressed by this work is the motivation of artists to participate in fluxus activities. Most of artists gather just for friendship when they are asked by maciunas. He is someone like a missionary for fluxus mission. Anyway, they do not feel nor think like an official member of the group. The great affinity between them is not aesthetic but existential; it is the only cement of fluxus. Artistical experiment by fluxus artists is located in the moving of art from its traditional place, towards anywhere else in the real world. It results into the fusion of art and life. As of this experiment, art works within real life circumstances. Fluxus gives a new definition to art that is life process while no boundaries are any longer recognized for art materials. Fluxus widens the anarchy spirit from its initial music aera, into a collective dream available for the whole society, allowing man freedom. This freedom coming from the art is wished to be raised up to entire life. So, fluxus gives a demonstration that changing attitude in front of art and life can come true
Paillard, de Chenay Célio. ""L'art numérique" : un nouveau mouvement dans le monde de l'art contemporain". Paris 1, 2010. http://www.theses.fr/2010PA010655.
Texto completoCollet, Evelyne. "La création comme émergence du possible dans l'art et au dehors". Paris 1, 1989. http://www.theses.fr/1989PA010559.
Texto completoCan creation be seen as a force ("what is possible") which expresses itself through an actualization which can't run out into the "effectuation" it produces ? therefore is emergence from creation or is it always internalized in its production which represents its possibility ? the relationship between the act of creation and creation itself may be marked by this transitory moment. The relation of the artist to his work establishes a "third space" which mediatizes the mode of reality in which it is implied ; he thus produces it. Does the conflict remaining between the known world and the "lived" world reveal a set hierarchical organization which maintains a separation of realities then antagonistic? is creation associated with what remains on the surface? if this representation is subtented by the thought of a one and static origin, does it not imply that the "represented" should be located in a position of anteriority in relation to it? furthermore has the emergence of "what is possible" got a teleological value, whose resonance seeks the determination of the analogy established between creation and the emergence of "what is possible"?
Crémézi, Sylvie. "L'élaboration du sens dans la danse contemporaine". Paris 4, 1990. http://www.theses.fr/1990PA040082.
Texto completoFor these past ten years, the most archaic scenic art has been again in the fore ground of the artistic panorama and has regained its function of major art today's dance, the geology of the human psyche and of the states of the body expresses this necessity of being bound again with the sacred. The dance movement is not only generator of meaning but also regenerative. Dance reminds one of the mythical virtue of the stage, so that man finally inhabits his body
Choi, Massart Young-Ju. "Perception et expression de la couleur dans l'art pictural moderne". Paris 1, 2012. http://www.theses.fr/2012PA010718.
Texto completoOh, Nam-Suck. "Le possible et la non-ressemblance dans l'art contemporain". Paris 1, 2000. http://www.theses.fr/2000PA010553.
Texto completoVauday, Patrick. "L'Image et le réel". Paris 8, 1998. http://www.theses.fr/1998PA081468.
Texto completoImage cannot possibly be reduced to its imaginary aura nor to its possible symbolic sense, it is endowed with a proper substance. The real gives it an imprint resisting the imaginary metamorphosis and the symbolic exchanges. In the first place, it was necessary to settle the autonomy of image against language that tries to invest image by means of semiology and psychoanalysis. This autonomy is nowhere so obvious than in the dependency of images, on the one hand, on their materials and their processes of production in which originates the heterogeneity of painting, photography and cinema, and, on the other hand, on the register of time whose reality gives them shape according to their own specificity. The relation to the realness of time explains both the unity and the disparity of images. But, in the second place, what of connections between image and language ? we have chosen to reactivate the ancient parallel between arts (paragone ) so as to deal with the dispute between image and language through four major figures produced by this dispute from antiquity to modernity. Because it does not result from their parallel a complementarity between image and language, it was necessary, in the third place, to set off the image as an indelible rest of the real, its very own property. Hence the method consisting in producing the realness of image by abstracting its imaginary cover (sartre) and its symbolic structure (freud) before examining it in company with deleuze, pascal, lacan et baudelaire
Walker-Morrison, Deborah. "Auto-réflexivité et construction de la subjectivité dans le cinéma français contemporain (Alain Resnais)". Paris 8, 2001. https://octaviana.fr/document/181401274#?c=0&m=0&s=0&cv=0.
