Tesis sobre el tema "Représentation (esthétique) – Dans la danse"
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Febvre, Michèle. "Danse contemporaine et théâtralité". Paris 8, 1993. http://www.theses.fr/1993PA08A878.
Texto completoRousselot, Maëlle. "De la transe dans les ballets du XIXe siècle à aujourd’hui : pour un décentrement des regards". Electronic Thesis or Diss., Bourgogne Franche-Comté, 2023. http://www.theses.fr/2023UBFCC037.
Texto completoThis research formulates the hypothesis that there may be presence of trance in the representations and perceptions of ballets from the nineteenth century to the present day. This raises a number of questions: how is trance represented and perceived in these works? What do these representations of trance, or on the contrary its invisibility in these ballets, say about us as Westerners? How can we define trance, this elusive phenomenon and multifaceted state? Our methodological operation, then, consists not so much in defining trance, as in identifying, dimensions and features, i.e., recurring aspects found within an open corpus of trance phenomena variously identified as such throughout Western history from the sixteenth century to the present day. This then allows us to identify the transic features and dimensions of ballets from the nineteenth century to the present day, through analyses of works and discourses based on various sources such as librettos, texts, images, drawings, lithographs, paintings, photographs, videos and on interviews with dancers. In this way, we can both approach the phenomenon of trance in all its complexity and shift the way we look at ballets. We discover a nineteenth century teeming with trance aspects, whereas from the end of the twentieth century to the present day, there seems to be many elements that obscure and erase these aspects. The fact of showing or, on the contrary, erasing these characteristics conveys information about these dances, but also about their audience. This decentred perspectives also allows possible “transic” reinterpretation of these ballets in a contemporary context
Villeneuve, Roselyne de. "La représentation de l'espace instable chez Nodier : stylistique, esthétique, ontologie". Paris 10, 2005. http://www.theses.fr/2005PA100071.
Texto completoThis work deals with a set of problems appearing at double level, thanks to the convergence of three complementary methods. Indeed in Nodier's fictions the main problem regarding the instability of the represental space comes unavoidably to the lancinating subject of the representation itself, which was weakened at the beginning of the XIXth century. The first part studies the stylistic ways used for the representation of the instable space, chiefly verbs and figures. The second part relates to the major topics of an aesthetics concerning the instable space, namely the romantic picturesque and the intertextual writing, acting agent to remove in the same time the centers of space and aesthetics. The third part analyzes the ontological presuppositions which can outdo the spatial instability by subjecting it to a transcendental order : harmony, otherworld, scale of nature. Reflecting the changes come in an age, the instability affects deeply, in Nodier's work, a writing in progress
Athanassopoulos, Evangelos. "Esthétique et publicité : l'art contemporain après la crise de la représentation". Paris 1, 2008. http://accesdistant.bu.univ-paris8.fr:2048/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9782296246140.
Texto completoMoquet, Patrick. "L'explicite et l'implicite dans la peinture en représentation". Aix-Marseille 1, 1998. http://www.theses.fr/1997AIX10073.
Texto completoGaro, Isabelle. "Reflet et représentation dans la pensée de Marx". Paris 1, 1996. http://www.theses.fr/1996PA010582.
Texto completoThe theory of reflex has been for long debated granting marx with the argument that knowledge might be a relevant image of the objective reality. The analysis of this proposition, that started with engels and lenin is still going on till now, allows and requires a coming back to the proper use made by marx of reflex and image notions within the scope of a more general reflexion upon representation. This reflexion leads him from a controversy against the hegelian and neo-hegelian conceits to the elaboration of the ideology concept, pointing out social creation and function of representations within the range of class war in the way of capitalist production. Emphasizing the proper dynamism of these representations, marx has overcome the inherent tensions in his type of ideology, studying this objective representation : money, upon the original ground of criticism of political economy. Hence he gives an analogical role to the reflex notion allowing it to take into account singular and concrete representations, such as. So, this notion of a new kind bears the opportunity of a proceeding criticism of philosophy wich never builds up into a new theory of knowledge. The study of the marxism conceit of representation does give way to a proper style of investigation and conceptualism, that does not gather its conclusions in an ultimate synthesis but deal - in a way both open and precisily defined - with the most varied representations and in particular with the notions of theory and method within their relationship to a transforming application. Then, in a unique move, the problem of representation arises as worked out, implemented and reflected
Hellio, Jean-Michel. "L'ambivalence baroque : une esthétique picturale au service d'une représentation cinématographique". Caen, 2002. http://www.theses.fr/2002CAEN1355.
Texto completoGarcia, Tristan. "Arts anciens, arts nouveaux : les formes de nos représentations de l'invention de la photographie à aujourd'hui". Amiens, 2008. http://www.theses.fr/2008AMIE0028.
