Thèses sur le sujet « Animal Aesthetic »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les 22 meilleures thèses pour votre recherche sur le sujet « Animal Aesthetic ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Parcourez les thèses sur diverses disciplines et organisez correctement votre bibliographie.
Lecomte, Vincent. « Un penser animal à l'oeuvre ». Thesis, Lyon, 2017. http://www.theses.fr/2017LYSES043.
Texte intégralTo evoke or to summon the animal in art puts in perspective the work of mankind, increases its excesses and its inconsistencies as well as it makes possible to open up the door to what is outside the human reach. Artists inspire themselves from the symbolic to which the animal is giving flesh, its morphology up to the ways of communication it creates and deploys. Artists may even be tempted by mimicry. Don’t creators and poets dispose of no other means than this one to address that strangeness that seems however so familiar to them ?To invite the animal in art work, could it be plastic arts, performances, musicals works or on stage, is to offer an infinite matrix for figuring or reconfiguring. The expression of its physical and behavioral repertory is articulated as a structured language. Beyond a transposition that allows a glimpse at human kind’s humanity, artists can also try to break through the reality of other living beings. Half way through confrontation, dialogue and transference, artistic practices mirror the diversity of human relationships with animals and even its polymorphism, as well as they reflect on the history of a human attitude fundamentally ambivalent, torn between empathy and exploitation. The animal experience, the animalistic experiment even, gives rise to a territory and consciousness sharing, opening up to the unveiling of a thinking through images
Jin, Lipeng. « Animal ethics and contemporary art : an exploration of the intersections between ethics and aesthetics, humans and animals, human and animal injustices ». Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/82819/.
Texte intégralBliss, Gillian E. « Redefining the anthropomorphic animal in animation ». Thesis, Loughborough University, 2017. https://dspace.lboro.ac.uk/2134/27423.
Texte intégralWhiston, Kate. « Pigeon geographies : aesthetics, organisation, and athleticism in British pigeon fancying, c.1850-1939 ». Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/46605/.
Texte intégralPatchett, Merle Marshall. « Putting animals on display : geographies of taxidermy practice ». Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2348/.
Texte intégralKanno, Maurício de Paula. « Ética abolicionista animalista nos \"mangas\" de Mauricio de Sousa : Estética e História da Arte revisitadas ». Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-14122018-143051/.
Texte intégralThis work analyzed issues on Animal Ethics in the comics Turma da Mônica Jovem and Chico Bento Moço, publications in manga style picturing characters by Mauricio de Sousa as teenagers. First, we made a panorama about the relationship among Aesthetics, Ethics, and popular culture, with highlights to studies by Jean-Marie Guyau; we traced the ethical thinking on animals in the World History, arriving to Tom Regan, Gary Francione, Sônia Felipe and Carlos Naconecy. We researched the representation of animals in the History of Visual Arts, with highlights to Franz Marc. The same with the childish comics of Mauricio de Sousa, emphasizing the pig Chovinista; a story where Chico Bento tried to behead a turkey, but regretted it; the vegetarian Tyrannossaurus Horácio; and attempts of the mute Humberto of releasing a canary and a golden-fish from the black Jeremias. Among the characters studied for the analysis, there are: Umberto Eco, for the methodology of text interpretation; Antonio Candido, for studies on the character of fiction; and Mikhail Bakhtin, for the aesthetic of the Grotesc. In manga comics of Mauricio de Sousa, we analyzed his extra-fictional discourse and general principles enunciated by the main characters about the animals; the relationship between humans and savage dangerous animals, innofensive wild animals and pets. We noticed how high valued was the environmental criterium, except when the consumption of animals is at stake. The former cases were compared to the representation of the animals killed and exploited in the food industry: pigs, cows, chickens, fish and bees. We noticed that discourses of the characters and the extra-fictional discourse of generalized love, peace and protection for animals are often incoherent with attitudes observed in the characters and in relation to the messages identified in the stories, mainly noticing the recreative fishing by Chico Bento. We verified the phenomenum of \"letal or slavering affectism\", concept created in this research to designate that, differently from reality, there are certain animals treated by the same character with affection and others of the same species killed or slavered by his or her habits of consumption or direct attitudes. Idyllic scenaries in the rural area communicate deceiving messages in relation to what happens usually in the rural zone with animals; also, the healthiest vegetarian food were not valued and adequately informed. Vegetarian characters, novelties in these comics, are exclusively women and witches with supernatural powers, and with coincidental exhibition of their bodies. Positively for animal rights, there\'s importance in a story where the character Mônica and the vegetarian Denise rescue pigs, which remind us a direct action of activism by Animal Liberation Front (ALF); and other story where Mônica revealed aversion to working with cattle exploitation, although shes not vegetarian. Magali, the Mauricio de Sousa\'s character traditionally most associated to food, expressed a strong tendency to vegetarianism, and we can see also many episodes in which she showed compassion to animals and sensitivity.