Texto completoPredescu, Ionela Magdalena. "Structuri Hibride în artă". Lyon 3, 2008. http://www.theses.fr/2008LYO31020.
Texto completoThe visual area approached in this work is theoretically configured by the vanous contributions of the postmodem philosophy: new theones of the identity - the subject understood as process of subjectivation, altemative to the textual demise of the author; the new temporal models used for understanding the relation with the past - Denida's diffbrance, Deleuzian rhizome, travesty as pure temporal difference; the generalized intertextuality; the immanence and the univocity as altematives to the metaphysic end of arts; the diagrammatic functioning of images understood as relations of forces and not as stable forms, etc. Other concepts were borrowed from the works of the Amencan poststructuralist critics promoted by the October magazine: Rosalind Krauss, Craig Owens, Douglas Crimp: allegorical and indexial trends, the art built on the ruins of the museurn, the inform, the widened field of art. The research in some of the few specialty archives in Bucharest (Artexpo, National Museum of Contemporary Art (MNAC), International Center of Contemporary art (CLAC), Union of Artists (UAP)) allowed me to familiarize with a certain type of visual culture and the selection of the adequate material for this type of analyses. I have retrieved in the Romanian contemporary art the trends of the world contemporary art: structures of palimpsest type, fragmentarism, accumulation, duration, hybndization, transgression of the traditional aesthetic categones, indexial marks, reification, fragmentation and dissemination of signs, disappearance of the refrain. Finally, the works discovered in the few consulted archives, as well as those recovered from expositions, allow me to speculate with regard to the existence in the Romanian contemporary art of a neoconservative seam of postmodemism operating by appropriation of images in the history of art
Peret, Amélie. "L'atelier nomade ou L'euphorie de la création". Amiens, 2007. http://www.theses.fr/2007AMIE0019.
Texto completoThe terms Nomadic Workshop applies to an art as a way of investigating the reality : how to find around oneself in a nearby environment the materials and elements needed for a creation. My practice worries more about the creation process rather than the form itself. With rudimentary firing techniques applied to the glass and clay materials; a principle of self forming of material has been elaborated. This process reveals the transformation of the perception of changing values. I examined these changes during a two years period of sedentariness, then during a Nomadic workshop from France to Niger cycling during nine months, and finally in Burkina Faso in December 2005. The fundamental question of this research passes through an increased knowledge of the clay and glass materials aimed to a demiurgic experience of the artist within the nomadic workshop. By the meaning of a transference of perception through the work of the hand (trance-make) very close to ecstasy, this will lead the artist towards a possible euphoria and a personified object. The artistical process resides then in the revelation process in which the experimentation becomes the matrix where the work of art is thought and created
Dubray, Jean. "Les fondements anthropologiques et l'art social dans l'oeuvre de l'Abbé Grégoire". Aix-Marseille 1, 2004. http://www.theses.fr/2004AIX10090.
Texto completoSeyral, Frédérique. "Nouvelles fluidités dans l'art vidéo et la danse : contribution à une esthétique modale". Bordeaux 3, 2008. http://www.theses.fr/2008BOR30066.
Texto completoIn the image of the changing form of Oriental Kata, where the way and the act prevail over the closed form, certain works privilege process and a multiplicity of levels of reality. These works go against the unitary, uniform and consensual sentiment of images that are mass-produced by our contemporary societies. In this all-visible universe, where access to dreamed-of consumer goods is a new life objective, the artist increasingly interrogates the flow themselves, questioning as much their amazing speed as the fluctuations, effusions, stasis and other circulation troubles that affect them, in order to modify their ways of capturing and restoring the world, and to revisit the principles of creation themselves. These fluid approaches relay a particular conception of philosophy and Science, a conception of fluidity that sees, in universal mobility, in desires, orderings, mobility of affects, in the analysis of connections and energy conditions, a critique of the substance and the form and lead us to conceptualise an aesthetic that would be envisioned in terms of modality, intensity and potential. Though the example of some artists, videographers and choreographers working with fluidity, randomness, the incidental, a mobility of viewpoints, and the form in process, we will try to elaborate a topology of flows starting with vague and fluid essences, then with a nomadic and intensive cartography of flows, and finally, by examining the temporal dimensions of flows
Choi, Jung Min. "Signification historique et signification stylistique dans l'art contemporain : (de la légitimisation historique dans l'art contemporain)". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010685.
