Tesis sobre el tema "Spectacle"
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Fitzmorris, James McKay. "Summoning the spectacle /". Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/10221.
Texto completoKrishnan, Sherly Rishi y Christopher Fisher. "A Virtual Spectacle". Thesis, Uppsala universitet, Institutionen för speldesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-384232.
Texto completoTrevien, Claire. "Revolutionary prints as spectacle". Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/54059/.
Texto completoLane, Katherine Ann. "Spectacle of the Missing". Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1216670444.
Texto completoDonsker, Mayme. "Between Nothingness And Spectacle". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2770.
Texto completoHuang, Gang. "A journey of spectacle between London and Shanghai : (an)other hermeneutics of spectacle". Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23050/.
Texto completoFittock, Dominique Raye. "Panathenaia : the spectacle of politics /". Title page, contents and introduction only, 2002. http://web4.library.adelaide.edu.au/theses/09AR/09arf547.pdf.
Texto completoBuy, Frédéric. "L'organisation contractuelle du spectacle sportif". Aix-Marseille 3, 2001. http://www.theses.fr/2001AIX32030.
Texto completoDespite increasing State intervention and the undeniable application of public law that follows, sport remains firmly anchored in private law. Indeed, the contract is the founding element of this activity, and its role is clearly shown in the manner in which sporting events are organized. What are the characteristics of the contract-related activities which create the sporting event ? Do sporting events require specific contracting regulations ? These are the two main questions that the present study aims to answer. First, the main contracts establishing the event will be considered. A complex web of relations develops between figures in the sporting world and external financial agents based on employment, television, advertising, intermediary and insurance contracts, etc. . . Which is governed by a set of regulations of state and corporatist origin. .
Buy, Frédéric. "L'organisation contractuelle du spectacle sportif /". Aix-en-Provence : Presses universitaires d'Aix-Marseille, 2002. http://catalogue.bnf.fr/ark:/12148/cb39080534z.
Texto completoKing, Taylor Z. "A Spectacle and Nothing Strange". VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5905.
Texto completoChehilita, Émilie. "La critique de la « société du Spectacle » à l’essai sur les scènes théâtrales de Berlin, Londres et Paris dans les années 2000 : spectacle dans le spectacle, la société spectaculaire et marchande au prisme du spectacle vivant". Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100076.
Texto completoThis thesis tackles the critic of the “Society of the Spectacle” (concept brought by the Guy Debord’s eponymous essay) performed in experimental theater works and the performance scenes during the 2000s in Berlin, London and Paris. The studied theater pieces borrow cultural references to the mass media, often considered as machines to alienate the public. The corpus includes authors as well as stage directors and collectives: Martin Crimp, David Alaya, Joël Jouanneau, Falk Richter, René Pollesch, Tom Khünel, Katie Mitchell, the Collective MxM (Cyril Teste), Forced Entertainment (Tim Etchells), Gob Squad and Superamas.The multidisciplinary approach deals with both the dramaturgy aspects and the sociological patterns of representation. One the one hand, this work studies the network structure in which the artists meet each others and collaborate. On the other hand, we investigate the various stage elements, among which cameras and screens take an major part, as well as the actors’ corporeality as well as the spectators’ ways of perception, among others, by the mean of a survey. By trans-contextualizing their sources, the artists create a gap and increase the distance with them using several techniques: literal incorporation, quotation, parody and pastiche, but also irony and cool fun tone.The critical dimension of these works is not straight forward, and often not even claimed. Far from rejecting it as a whole, the authors and actors are fond of the mass media culture’s objects. In order to set in motion their critical function, they place themselves at the heart of the “Society of the Spectacle” and the Zeitgeist. Thus, such a critic has moved from an external point of view to an internal one. Their approach, mixing seriousness and fun, indicates a will not to separate themselves from the spectators to whom they want to set on equal footing in order to make the dialogue and sometimes the interaction possible
Nelson, Wade Gordon James. "Never mind the authentic : you wanted the spectacle, you've got the spectacle (and nothing else matters?)". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ40173.pdf.
Texto completoMerritt, Juliette. "Beyond spectacle : Eliza Haywood's female spectators /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0014/NQ42865.pdf.
Texto completoPearson, Meg Forbes. "Spectacle in early modern English drama". College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3780.
Texto completoThesis research directed by: English Language and Literature. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
SCHITTINO, RENATA TORRES. "TERRORISME: LA VIOLENCE POLITIQUE COMME SPECTACLE". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7680@1.