Texto completoThis thesis is an attempt to redefine what any human art can be. By considering the double dead end which led, in modem aesthetics, to focus either on Art or on the Work of art as such, a third option appears to have remained ignored : to acknowledge the diversity of all artistic human practices and their agreement or opposition with each other. This work is a philosophical and aesthetical inquiry based on that specific option. Each art is then defined as a form of representation. The pictorial, narrative, musical forms appear to be Old Arts. However, new forms of representation are examined here, which emerge from the XIXe Century on : these « denaturalized » forms are produced by uses of techniques, of ages in life, of communities, as brand new possibilities - irreductible to the previous ones - to represent the world, to reverse absence and presence while modeling objects or creating events. The statute of New Arts is thus discussed through various cases
Katz, Stéphanie. "La représentation de la voix en peinture, figures de l'infigurable". Paris 8, 2002. http://www.theses.fr/2002PA082066.
Texto completoGarcia-Porrero, Juan. "Figures de l'anti-image : vers une définition de la représentation picturale moderne". Paris 1, 2006. http://www.theses.fr/2006PA010660.
Texto completoBernard, Paul. "Corps indéfinis : la représentation des corps dans l'art d'après Auschwitz". Paris, EHESS, 2015. http://www.theses.fr/2015EHES0188.
Texto completoThis doctoral dissertation, untitled Undefmed Bodies : The Representation of Bodies in Art after Auschwitz, aims to demonstrate that this event deeply ruptured the forms of representation of the human body in the plastic arts ; especially in painting. Such a rupture engages the so-called traditional modes of representation (for which we argue that they belong to an aesthetics of discernment), as well as those inherited from the artistic modernity, by making this bodies undefined, i. E. Undiscernible. In a perspective both historical and theoretical, this dissertation proposes a deep examination of several artworks, from before and after Auschwitz, trying to question for the latter the multiple forms of the temporality determined by the term "after", following then a dialectic close to the notion of translation : transmission as well as treason of the event. Therefore, the main purpose of the dissertation is to reconsider an artworks' corpus (already existing since it derives from contemporary art) and to define analysis devices able to define the conceptual and hermeneutic outlines of such a corpus. Both examination and analysis aim at rethinking the modes of representation of the human body as well as a kind of habitus which has been developed around them in the aftermath of Auschwitz
Allouche, Raoudha. "La représentation de l'architecture dans l'oeuvre de Théophile Gautier". Phd thesis, Université Blaise Pascal - Clermont-Ferrand II, 2011. http://tel.archives-ouvertes.fr/tel-00705328.
Texto completoLe, Corre Latuille Sandrine. "Esthétique de la vitrine". Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080085.
Texto completoAt the intersection of design and museography, the showcase is an hybrid study, rarely raised in terms of aesthetic appeal, hence this thesis is titled Aesthetics of the showcase. The showcase is usually designed as a decor, a display and a case. Such a perspective, minimizing the active role of the showcase in the economy of the demonstration, gives rise to an aesthetism of the showcase, which the present thesis wants to get rid. Why ? Because the transparency of the showcase is a myth. Although it is physically, the showcase is something that interfering between the Watcher and the watched object. It participates actively into the relationship that is established, or rather that it establishes between one and the other. The problematic orientation of this study is to inquire this interfere role, its nature, its mechanism and the possibility of an aesthetic.How ? Through questioning of the art-works. My doctoral thesis, mainly, focuses on installations and works performance - Wall, Hirschhorn, Koh, Mayaux, Dion, Gette will be particularly studied - who both of them, appropriates a showcase either commercial kind or Museum kind, to make them an integral part of their device.What conclusions ? The interference of the showcase, through its artistic appropriation, appears at three levels. It is a space for exhibitions (1st time), a framework of perceptions (2nd time) and a viewing of representations (3rd time) interfering in the triple set of exposure, perception and representation that it implements
Bykova, Dognon Oksana. "La mafia russe et le crime organisé dans le cinéma : (1988-2010) : représentation, communication et esthétique". Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCH034.
Texto completoToday, although the Russian mafia and organized crime community is officially defeated, it continues to influence, transform the identity of his « faithful » viewers through by the way of cinema. It's necessary to understand the exchanges between the cinema said « criminal fiction » and its influence on the public reality. On the one hand the Russian mafia identity of cinema was built across the international market and international audiovisual film.The originality of Russian fictional crime genre, in particular, that it was in some cases produced, directed and performed by former criminals, who also faced historical changes, and were influenced by Hollywood mafia movies lived a period of transformation in « cinema professionals », as also the professionals in the field of other arts such as literature, publication, music, television. Such was the case of Vitaly Demochka 1, the former criminal, who became director, producer, actor and writer. The particularity of his case, that he directed and performed his own « life story » on the screen, as well the members of his former criminal team became the fictional heroes of his film « Spets ».In parallel, our work is focused on the study of “communicating objects”, such as a music, behavior, language, dress code, tattoos. Which have become representative as the 'weapon' of mafia propaganda, projected in the cinema and widely recycled in reality, and vice versa. It operates not only the mythification of public communication but therefore, the evolution of the social representations and even transformation of the spectators
Gülgönen, Séline. "La mimesis musicale dans l'oeuvre de Platon". Paris 10, 2008. http://www.theses.fr/2008PA100039.