Texto completoIn this study, we have two principal terms : history and style, but the goal which wewant to reach is the legitimation of art or the legitimation of the creation of ourtime called, “the contemporary art”. If the question of legitimation is differently presented, it is to look for a way in this confused situation of the contemporary art. This work starts from two terms which the title of the thesis mentions. And just asone knits a fabric, these two terms “the style” and “the history” horizontally laidout cross with the problem of the image laid out vertically. It means that the research on “the history” and “the style” covers the philosophical and sociologicalaspects. We thus at the same time will evoke the discussion on the problems of the direction of style and the history using the theory of Danto and will seek the link with the visual art. This last will be carried out through the research on “the image” of Hans Belting. We will find a similarity in the historical steps analyzed by A. Danto and the point of view of H. Belting
Chalard-Fillaudeau, Anne. "Rembrandt dans l'histoire de l'art, la littérature et la philosophie européennes depuis 1669". Paris, EPHE, 2002. http://www.theses.fr/2002EPHE4032.
Texto completoThe existence of a Rembrandt-mythology and the importance of the meanings related to the name and work of the Netherlandish artist arouse a certain number of questions about his belonging to the European cultural landscape, and more specifically about his representations. Thus, studying the way Rembrandt is referred to in European art history, literature and philosophy enables us to understand why Rembrandt is a cultural symbol; but it also reveals the extent to which the phenomenon of the symbolical -valorization of the artists and works is determined by the different cultural fields and by the different cultural areas; and, last but not least, it enables us to grasp the acknowledgment and representation of genius through Rembrandt, a major concept as it expresses a European specificity, a universe of cultural representations that revolves around the ideas of creation, freedom, being and universality
Lelièvre, Samuel. "Image et sens dans l'herméneutique et la philosophie de l'art de Paul Ricoeur". Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0078.
Texto completoRicoeur’s philosophical project can be broadly termed as a philosophical anthropology. Within this context, a main role is given to the issue of imagination through the resources of phenomenology, hermeneutics, and reflexive philosophy. The issue of picture, however, remains quite unknown and has not been much questioned; it might even be undermined by being reduced to the context of reproductive imagination as opposed to that of productive imagination within Ricoeur’s anthropology, and due to the emphasis on the linguistic relationship to sense or meaning. Yet, instead of opposing the plane of picture to the plane of sense or meaning, an articulated connection between those two planes should be sought. The issue of symbolism opened by Ricoeur in his Philosophie de la volonté provides the starting point for our investigation. From that early hermeneutics on to La mémoire, l’histoire, l’oubli, via De l’interprétation. Essai sur Freud, La Métaphore vive, and Temps et récit, one could also consider that picture makes us think. But the issue of symbolism cannot be distinguished from that of imagination. One also has to link two paths of Ricoeur’s philosophy through the issue of symbolism, one that is orientated in the path of hermeneutics – the progression to the standpoint set by Du texte à l’action –, another that links the project of a philosophical anthropology to the fields of art and aesthetics. The research is thus structured around four parts. A first part is focused on the articulated connection between Ricoeur’s philosophy of imagination and philosophical aesthetics by addressing the hermeneutical prospect as the condition for the effectiveness of this connection. Extending this hermeneutical stance, a second part seeks to establish a bond between Ricoeur’s notion of a critical hermeneutics and the issue of picture. A third part, concurrent with the context of a critical hermeneutics, aims to consider imagination as mediating the plane of art and the plane of experience by referring to Ricoeur’s reading of analytic philosophy and, more specifically, analytic philosophy of art. Relying on the previous parts, a fourth part finally addresses the field of film, articulating ontological, narrative, and social layers to a philosophical hermeneutics
BRUNON, PIERRE. "L'oeil, la temporalite et l'enigme du tableau". Paris 1, 1998. http://www.theses.fr/1998PA010679.