Texto completoCe travail propose établir une explication pour le terorisme en considérant que ce n´est que dans la contemporanité que cette manifestation se développe en tant qu´une politique autonome. A partir des annés 70, il est possible de constater l´éclosion d´attentats terrorristes ayant l´intention d´intervenir dans le processus historique à travers une violence haussé à la catégorie de spectacle. En analisant la constitution fondamentale du terrorisme - contenu politique et forme spectaculaire -, on remarque le caractère anachronique de cette manifestation face à la societé démocratique soi-disant pacifiée. En observant l´ambiguïté de la diffusion des images comme des marchandises-entretiens - on révèle la difficulté de réalisation des prétention révolutionnaires du terrorrisme. La concrétisation politique de cette manifestation sera retrouvée dans les possibilités ouvertes par la divulgation des images de violence qui se composent, non pas comme une alternative au système en vigueur, mais comme un lieu contemporain de rèsistance à la réalisation de l´histoire.
O trabalho propõe estabelecer uma explicação para o terrorismo, considerando que apenas na contemporaneidade essa manifestação se desenvolve como política autônoma. A partir da década de 1970, é possível constatar a ocorrência de atentados terroristas que pretendem intervir no processo histórico através da violência elevada à categoria de espetáculo. Analisando a constituição fundamental do terrorismo - conteúdo político e forma espetacular -, nota-se o caráter anacrônico da manifestação diante da sociedade democrática pretensamente pacificada. Observando a ambigüidade da difusão de imagens de violência, que ao mesmo tempo coloca em evidência uma determinada causa política e vende as imagens como mercadoria- entretenimento, revela-se a dificuldade da realização das pretensões revolucionárias do terrorismo. A efetividade política dessa manifestação será reencontrada nas possibilidades abertas pela divulgação das imagens de violência; compondo- se não como alternativa ao sistema vigente, mas como o lugar contemporâneo de resistência à realização da democracia.
Hwang, Margaret (Margaret Juien-Yuan). "Machine couture : manufacturing as consumer spectacle". Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/45967.
Texto completo"September 2008." Pages 58-59 blank.
Includes bibliographical references (p. 57).
By creating spectacle through architecture, clothing Labels have developed new branding techniques through which to redefine and provoke. However, the essential behind-the-scenes models of production have remained the same: consumption, manufacturing, and distribution are linked but always independent. This thesis proposes to compress the stages of production for a new type of spectacle: a consumer factory that uses the process of manufacturing as a branding technique. Set in Shanghai, the project studies how retail and manufacturing spaces can intersect to elevate the consumer experience. Through this co-dependency, manufacturing remains within the city's urban fabric and provides an experiential consumer environment new to the traditional retail models of China.
Margaret Hwang.
M.Arch.
Marie, Caroline. "Virginia Woolf : le roman du spectacle". Paris 4, 2003. http://www.theses.fr/2003PA040246.
Texto completoAt the turn of the twentieth century, the performing arts are polymorphous and ever-evolving, just as Virginia Woolf's novels, especially Orlando, The Waves, The Years and Between the Acts. This study highlights similarities between these novels and some plays that Woolf had read or seen. First and foremost, it refers to major modern theatrical theories to compare Woolf's narrative and polemical strategies with those of the playwrights, scenographers and film-makers of her time, whether she knew these conceptions or not. Indeed theatricality and spectacularity, defined as systems of traits that may be transferred to other artistic genres, shape Woolf's fiction more than specific plays. As a web of effective metaphors theatricality and spectacularity partake to the creation of meaning in the novels. They bring about the motives of transformation, action and expressivity while allowing for distanciation and critical awareness
Barget, Éric. "Le spectacle sportif ponctuel : essai d'évaluation". Limoges, 2001. http://www.theses.fr/2001LIMO0486.
Texto completoFoy, Elizabeth. "Spectacle: Framing the Midwestern Art Community". University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1283356889.
Texto completoHenry, Boris. "Tod Browning, le spectacle du corps". Aix-Marseille 1, 2002. http://www.theses.fr/2002AIX10080.
Texto completoMarcoux, Krystina. "Une méthodologie unique du spectacle vivant : d'après l'analyse des spectacles de Georges Aperghis et de Thierry De Mey". Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2053.
Texto completoHistory has taught us that the crossroads among different artistic disciplines has always captured the imagination of creative minds such as Aristotle, Molière and Nono to name a few. Le spectacle vivant, musical theatre, instrumental theatre and other forms of transdisciplinary creations stand as a unique art-form, as they were initially conceived without any pre-established structures giving them greater freedom in both the creative process and result. Developed after WWII, the unusual methodology of this genre is fundamentally based on the active participation and artistic engagement of the performers within the process of creation.This dissertation addresses the historic relationship that exists among music, theatre and dance discussing in depth two major historical breakdowns, Louis XIV and Wagner which resulted in the division among such disciplines. Through the analysis of works by Georges Aperghis and Thierry De Mey, this thesis will present two personal and unique methodologies of spectacle vivant greatly influenced by dance, cinema, and theatre. In addition, a comparative analysis of the works -spectacle vivant- developed over the last six years by the author of this thesis will be included. Personal reflections on the process of creation, from a research and performative perspectives, will be shared and discussed. This thesis will also present a methodological guide to the studied works with hopes of contributing to further academic research and a wider public appreciation of this unique art form
Bouquillion, Philippe. "Spectacle vivant et télévision : analyse socio-économique comparée du spectacle vivant et de la télévision en France pendant les années quatre-vingt". Grenoble 3, 1993. http://www.theses.fr/1993GRE39009.