Texto completoThis work focuses on the nature, the operating and the goals of musical mimesis in Plato's Dialogues. It should contribute to the study of platonician thought, while also shedding a new light on the concept of mimesis. In Plato's thought, music is not – or not essentially – an “art of sounds”. It is primarily a tangible imitation of the movements of the soul, an can also serve to propagate them to ether souls. Platonician thought never separates what music can do from what it should do, as can be seen in the Republic and the Laws. But the imitative power of music is not limited to individual souls : music can also imitates cosmic movements, as can be seen in the Timeaus. Through this imitative capacity, music can therefore become hygienic and therapeutic technique, linking the soul and the body to the movements of the world, which is also invested with musical qualities. In the light of mimesis, music proves to be an essential mediator between intelligible and sensible, thus playing an important role in the theory of the soul, the City and the world
Bertin, Marjorie. "Le pirandellisme dans le théâtre de Jean Genet. Poétique et esthétique". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030156/document.
Texto completoThis thesis highlights and analyzes the Pirandellian themes in Jean Genet's plays. It proposes a redefinition of Pirandellism, which was the subject of much controversy from the time of its first definition, of philosophical inspiration, by the Italian critic Adriano Tilgher, in 1923. The new definition put forward here is based on five main characteristics: dualism between life and form; Pirandellian humourism; the supremacy of the art work over life; the impossibility of being a unified self; and metatheatricality. This new dramaturgical modelling of Pirandellism serves to analyze Pirandello's metatheatrical plays and all of Genet's theatre, with a view to understanding the historicity of the texts, that is, their anchorage – and sometimes absence thereof – in relation to their contexts of production and the relationships they weave between them. One of the theoretical frames of reference taken to analyze the influence of Pirandello's dramatic art and aesthetics on Genet's theatre is historical and precisely relevant to the history of theatre and scenic forms in 20th century Italy and France. This work is closely linked to the question of the author and of influence. Apart from Pirandellism, the deconstruction of realism, the giving up of psychological or gestural imitation and of the effects of illusion, the spatial framing of a new fictional world, and the abundance of varied texts and forms of stage direction that outline and recommend staging with meticulous precision are all characteristics common to these two authors
Granger-Mathieu, Geneviève. "Modalités de la représentation dans l'oeuvre narrative de Tommaso Landolfi". Montpellier 3, 2002. http://www.theses.fr/2002MON30064.
Texto completoTommaso Landolfi who is a contemporary writer (1908-1979) often talks about his fear of the real world. Can that reality be dreaded through the words it is closely linked to and which may act as protective screens and transmitting agents at the same time ? It is the great question that has been bothering literature since Plato and Aristote that is to say : its ability to represent reality. Landolfi has set up that particular question in his novels and short stories, especially. His position is still ambiguous, between realism and imaginary, illusion and desperate clearness. The virtuosity of his style and the abandon to fate intertwining endlessly form the shape of his narrative work. According to him, literature is mainly inappropriate. In the meantime, the writer can't accept this unability about the connection to reality. He tries to investigate in an often archaic but deeply original language, all modalities of representation from a weary realism to fantasy
Labrusse, Rémi. "Esthétique décorative et expérience critique : Matisse, Byzance et la notion d'Orient". Paris 1, 1996. http://www.theses.fr/1996PA010677.
Texto completoPasquier, Pierre. "La Mimesis dans l'esthétique théâtrale française du début de l'âge classique à la fin de la période romantique". Caen, 1987. http://www.theses.fr/1987CAEN1022.
Texto completoFiori, Sandra. "Le représentation graphique dans la conception du projet d'éclairage urbain". Phd thesis, Université de Nantes, 2001. http://tel.archives-ouvertes.fr/tel-00399027.
Texto completoBernard-Faivre, Dominique. "Esthétique de l'oeuvre et/ou esthétique des effets. Continuité et/ou rupture dans les arts plastiques contemporains : vers une esthétique de la réception ?" Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1001/document.
Texto completoOur thesisconcerns the question of beauty in the contemporaries plastic arts. But this one does not without saying, if we consider the simple fact of the numerous publications concerning the rejection of contemporary art. May we speak, today, of a "work's esthetic" which refers to a "science of beauty" and to an essentially intellectual satisfaction? We mean an intrinsic beauty, like the one of the Renaissance's art, concerning as much the harmony as the exactness of the forms or the legitimacy of its contents. We mean an art which puts in a prominent position the mimêsis, the perspective's method or the religious motifs. Or would not it be better, in the intention to become able to judge of the esthetic value of contemporary art, to give a first place to the singularity of his causes and effects, at the same time we slide towards a "science of the sensibility" ? In fact, our parallelism between "work's esthetic" and "continuity", then between "effect's esthetic" and a possible "breaking" makes us think about reasons of this breaking, such as the refusal of profundity or as the figurative representation, as well asthe rejection of construction works or noble material. However, we have succeded to consider contemporary art as a real and new poiêsis, in spite of his specific political and technical ways of realisation. And we may assert that, today, undeniably, it is the matter of real art, and even of "epiphany", as soon as we refer to the ontological and laudatory point of view of the philosophe François Dagognet
Chantoury-Lacombe, Florence. "Les images des maux : étude de la représentation de la maladie dans les arts visuels de la Renaissance". Paris, EHESS, 2005. http://www.theses.fr/2005EHES0039.