Texto completoThe base of my thesis is the eye : of the painter, the spectator and of the painting gazing at us. On the painting, two conciliatory looks : an erudite look and one of joy. The two looks have to wed within a shared vision. If one transcends the iconographic method, then the painting will move our very being, in our need towards understand to our appetite of delight. The spectator will first react in a subjective manner. Through this perceptive experiment, he goes into an intersubjective sphere. There is a pictorial space which unfolds, then the inferiority appears, the time, the great sculptor. It's the same for a painting : its' spatial movement, which generates its' time, is its' time. There is, in this manner, a universe of the painting composed by space and time. The imagination creates a more lively world. It is the dynamic of the art work, which is its' physical body, an astonishing physique because it's only there to enamate something mysterious, an apparition which gives us access to it and to the world. This is the 'aura'. The enigma is the substance of the artwork which is enamated by a strange metamorphosis, like a call which raises the visibility to bring out the web of the invisible, this other reality. Art is the meeting of freedoms, freedom of the artist, which flows through the spectator's eye, and the painting's gaze. The receptivity and the knowledge can then light up the work ; it's by this freedom that the artist generates them. Modern art, contemporary art only expresses, often exacerbates, this will of initiative and also this necessity of change. It's exactly this resistance, which moves the painting in its' temporality and makes the enigma pre- existent, like the enigma of the human-being
Lagouanère, Jérôme. "Intériorité et réflexivité dans la pensée de saint Augustin : formes et genèses d'une conceptualisation". Bordeaux III, 2010. http://www.theses.fr/2010BOR30014.
Texto completoThis work is in keeping with a process of a conceptual archeology. Our aim is to study how the notion of interiority arises and develops in Augustine’s thought, from his first books, the Dialogues written in Cassiciacum, to his main work, the De Trinitate. On the first hand, we try to study how the concept of interiority is organized as a syntax throughout a topologic process. So, we first study, in a syntagmatic way, relations that link very important words as anima, animus, mens, ratio, intellectus, intelligentia, memoria, uoluntas and spiritus; then, we study, in a paradigmatic way, the motif of spiritual progress. In the last resort, the notion of interiority seems to be a dynamic structure, where the concept of imago Dei plays an important part. So, on the second hand, we have to examine anthropo-theology of the image in Augustine’s thought. We first put concepts of imago and similitude in the context of Antiquity’s thought, and, then, we study how these words are used in the De Trinitate. So, we have to wonder which part analogy plays in this context and how Augustine develops these notions throughout the paulinian motif of the mirror (1 Co 13, 12). In the last resort, by thinking about relations between the motif of the mirror and the notion of interiority, we have to wonder about the concept of reflexivity understood not only as a noetic one, but also as semiotic and hermeneutic one
Gorisse, Marie-Hélène. "L'art du point de vue : étude dialogique du pluralisme Jaïn dans le Prameya-kamala-martanda". Lille 3, 2011. http://www.theses.fr/2011LIL30030.
Texto completoThis dissertation investigates the notion of context in Mediaeval Jain theory of knowledge, within the perspective of contemporary discussions in the field of philosophy of logic. The selected corpus in the last chapter of the PrameyaKamalaMartanda, The sun that grows the lotus of the knowables, written by the end of the tenth century of Christian area by Prabhâcandra. This chapter has not been translated in a European language yet, and our work contains a edition as well as French translation of it. The aim of the translated chapter is to present three approaches dealing with the notion of context. Among them, the first is referred as the "theory of standpoint", according to which one might acquire partial knowledge, that is to say knowledge dependent on a theoretical context and hence express but a subset of the numerous aspects of a given object of knowledge. The second approach is the theory of the modes of assertion, which enables one to make explicit the parameters implicitly present in every assertion. And the third approach is the theory of "cryptic inferences", which is a method to present inferential statements in a hidden way. From this, the comprehension of the meaning of an inferential statement calls for a work on its linguistic for, which reveals a range of deeper meanings. The aim of this presentation is to provide with an understanding in contemporary terms of the notion of context in Jainism. We chose to develop this reading within the frame of Dialogical logic, since this logical frame enables one to handlea pluralitu of sets of norms
Prete, Nadia. "Dans l'entre-deux, l'un-possible image : recherche à partir d'une pratique de recouvrements photographiques". Paris 1, 1998. http://www.theses.fr/1998PA010607.