Texto completoAt the end of the 80', fund rising depends on the audience and the notoriety in order to reach that objective : advertising is developing, the content is standardized and the diffusion system is favoured. These tendances have increased the costs rise. This problem is particulary important for the performing arts because the consumption is decreasing and because the tv channels are not intrested in broadcasting art programs
Odell, Heather Miranda. "Ex manubiis : literary representations of Flavian spectacle". Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/52866.
Texto completoArts, Faculty of
Classical, Near Eastern and Religious Studies, Department of
Graduate
Lewis, Simon John. "The aesthetics of spectacle in mainstream cinema". Thesis, Northumbria University, 2012. http://nrl.northumbria.ac.uk/8781/.
Texto completoPeseux, Valerie. "100 ans de cinéma à grand spectacle". Paris, CNAM, 2001. http://www.theses.fr/2001CNAM0413.
Texto completoThe history and setting up of "special-sized formats" (wide creen formats, panoramic, hemispheric, circurlar, stereoscopic and dynamic cinemas) are international, but we have chosen do focus on France. Conceived from a disciplinary angle, the history of techniques, "spectacular cinema" has aimed, from the origins, at going beyond limits of a too conventional cinema and at getting closer to "total cinema". Our study follows a chronological and thematic plan which distinguishes three key periods : "The forerunners (1895-1949), The development and operating of "special-sized formats (1950-1959),"Towards new markets : from the cinema to the amusement parks (from 1960 to nowadays)". The first part reviews researches and forrunners' inventions, mostly displayed in "spectacular shows". The second part is dedicated to the period of the "special-sized formats" in the traditional cinema ; this period is qualified as a "race for novelties" and "format war". Thus, the American promoters have tried seriously to upset the cinema industry and to thwart the decrease of the cinema-going. Finally, the third part highlights how spectacular processes have focused on new markets : world fairs, amusement parks, scientific and technical museums. The Canadian company, Imax Corporation, has prevailed over the leisure field for more than 20 years, with an undivided supremacy, thanks to its major processes : Imax and Onimax
Caro, Simon. "Baltasar Graciá́n et le spectacle de l'argumentation". Aix-Marseille 1, 2005. http://www.theses.fr/2005AIX10022.
Texto completoWhite, Christine A. "British theatre scenography : the reification of spectacle". Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445286.
Texto completoCrowder, Craig Alan. "IDENTITY, SPECTACLE, AND EMBODIMENT IN SOCIAL PROTEST". UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/94.
Texto completoDrake, Latoya. "Commodification of voting celebrity, spectacle and social movements /". CONNECT TO ELECTRONIC THESIS, 2006. http://hdl.handle.net/1961/3599.
Texto completoBanyard, Kylie Jane Art College of Fine Arts UNSW. "Phantom in the corner: staging a gothic spectacle". Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43082.
Texto completoAbbot, Simone Rochelle. "Sounds and spectacle : the highland bagpipe in Adelaide /". Title page, contents and introduction only, 1990. http://web4.library.adelaide.edu.au/theses/09AR/09ara129.pdf.
Texto completoFeinberg, Matthew Isaiah. "LAVAPIÉS, MADRID AS TWENTY-FIRST CENTURY URBAN SPECTACLE". UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_diss/216.
Texto completoLee, Jae-Chol 1968. "A room in the room : a private spectacle". Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/76083.
Texto completoIncludes bibliographical references (leaves 40-41).
"A Room in the Room" is a temporary site-specific installation in which I constructed a room inside of my private room, located at 352 Marlborough Street in Boston. The inner room, accessible by the second door of my room, forms an enclosure made out of transparent glass walls. Visitors enter the inner room to share my visual and sound experiences, but not physically to cross the transparent walls. With my performance living between two walls and avoiding any communication with visitors, I expose my private spectacle to the visitors, giving them the sense of strangeness that I am used to in a public space. Reconstructing and revealing the inside space of our spatial, social, psychological boundaries result in an individual and collective narrative. Thus the transparent boundary as a metaphor of physically constructed psycho-social boundaries, examines my strangeness in a room and realizes the invisible walls in our social landscape.
by Jae-Chol Lee.
S.M.