Texto completoThis thesis is a study of the representation of disease in the visual arts of the Renaissance. The principal question which guided this reflexion is to learn under what conditions there could have been a plastic expression of disease according to two essential given points : firstly, the fact that the artists of the renaissance tried to create an esthetics in conformity with the theories of art of their time in terms of balance, measurement and harmony, and secondly, the fact that disease constitues, by definition, an effect of force in perpetual transformation. Starting from the idea that the representation of the pathological states in Renaissance art serves an apologetic function which largely exceeds that of simple descritpion, the thesis aims at showing the displacement which produces this order of representation compared to the mimetic direction of the image. Our study of the images will be put in connection with both the theories and also the thought of Louis Marin
Arias, Martín. "Représentation, monde fictionnel et obscénité dans la littérature d'Osvaldo Lamborghini". Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080032.
Texto completoThe works of Osvaldo Lamborghini (Buenos Aires 1940- Barcelona 1985) present a curious paradox. On the one hand, his literature has been defined by critics as the products of an abstractionist artist close to the avant-Gardes of the 20th century. On the other hand, his texts develop radical forms of representation, related mainly with sex and violence in a political context. Instead of isolating one aspect of this paradox, this thesis explores the interaction between both poles. Thus, Lamborghini’s second book —Sebregondi retrocede (1973)— is analysed as a two-Pronged device in which a “centre”, where representational possibilities are exhausted, is in connection with a “marginal” zone. In this margin, what remains of language once its representational possibilities have been exhausted is accumulated. This device works according to a rhetorical model —that of hypotyposis— and rests upon a conception of language as negativity. In Lamborghini’s novel Tadeys (1983), his most ambitious narrative work, representation takes the form of fictional world construction, i.e., the construction of a semantic macrostructure where stories may take place. In Lamborghini’s last project, the Teatro proletario de cámara (1982-1985), which combines writing, photography, and drawing, representation takes a more radical shape, that of pornography. The presence in this work —whose form is that of an archive— of pornographic images (and also a few of Argentinean politicians) raises challenging questions about the relations between photography, politics and literature. These questions are tackled from the point of view of Dominique Maingueneau’s theory of pornographic discourse
Ebguy, Jacques-David. "Pour une esthétique du personnage : Balzac et le problème de la représentation dans les 'Scènes de la vie privée'". Paris 4, 2001. http://www.theses.fr/2001PA040135.
Texto completoThe following work aims at examining the various ways of creating "aesthetic figures" - which are the product of a composition and a vision - in Balzac's 'Scènes de la vie privée'. It's broken down into three parts. .
Brignone, Patricia. "Les nouvelles pratiques du corps scénique : pour une approche élargie des rapports danse, arts plastiques, performance". Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20008/document.
Texto completoSince the last few decades, we are witnessing the emergence of artistic practices that lead us to rethink more than ever the cloistered categories we’re used to fit them into: visual arts, dance, performance. These practices testify the override of the idea of multidisciplinarity (which has been a long-term focus) to invest new physical and mental modalities and spaces.The artistic genre porousness often attests common issues like the question of the « I », the representation and the staging of the self ; a specific code investigation ; the exploration of a gestural corpus.Stating a kind of deterritorialization of practices cannot however prevent from an historical enlightening, mainly to be found in the Judson Dance Theater and its broader context, the New-York avant-garde scene of the sixties. This unprecedented field of experimentation shaped new strategies for the body in motion whose reach is still seminal today.Though relationships to ordinary gestures are no more what artists are striving for, some experimental processes are still operating, regarding either the interactions of the body to objects or to particular devices. This open realm of relationships, crossing the work of artists like Jerôme Bel, Alain Buffard, Ulla von Brandenburg, Boris Charmatz, Helène Delprat, Esther Ferrer, Nicolas Floc’h and so many others, is what we sought to map under the term of “the new practices of the scenic body”
Kattan, Ali. "La réalité virtuelle immersive comme outil de représentation dans le processus de design. Application au programme INTERREG "Design dans la ville"". Thesis, Vandoeuvre-les-Nancy, INPL, 2009. http://www.theses.fr/2009INPL029N/document.