Texto completoThis research on the insert of pictures is based on an artistic practice which basic caracteristic consists in acting like a mask. Not that mask which makes definitely disappear the lower surface like layers of sediment, but a mask supposed to be lifted up in order to let appear what is never be totally hidden. Those surfaces which mask and those hidden can both be made of different material (fabric, wood, paper, tracing paper), but what remains common among those supports is the fact that they bear a photography, or very often a photocopy. Each creation thus composed is called "photobjet". Those, masks and juxtapositions building up "photobjets" create "inserts" wich can be either places, folds, interstices where is to be found the "one impossible"(un- possible) image also called "the image of light" this insert confronted with pictures and ideas affirmed itself as the main idea in this study whereas the picture, called "un-possible" the would be one concentrating within itself space, reality as will as imagination, is put aside, condemmed into a bottomless abyss. The last chapitre deals with the boarders of this research : between origin and obscenity. Thus, on the one hand, this thesis maintains that striving for the "un- possible picture" in the field of photography, is the desire to reach the origine and, on the other hand, that the characteristics of closeness with the reality and fixeness of this one, turn photography into an object bearing obscenity. This research tried to find the impossible formula of alchemy capable of disturbing our consciousness. This formula is located between knowledge revealed by obscenity and therefore the obligation to approach it from a different angle to avoid paralysis. Therefore to fight back this paralysing "medusa" that photographyis, the practical experience had to find and create different means of escape
Gauvrit, Christiane. "Le statut de la vérité et de la réalité dans l'œuvre picturale". Paris 4, 1997. http://www.theses.fr/1997PA040157.
Texto completoWhy is it specific to a painting to present itself as an image? What is the nature of this altogether irreductible and transcendent reality to the painting, which concentrates the maximum of fullness and ontological density, and to which the painting never ceases to refer to as the very reason for its being? The analysis of the status of imitation, image, and trompe l'oeil, shows that this reality is not an external model and could not be. Through its own dynamics, it is the work that creates in itself this other reality of which it seems to be nothing other than the expression: that is the life of forms. It is this life which is here analyzed and is seen developed along two separate aesthetic lines: one is art specifically, the other is decoration
Choi, Jiyea. "De l'"absenciel" : le ciel, d'objet transitionnel à l'objet conceptuel". Paris 1, 2011. http://www.theses.fr/2011PA010529.
Texto completoBoka, Anicet. "De la rupture. . . De la continuité : une introduction au sankofisme". Paris 1, 2007. http://www.theses.fr/2007PA010572.
Texto completoBonnet, Éric. "De l'arc comme variation du champ pictural". Paris 1, 1994. http://www.theses.fr/1994PA010677.
Texto completoInterrogate the connexions and the interactions between arc and painting field : generation, designation, variation, are the objectives of this thesis. The setting up of dualities, opposing the cursive and separative line tension, to the non-tensivity of a monochromatic and hollow ground, the latter is identified to the forgetfulness screen, and arouses remembrance. Edmond Jabes's writing comes, as an echo of this second duality, to open a dialogue between text and painting. The focusing on painting field leads the author to interrogate this knowledge in its extent and its depth, as a carrier of potential tensions and contradictions generating a new model of space : the flat depth, characteristic of Pollock's space, or of several Mondrian's works. Monet, Monnard, Malevitch, Strzeminski, Tal Coat and Ryman are studied in this prospect. The knowledges of soft space and striated space, with Deleuze and Guattari, carry a lighting over internal conflicts of the field, as opposition between concrete designation of the painting's terms, and the loos o f marks, the surface desorder. The arc curve is the figure and the operator of these disturbances, opening to new fields
Tsai, Lin Yen. "Le silence du désir : l'espace corporel dans l'art féminin". Paris 8, 2010. http://www.theses.fr/2010PA083142.
Texto completoFor me, art is identifying oneself with the “Other”. This thesis, then, is an introspective examination of my work from the standpoint of femininity and sexuality – an obsession of mine that I became aware of thanks to other women artists. Throughout my work, the whole issue of woman as an artist has evolved along two lines : the difference between genders, and their respective interpretation of sexuality. Within this aesthetic evolution, anxiety and doubt have been inspiring and guiding me towards a change in my creative mentality. Though femininity is not an artistic criterion and sexuality is merely a taboo, they are nevertheless manifest in women's art. This anamnesis gives an added dimension to the negativeness of my personal experience (Chora), bringing me back to the origin of my quest, and leads me on towards the frontier of revolt. Ultimately, art is the hope to go beyond one's own limits/limitations, and it is my hope that each of my works is actually a rebirth. Through "self-sculpture", I am searching for a reflective methodology as well as for a form of psychological therapy. The mimetic mirror is linking the image of art to that of desire in the anamnesis of the body, an image that adjusts itself as in a cultural “negotiation” (between what is taboo and what is sacred, between model and obstacle). Figuratively speaking, the association by similarity constitutes a “point of contact” that is inexpressible. Creation is an expression of my thirst after the Word - to paraphrase Roland Barthe’s “j’ai faim du Mot”. The silence of desire occurs within the épochè of sexuality, the doubt as to one’s femininity. I enter the interactive space combining “I-you-she” whose reconciliation can finally lead to liberation. Based on such a paradoxical desire, my research and quest aim at legitimizing and reasserting my body. The intent here is to show that art can be as diverse, marginal and subversive in its manifestations as the subject of desire, whose liberation depends on its materialization
Jo, Hyunah. "L' accumulation : de la surface à l'espace stratifié". Paris 1, 2012. http://www.theses.fr/2012PA010648.