Erlandsson, Niklas. « ANIMAL QUALIA AND NON-ANTHROPOCENTRIC NARRATION IN BARBARA GOWDY’S THE WHITE BONE : PROBLEMATIZING NONHUMAN EXPERIENTIALITY THROUGH ENVISIONMENTS IN THE EFL CLASSROOM ». Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104002.
Texte intégralElsaghir, Sayed Ali Ahmad. « Context sensitive design of provincial road Galliera SP4 ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/6759/.
Texte intégralCasallo, Víctor. « Perspectivas de apaplicación en la fenomenología de la comunicación prelingüística ». Conexión, 2016. http://repositorio.pucp.edu.pe/index/handle/123456789/114726.
Texte intégralLa fenomenología aclara sistemáticamente las estructuras y procesos que hacen posible las diversas experiencias comunicativas desde sus estratos fundamentales prelingüísticos. El artículo argumenta que esta perspectiva permite una comprensión más profunda de las experiencias de reintegración personal y social de reclusos y niños autistas a partir de la interacción con animales. Sostiene, siguiendo las tesis de David Abram, que el redescubrimiento de la amplitud de las posibilidades comunicativas en los seres humanos abre alternativas de respuesta a los malestares culturales que se van profundizando en las culturas urbanas contemporáneas.
Salamanca, Angarita Óscar Mauricio. « Memoria del "Goldfish" : Presentación y Representación del animal en el dibujo occidental de finales del siglo XX, La ». Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/2560.
Texte intégralSin la función exploratoria que las vanguardias adjudicaron al arte poco o nada habría que documentar de tales operaciones. La figuración plástica, por otro lado, ha afianzado su proximidad en los diseños derivados del industrialismo tardío. El pop como escuela última del siglo pasado ha visto explotar las hibridaciones entre imagen pictórica y mediática. El siglo xx fue el siglo del triunfo de la imagen visual. La profusión de imágenes ha saturado la visión y sustituido al mundo por su representación.
La gráfica en el arte de finales de siglo cobraría una inusitada preponderancia por sobre las expresiones pictóricas. El arte conceptual y los minimalismos ejercieron una fuerte influencia sobre los estilos emergentes atrajeron una mayor atención hacia aspectos estructurales y sistemáticos de la práctica del arte. Hacia principios del siglo XXI el estatuto contemporáneo del dibujo es de primera relevancia respecto a otros recursos.
Poco queda ya de las identidades clásicas, nada, a decir verdad, de los géneros pictóricos donde las presencias animales hallaban clara pertinencia. El código genético es el trazo definitorio de las identidades en el siglo XXI. Ni la naturaleza muerta, ni el paisaje, ni el retrato con animales subsisten más que como formas paródicas. Los individuos del finales del siglo perdían toda relación de permanencia y trascendencia. En ese proceso fueron desfigurándose y desmaterializándose como la misma sustancia de la obra artística. Devenido discurso el arte tendría que volverse por un lado autorreferencial y por el otro una aplicación comunicativa.
No hallamos más a la naturaleza en nuestro entorno. El arte del siglo XX fue urbano, artificial, abstracto, sintético, teórico y, finalmente, sarcástico. La imagen de la naturaleza pasó a ser un tópico romántico trascendido y obsoleto; un lamento nostálgico. La sobre explotación de los recursos naturales aunada a la depauperación de las regiones rurales del planeta, particularmente en regiones extensas del tercer mundo, ha generado una actitud catastrofista hacia el programa desarrollista de occidente y se plantean más dudas que certezas frente al destino de múltiples especies animales y vegetales. El imaginario tradicionalmente prolífico y virtuoso de la naturaleza como abundancia inabarcable y como fuente de secretos y maravillas se ha trocado en una visión apocalíptica de fin de la vida.
La creciente preocupación en torno a la degradación acelerada de la naturaleza ha conducido a una conciencia política y civil de la ecología como postura ética y cultural de vanguardia. En correspondencia con el ecologismo desde el arte se ha hecho presente una actitud de reinterpretación de lo natural, ya no por medio de la imitación figurativa, sino como correlato cultural elíptico.