Texto completoOur research is in the field of industrial engineering and it is positioned specifically in the design. The general purpose of this thesis is to integrate the immersive Virtual Reality as a tool of representation in the process of new products design to enhance the toolkit of the designer, to compare and analyze its influence by providing the tools of traditional (T) and digital (N) and to support the creation and communication of ideas used in Design. For these tools of T and N, we will analyze in particular drawing, mock-up and software for computer aided design (CAD). Our goal is to propose a method to help especially the two actors of design (the designer and the architect) to choose the best tool for representation during the design process. We show the usefulness of integrating Virtual Reality VR technology as a new approach to their work. The experiments conducted allow us to identify the relationship of VR in the design process. Thus, to show: - A positive influence of VR on the aesthetic evaluation (according to the vision of the designer) and technology (according to the vision of those involved in design) of new product. - A better understanding of the subject specialists by stakeholders (industry, policy makers ...) and non-experts (users, consumers ...). Our research offers a potential to broaden the application of VR in other projects and improve the tool through the birth of a number of applications available to the designer
Bernard, de Courville Florence. "Problématique du double cinématographique dans Oedipe roi de Pier Paolo Pasolini, Hiroshima mon amour d'Alain Resnais et dans les analyses critiques d'André Bazin". Paris 3, 2004. http://www.theses.fr/2004PA030144.
Texto completoEdipo Re by Pier Paolo Pasolini, Hiroshima mon amour by Alain Resnais and reviews by André Bazin are the testimonies of a theory which tackles the problem of mimesis in the ²cinema modernity ²; this modernity has been raised by Gilles Deleuze. Those three systems are the basis of a questioning about the representation and imitation in cinema, within Jacques Rancière calls ² the ‘aesthetic’ form of art², a questioning based on the first texts dealing with mimesis : the works by Plato and Aristotle. Let’s bring forward the following hypothesis : modern cinema has emphasized a paradox entitled ² double cinématographique ², implying that cinema is both a duplication – a perfect reproduction of an original, a reproduction which copies the world to become one and the same thing – and a grotesque replica of a matter, a misleading resemblance, and a derisory imitation of an original. This double status implies that the cinema duplication is ruled by a logic of similarity and difference, a logic of presence and absence. This emergence of mimesis leads to the following awareness : the cinema replica does not only mean reproducing or trying to reproduce according to the homoïosis logic, hence the necessity of studying the consequences of the insertion of this antiquity concept in the "cinema modernity" notion
Vidal, Romain-Laurent. "Réalisme et rationalité de 1960 à nos jours dans les oeuvres d'expression française". Paris 8, 1993. http://www.theses.fr/1993PA080837.
Texto completoThe domain of study of the thesis deals with forms of realism and of rationality, that is to say the new ways of reading the real, from 1960 until nowadays. Research have for frame the theory of the knowledge, from a transdisciplinary point of view. The starting point is the importance of the opening of perspective led by the new realism in arts; then the question occurs to the new current of the philosophy; and afterwards the conclusion leads to the new realistic statue of consciousness in moderne sciences
Suret-Canale, Michel. "D'un atelier à l'autre : au regard des faits". Paris 1, 1996. http://www.theses.fr/1996PA010641.
Texto completoThe thesis consists of a critical self-analysis and the clarification of the dialectical relationship (theoretical practical) supporting the artistic work of the author. The aim of this research, formalised by a dialogue between sight and vision, could be resumed as follows : in an image, to show that part which is shadow, the blindness from which one's viewpoint emerges and of which the critical image preserves the memory. The objective, uncertain, is to succed, both through the successive hybridzation of techniques and critical reflection, in the creation of composite images. Composite images, images which attest banally to a ça a été, everyday images that have rid themselves of the strategic stakes of art, free to return to a common ground, not on the grounds of artistic cliche, but rather the common ground of everday life, espace de ressemblement ; because once idle, the image comes to resemble us, to bring us together. Failure is not feared, it appears, to the contrary, to be a necessary condition to the succes of the project
Shakhnova, Maria. "Représentation de l’oral dans l’écrit. Le cas de l’interjection dans les bandes dessinées francophones et russophones". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL143.
Texto completoWhether it is considered as part of the language or on its borderline, the interjection has always attracted the scientific attention. Today, the study of interjection includes a vast field of disciplines. Its crucial role in communication is no longer in doubt: interjection is indeed inscribed in the discourse, and its functions are diverse. In this thesis work, we study interjection as one of the marks of orality in a written text, on the example of the French and Russian comics, the aim being also to apply the translatological conclusions to the interjection theory. This contrastive analysis allows not only to define various techniques of its translation, ranging from literal translation to adaptation or compensation, but also to enrich the linguistic theory of interjection by confirming its conventional character, on the one hand, its resemblance to the sentence and its functional aspect. In complementarity with the linguistic and translatological approach, we are particularly interested in the study of the plasticity of the interjection: the visuality being a determining factor in the construction of the meaning of the interjection which introduces the interrogations on the poetics of the interjection and the elaboration of the style through the interjection. Finally, this work leads to some interesting perspectives, especially on the comparison of the translation of the interjection in several language pairs: this study of the interjection in a broader traductological space allowing to contribute to reconsider, in the continuity of our work, the linguistic definition of this phenomenon in languages
Choi, Massart Young-Ju. "Perception et expression de la couleur dans l'art pictural moderne". Paris 1, 2012. http://www.theses.fr/2012PA010718.