Texto completoTirzi, Alain. "La notion de génie dans la philosophie critique de Kant et son rapport à la modernité dans l'art". Nice, 2002. http://www.theses.fr/2002NICE2028.
Texto completoPognan, Anne. "Dessiner, peindre le temps perdu". Paris 1, 2009. http://www.theses.fr/2009PA010613.
Texto completoTheodorakis, Styliani. "L'Avant-garde dans le cinéma des années vingt : le cubisme, l'art abstrait, et Dada en France et en Allemagne". Paris 1, 1985. http://www.theses.fr/1985PA01A042.
Texto completoBuret, Nelly. "L'enveloppe des corps : déplacement des limites". Paris 1, 2010. http://www.theses.fr/2010PA010541.
Texto completoAncel, Pascale. "La représentation sociale du temps à travers l'étude d'une pratique artistique : l'installation et "le temps qu'il fait"". Besançon, 1994. http://www.theses.fr/1994BESA1025.
Texto completoBarbon, Marco. "Chronotopies : pour une esthétique du temps photographique". Paris, EHESS, 2008. http://www.theses.fr/2008EHES0010.
Texto completoThe subject of this thesis concerns the nature and methods of the photographic representation of time. Through an analysis of different examples drawn from the history of photography, this study offers a demonstration of how, contrary to the claims of certain theorists that the photographic image simply annuls time, the photographic image in fact unveils a host of representations of time, allowing an understanding of temporality as transience. The crux of this study lies in the possibility of disrupting the entrancing union of instant and eternity : in some cases at least, photography seems capable of representing the ephemeral without necessarily subjecting it to the tyranny of the eternal
Jenner, Deborah. "Le spirituel dans l'art de Georgia O'Keeffe". Paris 4, 2003. http://www.theses.fr/2003PA040138.
Texto completoCette thèse rassemble toutes les influences spirituelles à la base de la vision artistique d'O'Keeffe (1887-1986). Le premier volume expose les sources ésotériques de son œuvre. Les recueils de hai͏̈ku et The Livre du thé lui ouvrent la voie du Zen ; les poètes transcendantaux et la culture amérindienne, celle du monisme ; enfin, Le Secret de la fleur d'or, celle de l'alchimie. Elle trouve aussi du mysticisme dans la psychologie jungienne et dans la physique moderne. Le deuxième volume montre comment chaque élément plastique est lié au spirituel. Thought Forms de la théosophie fournit des descriptions précises d'une réalité supérieure projetée par l'esprit. Grâce à l'approche innovatrice d'Arthur Dow, basée sur l'esthétique Japonaise et la composition musicale, O'Keeffe traduit la nature en design abstrait. Son Notan et sa " vacuité " remplacent les lignes de contour et les ombres. Son style, à la fois abstrait et réaliste, fait de fleurs voluptueuses, des gratte-ciel illuminés et de canyons du Far West évoque des mirages dont les couleurs vibrantes deviennent le véritable sujet. En explorant la perception de la réalité, son art devient une pratique spirituelle. Le troisième volume présente les thèmes de ses toiles comme autant d'événements : fentes dans le néant, formations géologiques, croissance organique, construction urbaine et sensations corporelles. O'Keeffe se sert du pragmatisme et du positivisme comme moyen d'aborder l'abstrait et l'invisible Les natures mortes expriment les humeurs. Les " mindscapes " transforment les paysages. La synesthésie réexamine la perception. L'intuition évalue l'observation. L'alchimie rend interchangeables le minéral, le végétal et l'animal. La Nature se transforme en icône sacrée. Ses tableaux, maIgre leur modeste format, nous rendent conscients de la splendeur cosmique de la Création. La spiritualité de son art est jugée par son pouvoir d'éveiller le spectateur aux merveilles et de les guérir
Go, Henri. "L'obscur : sur le problème de la sagesse". Nice, 1998. http://www.theses.fr/1998NICE2008.