Montebello, Fabrice. "Spectacle cinématographique et classe ouvrière : Longwy (1944-1960)". Lyon 2, 1997. http://www.theses.fr/1997LYO2A003.
Texto completoSuhner, Clotilde. "Jeu et spectacle dans l'oeuvre de Boris Vian". Nancy 2, 1997. http://www.theses.fr/1997NAN21014.
Texto completoWe have chosen to study what could be called Boris Vian's shows (that is: both drama and variety shows) in two different aspects: that of texts written in order to be performed on stage as well as that of "shows" included in works. So, this study, based on a close examination of texts, deals with the whole of Boris Vian's works (plays, songs and sketches as well as novels or short stories). We have tried to define "show" in connection with play (or game) and we have then pointed out its importance, whether the show should be play, song, or other forms of "show" such as dandyism. We have been interested in its limits; we have endeavored to establish what it aims at as well as the way it allows communication with the audience. At the same time, we have tried to specify what the functions of shows are and we have noticed that, if they are essential to the structure of numerous plays and novels, they also contribute to relate writing and playing. In order to understand Boris Vian's shows better, we have wished to set them in relation to the present-day world. Thus, they prove to be most often dual, at once critical and “pataphysical” and they enable their author to stand aloof. Vian probably used "show" as an instrument to express the "dandy revolt" of pleasure against death, but the true modernity of these works lies perhaps more in their "second degree", typical of the present-day society, and in a choice : that of "picture" and interactivity
Collier, Mary Blackwood. "La Carmen essentielle et sa réalisation au spectacle". Paris 4, 1990. http://www.theses.fr/1990PA040104.
Texto completoThe first part of this thesis focuses on literary and musical analyses of prosper Merimee’s and of Georges Bizet’s Carmen. We are concentrating on the mythical quality with which Merimee imbued Carmen and for which Bizet created an expression in purely musical terms. In the second part; seven twentieth-century representations of the character of Carmen in theatrical form are presented and analyzed in regard to the multiplicity of viewpoints on the main character as a cultural and social phenomenon. Four adaptations of Carmen have been chosen for this study: Oscar Hammerstein’s Carmen Jones, Roland Petit's Carmen, Peter Brook's and Carlos Saura's Carmen; and three contemporary interpretations of Bizet’s Carmen are examined : the Carmens by Bodo Igesz, Francesco Rosi, and Peter Hall
Bastien, Pascal. "Le spectacle pénal à Paris au XVIIIe siècle". Doctoral thesis, Université Laval, 2002. http://hdl.handle.net/20.500.11794/28589.
Texto completoBlacker, Adam Bryce. "Development of a Questionnaire to Measure Spectacle Dependence". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245340681.
Texto completoLasansky, D. Medina. "Italian Renaissance refashioned : Fascist architecture and urban spectacle /". View online version; access limited to Brown University users, 1999. http://wwwlib.umi.com/dissertations/fullcit/9936645.
Texto completoVerlinden, Elodie. "Danse et spectacle vivant: réflexion critique sur la construction des savoirs". Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210146.
Texto completoDoctorat en Information et communication
info:eu-repo/semantics/nonPublished
Howell-Duffy, Christopher J. "Scientific evidence to support the art of prescribing spectacles. Identification of the clinical scenarios in which optometrists apply partial prescribing techniques and the quantification of spectacle adaption problems". Thesis, University of Bradford, 2013. http://hdl.handle.net/10454/5759.
Texto completoCollege of Optometrists
Howell-Duffy, Christopher John. "Scientific evidence to support the art of prescribing spectacles : identification of the clinical scenarios in which optometrists apply partial prescribing techniques and the quantification of spectacle adaption problems". Thesis, University of Bradford, 2013. http://hdl.handle.net/10454/5759.
Texto completoArmstrong, Ann. "Beyond Eden : cultivating spectacle in the Montreal Botanical Garden". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ47735.pdf.
Texto completoSava, Sharla. "Cinematic photography, theatricality, spectacle : the art of Jeff Wall /". Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/3632.
Texto completoBodi, Anna E. "Patty Hearst: A Media Heiress Caught in Media Spectacle". Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/639.
Texto completoBoyce, Raymond Reginald. "Catching the cow's eye : the spectacle as moral reason". Thesis, Open University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601796.
Texto completoBerthelot, Martin R. "Spectacle and Resistance in the Modern and Postmodern Eras". Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24272.
Texto completoPurse, Lisa Victoria. "The body as spectacle in contemporary American action cinema". Thesis, University of Reading, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429920.
Texto completoWithers, Emma Jane. "Virtual corporeality : narrative and spectacle in Hollywood VR cinema". Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/65820/.
Texto completoTeo, W. W. H. "One world, one dream : contemporary Chinese art and spectacle". Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1336875/.
Texto completo