Texto completoBayon, Estelle. "Vers une esthétique de l'humilité : visions du monde en présence de la terre dans les cinémas contemporains". Paris 1, 2012. http://www.theses.fr/2012PA010694.
Texto completoSouchet, Audrey. "La représentation du baiser dans les romans de Mary Shelley : pour une éthique du corps". Caen, 2013. http://www.theses.fr/2013CAEN1717.
Texto completoMary Shelley’s work as a novelist is best known for her first novel, Frankenstein; or, the Modern Prometheus (1818). This novel shows strong, graphic scenes which have had a deep impact on modern society’s imagination. One of the most striking scenes in Frankenstein is the moment when Victor gives a kiss to his cousin, who is also his fiancée, while having a nightmare, because this kiss kills Elizabeth and turns her into the corpse of Victor’s dead mother. It seems that the erotic kiss as a literary motif played a decisive role in the making of Mary Shelley as a novelist because it appears in the first drafts of Frankenstein, whose content, as we know, was heavily modified until the novel was published. The project underlying this study consists in displacing this aesthetic hypothesis and applying it to the other six novels which Mary Shelley wrote and which have been almost completely eclipsed by Frankenstein: the kiss as a literary motif will then be considered as a metaphor for the making of the woman writer. If the literary kiss can be considered as a motif belonging to the philosophical categories of aesthetics and eroticism, what can the kiss as it appears in the work of a female writer indicate about this writer’s relation to the conceptual categories of her time? As Mary Shelley’s novels suggest that aesthetics and eroticism as they are conceived by modern society are no longer productive, and as they reinvest the meaning of the literary kiss with an ethic of caring for the body of the other, bringing these novels together will help rediscover a writer’s vision of literature, her vision of Man, and most of all our own vision of what literature is about
Ney, Hugues-Olivier. "Techné et Mimésis dans le livre II de la "République" de Platon". Aix-Marseille 1, 2002. http://www.theses.fr/2002AIX10007.
Texto completoHalimi, Carole. "Le tableau vivant de Diderot à Artaud, et son esthétique dans les arts visuels contemporains (XXe-XXIe siècles)". Paris 1, 2011. http://www.theses.fr/2011PA010655.
Texto completoMartin-Lavaud, Virginie. "Présence et fonctions du monstre dans la vie psychique des enfants". Paris 13, 2005. http://www.theses.fr/2005PA131010.
Texto completoThis research relates to the presence and the functions of the monster in the psychic life of children from 6 to 11 years old, who engaged in a psychotherapy work. At first, it locates the monster in a historical and aesthetic dimension and examines after the statute of its representation. The questions treated concern the formal regression characteristic of dreams and the aesthetic methods of constructions of the monster by metamorphosis, deformation and “assemblage-collage”. In the second part are examined, starting from clinical situations, three introduction modes of the monster into the speech of the children : see monster, to be monster and to become monster. In the third part, four functions of the monster are developed : the apocalyptic function which relates to the unconscious's subjective truth, the phallic function which engages the sexuation, the topographic function who's builds limits, and the aesthetic function which organises the threatening and unknown
Barbéris, Isabelle. "Copi : le texte et la scène : mimèsis parodique, mise en scène de soi et subversion identitaire dans les années parisiennes (1962-1987)". Paris 10, 2007. http://www.theses.fr/2007PA100050.
Texto completoYang, Chorong. "Graffiti et Street art : étude des discours historiographiques et de la critique esthétique d'une forme sociale de modernité visuelle". Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENH016/document.
Texto completoMany plastic works were born from a theory and practice influenced by political and social issues. Apart from differences in the methods used, they are united by a spirit of rebellion and contestation. We examined the relationship between art and popular culture, street art and socio-critical phenomenon of this period. Our hypothesis is that this relationship can be defined by the concept of street art, understood as an artistic practice whose connotations are both aesthetic and social a critique and order. It is on the basis of this hypothesis that we questioned the social content / critique of street art and its relationship with the socio-critical sphere which is a representation of the contemporary era. Our first intention was to show, through the graffiti testimony that the modern artists discovered the artistic value of graffiti and some anonymous registrant walls with intellectual expression. Then, this part concerns the prospect of popular culture, critical look at the age and plastics criteria that have had an influence on the street artists in France. Finally, the third and fourth parts deepen the street art movement that became the graffiti art in the history of contemporary art. We study the quarrels offered by the social function of works of art, the ethical problem of the artist's work social function, role, and real artistic value in the industrial culture and commercial art, unrolling a panorama of street artists activities. The two axes of “the artistic value” and “rebellious act”, dealing with contemporary art and its relationship with its critical vision of modernity, those are the foundation of the street art movement, which activist and rebel practice, as an art, and a critical approach towards the art world or our society are essential to its survival as it is. This subject will therefore give us the opportunity to question the true art in our society, a consumer society. Any image that is concerned with the meaning of the pictorial discourse is contentious and feeds on cultural and political antagonisms
Blanc-Benon, Laure. "La question du réalisme en peinture : les approches contemporaines à l'épreuve de l'histoire de l'art". Nancy 2, 2004. http://www.theses.fr/2004NAN21012.