Texto completoPhilosophy, which springs from astonishment, is a "passage into the obscure" in so far as it is a pro-vocation towards an adidactic situation. Thus, the wisdom sought by philosophy sould not be construed as a systematization of a global world-outlook, it should wilfully abandon any weltanschauung whatsoever. This delving deep into our ideas corresponds to a "pratical materialism' (Marx-Engels), in so far as we shall have to think out the concrete conditions of human existence as being activity, in order to institute the meaning of the good life. This meaning requires a total acknowledgement of the obscurity pertaining to antepredicative incarnate living. The intuition of obscurity as part and parcel of "existential fact" reaches its highest expression in art, a relationship of estrangement from reality, but an experience of reality as an actual meeting with the unknow. This experience leads to the discovery of the inner-man's depth, a passage deep beyond subjectivity, a camera obscura of a purely intellectual or idelogical ego. Wisdom henceforth consists in this delving deep into the politico-ethical question of the mitsein
Lambert, Xavier. "Le corps sans bords : identité / altérité dans l'image numérique et ses résonances dans la fiction narrative". Paris 1, 2004. http://www.theses.fr/2004PA010591.
Texto completoLetellier, Isabelle. "La fonction de l'oeil dans la structuration psychique : pour un dialogue entre psychanalyse et phénoménologie". Paris 7, 2012. http://www.theses.fr/2012PA070030.
Texto completoThis work enlightens the fonction of the eye in the process of psychic structuring. It shows a path to elaborate the Real through a dialogue between psychoanalysis and phenomenology, which is based on a criticism of psychoanalytic structuralism. It is claimed that the primacy of the symbolic misses the Real in the psychic structure. It is therefore necessary to redefïne the imaginary as consistency of the psychic structure to integrate thé moving Real in which is rooted the articulation between the psychic dynamic and the structure. The fonction of the eye operates the reflexivity which enables the crossing of the objectrelation. This process structures the psyche by passing from seeing to knowing. The psychic dynamic does not reduce to reflexivity since it implies a rest of unreflected in which the death drive originates. The unreflected constitutes the blind spot of the structure and accounts for its porosity. This view on reflexivity introduces the question of splitting as both the psychic splitting and the splitting of the world. The phenomenological theme of the unreflected is read from a psychoanalytical point of view as what enables the world to be consistent: to the neurotic and the pervert, blindness is the price to pay for the world. The psychotic delirium can be considered as an attempt to compensate for the lack of the blind spot which enables a sexual relation based upon its own impossibility
Kouassi, Konan. "Détournement : le signe comme idée de peinture". Paris 1, 2011. http://www.theses.fr/2011PA010679.
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
Gongalves, Flavio. "Où se trouve le dessin? : une idée de dessin dans l'art contemporain". Paris 1, 2000. http://www.theses.fr/2000PA010582.
Texto completoSung, Jihae. "La réflexibilité comme moteur de renouvellement dans l'œuvre cinématographique de Jean Eustache". Paris 8, 2004. http://www.theses.fr/2004PA082662.
Texto completoThis thesis is devoted to the study of the films by Jean Eustache. As a director who came to realise his first film just after Nouvelle Vague, Eustache is considered as the direct heir of Nouvelle Vague though his films showed personal tone with the evolution. His films are appreciated in divers ways: sentimental, intellectual, personal, marginal, realistic, experimental, modern whileas Eustache is unanimously considered as the director who couldn’t get along with his epoque. His filmic career shows the balancement between the fiction film et the documentary film, between the feature film and short film, between 35 mm format and 16 mm format etc. From this balancement comes the particular form of reflexivity in his films, which is a driving force of renewal. His films show the evolution in which Eustache is interested in posing questions about the possibilities and the limits of the means of filmic expressions. For this questioning, his films adopted the return to the primary phase of film’s evolution, the repetition, the emphasis on speech
Cho, Nan-Young. "Rupture, restitution, prolifération dans les arts visuels entre orient et occident : trois moments créateurs de l'espace contemporain". Paris 1, 2008. http://www.theses.fr/2008PA010603.
Texto completoGuillot, Marie. "Déixis et subjectivité : essai sur l'indexicalité dans le langage et la pensée". Paris, EHESS, 2010. http://www.theses.fr/2010EHES0027.