Texto completoThe debate between Ernst H. Gombrich and Nelson Goodman focuses on the question of pictorial conventionalism. It seems to contrast a psychological with a semiological account of representation, and has been developed further within the context of the analytical philosophy of art and analytical æsthetics. Starting from the history of the mimesis concept, we study the main arguments of this debate and suggest a theory of pictorial representation inspired by Dominic Lopes. This theory is a way of getting over the alternative between semiology and psychology, and to support an elaborated form of pictorial realism, which throws new light on the problematical notion of resemblance. Through this approach, it becomes possible to account for the specific perception of pictorial images, whether they are abstract, figurative, or lie beyond this distinction, like the paintings of Nicolas de Staël or Francis Bacon
Gaudin-Bordes, Lucile. "Du figural et du représentatif : approche rhétorique et intersémiotique dans la littérature du XVIIème siècle". Paris 4, 2000. http://www.theses.fr/1999PA040130.
Texto completoGodard, Anne. "La Renaissance dialogique : imitation et dialogisme dans les dialogues de la Renaissance". Paris, EHESS, 2000. http://www.theses.fr/2000EHES0042.
Texto completoBelkahla, Ilhem. "La représentation des marges sociales dans l’œuvre de Rétif de La Bretonne". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL180.
Texto completoThe present thesis aims to study with full measure all that the work of Rétif de La Bretonne owes to the motive of prostitution. It is an essential component of social margins in the eighteenth century. In order to illustrate the different representations of the prostitute in Rétif and to grasp her direct attachment to the subject, it will be a question of analyzing the works where this one is put in the front of the stage, and where the personal and intimate obsessions of the author with them best reveal his tendencies and goals. ,we consider that the marginality serves as a guideline and underlines the coherence of the whole corpus by indicating its productivity at different levels: place of the author; romantic staff and space; use of language and inquesting the novelistic forms and the literary canons. Therefore, the aim of our research is not only aesthetic, it also mobilizes literary and historical tools
Imbert, Anne-Laure. "Terres de Sienne, problèmes de représentation de la nature et du paysage dans la peinture siennoise (1270-1480)". Dijon, 2003. http://www.theses.fr/2003DIJOL025.
Texto completoLee, Kyoung-Yul. "L'imagerie photographique floue et la représentation mnémonique (autour des oeuvres photographiques chez Christian Boltanski, Gerhard Richter et Andy Warhol)". Paris 1, 2000. http://www.theses.fr/2000PA010551.
Texto completoNativel, Valerie. "La représentation de l’intimité dans le travail de Patrice Chéreau 1982-2010". Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030140.
Texto completoPrivacy is a challenge launched to representation: how do we show what is hidden in essence, that which escapes the public sphere to find place in the private realm, between the walls of homes, or in conscience? In this aesthetic questioning - what can the representation accomplish in front of the paradox of privacy ? – here, an ethical stake is added: what can we show of this sphere governed by the secret and the decent ? The basis of our research is the work of the director and film-maker Patrice Chéreau. Both on stage as well as on screen, bodies are given to be seen until excess, creating embarrassment and fascination in the audience. Two postures take shape here: intruder or Peeping Tom. The spectator is called to reflect his activity. To the theater, it is the link between an uncluttered scenic device and a powerfully carnal act, that places the spectator in disturbing physical proximity to an overflowing body. In the cinema, by exposing the audience to a secreting nudity, far from the standards of images produced by Photoshop, the film-maker calls forth a magnified drive which creates a haptic feature of the glance. So, the representation of privacy arouses a need to exceed the vision in order to feel the visible. This is made possible via the director. In the final analysis, we look at the relationship between Patrice Chéreau and his actors, the relationship where not only the actor’s erotic, but also the ethics of privacy, take shape, both considered as the means to overtake obscenity, exhibitionism or pornography, characterizing the representation of intimacy
Moussaron, Jean-Pierre. "A défaut - la littérature : (Baudelaire, Flaubert, Proust, Deguy)". Paris 8, 1997. http://www.theses.fr/1997PA08A001.
Texto completoBenech, Bernard. "Le théâtre et la voix des origines : quête et retours d'une parole proférée dans les pratiques de la représentation au XXe siècle". Paris 8, 1995. http://www.theses.fr/1995PA080918.
Texto completoThe study concerns the function of the voice in the different kinds of representations (tragedy, buffonnery, puppets and tale), and particularly upon the pratices bounded to sonority of language. The preoccupation is not far from poetry which, uttered, shows a return to the living forces of verb and speech. The process intends to clarify the evolution of the artistic quest proper to vocal training. So are presented, among other exemples, in regard to some significant traditions, some poetic conceptions (symbolism, expressionism, futurism), the verbal work effected by barrault, claudel and the cartel, and the embodiment of voices, under artaud's impulse, by the originals attempts and creations of grotowski, kantor, brook, wilson and of the living theater. The recent creations also are not avoided. The essential intention of the research, by confronting various experiments, was to call a reflexion on the use of voices in the performances of the xxth century
Robin, Diane. "Paradoxes de la mimésis : Conceptions et représentations du laid dans les textes et les images français et italiens au seuil de la modernité". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040218.
Texto completoThrough cross-analysis of French and Italian philosophical, rhetorical, poetic, and artistic treatises from the Renaissance to the first half of the seventeenth century, this study seeks to understand what the early modern period conceived of the ugly. In terms of physical deformity, the ugly is considered as a transgression of the norms of the body: it questions the concept of mimesis as an idealised imitation and allows a reconsideration of the nature of representation. Furthermore, the ugly is seen as the sign of vice: this study looks to reconstruct the physiognomical paradigm which underlies this traditional interpretation of the body and to question its limits through examining Socrates’ paradoxical ugliness. Moral interpretations of deformity bring different semiotic functions of representation into play. In the topic inherited from scholasticism, mimesis of the ugly aims to stigmatise moral defects, as they are represented in allegories about vice and satire. Paradoxical deformity, for its part, gives rise to hermeneutics of text and image. Finally, the ugly is concerned with its effect on its recipient. If the ugly is traditionally understood as a repellent object, its representation aims to arouse the inverse effect, according to the poetics and treatises on art inspired by Aristotle. Analysis of this paradoxical pleasure highlights the aesthetic and cognitive qualities of mimesis. At the brink of modernity, the question of the ugly is at the crossroads of moral issues that stem from the Antiquity, and of aesthetic reflections which develop more fully from the eighteenth century to the present day, notably in theories on fiction
Canet, Géraldine. "L’émotion esthétique aux frontières du lien : accordages, perceptions et représentations des limites dans le groupe art-thérapeutique à médiation plastique, en psychiatrie". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCB012/document.
Texto completoOur thesis aims to define the influence of aesthetic emotion in the process of visual art therapy, on subjects suffering from psychotic disorders or boundary issues. We shall observe the way it relates to psycho-corporal boundaries, in a context where leadership of a group is assumed in hospital institution. Our study thereby details a peculiarity specific to the situation of the artist in art-therapeutic relationship, which involves his or her aesthetic sensibility, creating a mirror-effect with the aesthetic questions of the subject expressing their creativity. Our overall hypothesis is that of a link between aesthetic emotion and the bonding process (Stern, 1989) between the art-therapist and the subjects within the art-therapy group, and that this triggers perceptions and representations of boundaries among these subjects. The research took place in two stages, on four groups of adolescent subjects and two groups of adult subjects. The first phase enabled the collection of results produced prior to our initial research which focused on three groups, and during which we held art-therapy sessions in the presence of an observer and a carer. Data was collected for two goals : to understand the role of aesthetic emotion in transferential movements within the group and the therapeutic effects of these processes, in relation to the creative processes and on the formal representations in the artistic work (observation sheets, self-administered questionnaires, clinical notes) ; and to enrich the objectification of the therapeutic effect of this approach, with tests before/after (projective tests for the six groups, and, for one of them, aesthetic perception tests with eye-tracking, the first results of which are presented under development). An element of mirroring became apparent between the art-therapist (a strangeness in the aesthetic emotion) and the subjects (well-being in the aesthetic emotion, often in relation to gestures), as well as a potential connection between this mirroring and the appearance of boundaries within artistic works, at pivotal moments during sessions. We have paid special attention to this aspect in our thesis, by considering drive aspect in accordance with our examination of aesthetic emotion, at the meeting point between the scopic drive, the aesthetic gaze and its mirror effect
Tuaillon, David. "Les War Plays d'Edward Bond et leur mise en scène par Alain Françon : invention d'une nouvelle perspective dramaturgique et découverte d'un espace de représentation". Bordeaux 3, 2009. http://www.theses.fr/2009BOR30047.
Texto completoThe War Plays trilogy (1983-1985) is Edward Bond’s major dramatic work and a turning point in his writing as well as a significant advance in epic theatre. It deals with the possibility of nuclear war in both a political and a social key. Its French production by Alain Françon as Pièces de guerre (1994-95) was a founding work in his career and a stand out in French contemporary theatre. The present study deals with theses two works autonomously. Part one is about writing The War Plays. After an historical look out of the nuclear holocaust menace in the mid-80s, a description of the author, his work and its place in its time, each play, Red Black and Ignorant, The Tin Can People and Great Peace is examined with the circumstances of its writing, its founds, its thematic, narrative, discursive, stylistic composition, with an emphasis on their semantic system as part of their meaning prospects. Part Two is about producing Pièces de guerre. After a description of the director and its artistic contributors, followed by a study of his previous staging of In the Company of Men, it gives an account of the intentions and meaning of this production by describing every aspect it: organisation, cast, dramaturgical study, translation, aesthetics (set, costume, lights, sounds), rehearsals, circumstances of the performances. A specific emphasis is made on the dialogue between the author and the director