Texto completoThis is a critical study of the « indexical view of subjectivity », according to which the deictic mode of reference ¬especially deictic reference to oneself under the pronoun “1”-is constitutive of the mental phenomenon of subjectivity. Three questions are addressed. (i) Is there a kind of mental indexicality in thoughts, analogous to the kind we find in language? (ii) How best to transpose to thought the account of the mechanisms of deixis we see at work in discourse? (ii i) Does the deictic character of certain mental states provide a sufficient account of the phenomenon of subjectivity? Book I (Chapters 1 to 3) is a detailed analysis of indexicality in speech. It elaborates a very general notion of deixis, which can apply to all the variations of the phenomenon, as classified in the typology proposed in Chapter 3. Book Il considers various possible ways to adapt this notion to the domain of psychological representations. In Chapters 4 to 6, 1 present the epistemic phenomenon of «essential indexicality », which is the main motivation behind the indexical conception of subjectivity. In Chapters 7 to 9, 1 discuss three competing semantic models of mental indexicality: a descriptivist, token-reflexivist model (Chap. 7); a bi-dimensional, extemalist model that relies crucially on the notion of a mental file (Chap. 8); and finaIly, a relativist model, spelled out in the framework of centered-world propositions (Chap. 9). Each one of these models is found to provide only a partial account of the cognitive profile that is a necessary condition for being a subject 1 therefore conclude that a strictly indexical theory of subjectivity -and more generally, a strictly representational theory thereof -is insufficient
Roland, Céline. "L'autre de l'art : l'échange de rue comme mode d'intervention créatif dans mon quartier d'habitation". Paris 1, 2006. http://www.theses.fr/2006PA010576.
Texto completoHaddad, Michèle. "L'art de Courbet : transgressions/création, sources". Paris 4, 1995. http://www.theses.fr/1994PA040239.
Texto completoWhat are the sources and the principal forces of Courbet's art ? Starting from the discovery of an Epinal image whose composition is very close to that of the 'Burial at Ornans',this study examines the elaboration of the painter's works and proposes new hypotheses about this most famous canvases. .
Foulon, Eloïse y Eloïse Foulon. "Objet, langage et (re)présentation". Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/37727.
Texto completo354241\u J’ai commencé par regarder les objets et les murs. Je me suis demandée à quel point ces objets et ces murs, en fait, toutes les choses matérielles, étaient vraies. J’ai pensé qu’elles trouvaient leur vérité dans une double existence : une existence matérielle et une existence par le langage. Mais il y a quelque chose de factuel et d’acquis qui nous fait requestionner ces deux vérités. Alors, j’ai voulu déconstruire, comme on regarderait chaque timbre dans une collection de timbres. Et c’est par l’art que je m’applique à cet exercice-là, déconstruire pour être la plus proche de ce qui existe vraiment, et pour comprendre l’existence, aussi, par la représentation. Pour cette déconstruction je parlerai sans hiérarchisation d’espace, d’étendue, de grille, de maison jaune, d’image mentale, de lieu, de cuisine, de tapis, d’objet, de chaise, de table au milieu de la route, d’Idée, de «monde des idées», d’acquis, d’utilité, de traduction, de langage, de mots, d’intellectualisation du concret, d’observation contemplative, d’inutilité, de (re)présentation, d’image, de peinture bien sûr et, de forme.
Martinez, Aurélie. "Anatomies monstrueuses : de la science à la scène de l'art actuel". Bordeaux 3, 2009. https://hal.science/tel-04196852.
Texto completoIn the scientific language, a person who is qualified as monstrous is reached with disturbance of morphogenesis. It is then rejected by the body standard founded by the society. Bound by the flesh, the Siamese twins represent two identities amalgamated in only one body. As for the androgynies and hermaphrodites, they gather two sexual entities in a single anatomy. These bodies except standard no separated double identities. They are represented by the contemporary artists. They use the Siamese image as a metaphor of the identity structure in the relation with the other. They are also inspired by the bisexual anatomy of the androgynies and the transsexual’s oscillation between two sexes, to project a new equilibrium identity between the man and the woman. At last, they invent or take as starting points with the hybrids and mythical creatures to mix the human body of the animal body. The question can be put: do these various monstrous representations translate the restlessness of the human future, manipulated by science and technology?
Cho, So-Hee. "Transparence de la vie quotidienne". Paris 1, 2010. http://www.theses.fr/2010PA010531.
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