Por ello, la presencia de los animales en el arte de las últimas décadas del siglo XX plantea paradojas interesantes. No son el tema central de tal práctica, a decir verdad ningún tema lo fue; son agentes de extrañeza y de descentramiento. Son un sujeto aparentemente banal, periclitado en la historia, pero abandonado al margen de mitologías y utopías ancestrales. Los grandes imaginarios zoológicos de claras connotaciones al culto han perdido pertinencia en un mundo tecnificado y mediatizado. Por otro lado ese espacio salvaje del mundo animal, como instinto y naturaleza pura, ha sido neutralizado por la práctica psicoanalítica. Es propio de la civilización actual no hallar otros referentes que los antropocéntricos. El estatuto animal ha sido degradado a la domesticación e incorporado a la cadena productiva. Lo animal es excesivo y excedente: un suplemento irracional sin lógica en el diseño de la civilización futura.
La calidad espiritual del arte contemporáneo es débil, porque la sociedad que lo produce tiene un alma confundida. Las formas animales, tradicionalmente arquetipos de valor y conocimiento, nos son tanto más extrañas cuanto más manipulables y desintegradas nos parecen. Buscar un lugar para su manifestación en el arte necesariamente demanda una reconsideración de los procesos culturales de interpretación del mundo como un espacio donde aún tenga cabida la dimensión espiritual.
"Goldfish's Memory: Animals' Display and Representation in the Late 20th Century Western Drawings. (1970 - 2000)"
The traditionally prolific and virtuous imaginary of nature, as an endless abundance and source of all secrets and wonders, has changed into an apocalyptic vision of the end of life, as we know it.
The increasing concern about the fast degradation of nature has led to a civil and political conscience around ecology, as an avant-garde ethical and cultural posture. From the point of view of the ecology, seen through the lens of the Arts, there has been an attitude towards the re-interpretation of the natural, not by means of the figurative imitation, but as a cultural elliptic co-narrative.
This is the reason why, the presence of animals in the art production of the last decades of the 20th Century poses some interesting paradoxes. Animals are not the central theme of this practice; actually, they never were: they are agents of estrangement and decentralization. They are an apparently banal subject, glorified in history, but put aside along with mythologies and ancestral utopias. The great imaginary from zoology, clearly bonded to cult and ceremonial practices, has lost its pertinence in a technophile and media-influenced world. On the other hand, the "savage" space of the animal realm, as pure and natural instinct, has been neutralized by a psychoanalytic practice. It is proper to the current civilization to find no other references that those anthropocentric. The animal statutory has been subdued to domestication and incorporated to the dynamics of the production line. The animal is excessive and a left over: it is an irrational supplement without logic in the design of the future civilization.
The spiritual sphere of contemporary art is weak because the society that produces it bears a confused soul. Animals' form, traditionally depicted as a knowledge and value archetype, appears to us the stranger the more controllable and disintegrated they seem. To look for an appropriate space for their artistic manifestation obliges a reconsideration of all the cultural processes we use to interpret the world as a place where a spiritual dimension is still possible.
Allen, Kate Rose Dunning. « Mobial Corporeality in W. S. Merwin’s Ecopoetic Corpus ». Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1459444066.
Texte intégralSorenson, Peter David, et peter sorenson@rmit edu au. « Signs of mid-life : images from the contemporary Australian mid-life male psyche ». RMIT University. Applied Communication, 2005. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20060428.113457.
Texte intégralYen, Yyujin, et 顏郁菁. « A Study of the Effectiveness for POE Teaching Strategy with Aesthetic Experience : Taking the Third Grade “Animal” Unit as An Example ». Thesis, 2013. http://ndltd.ncl.edu.tw/handle/99221157675476103578.
Texte intégral國立屏東教育大學
數理教育研究所
101
This study adopted qualitative research method. During the study process, the researcher used the teaching strategy of POE (Prediction, Observation, Explanation) with aesthetic experience to conduct animal concept teaching for the third graders. The purpose of this study was to investigate conceptual change of animal concepts and the impact on students’ interest in learning after the teaching activities. The researcher selected 29 third graders from a Kaohsiung elementary school as the study subject for the reason of convenience. Going along with Nani textbook unit content titled “The Body and Movement of Animals,” the researcher interviewed the above students and sorted their alternative conception, from which the unit learning forms were developed. Then the researcher reunited the teaching strategy of POE with elements of appreciation, game playing, imagination and creation in aesthetic experience to carry out teaching activities. Besides, the researcher handed out “Students Science Learning Questionnaire” to students before and after the sessions, so as to have a clear understanding of the influence of the teaching activities on students’ interest in science learning. The collected information from the teaching activities, including POE learning form, aesthetic experience learning form, before-and-after teaching interviews, teaching activities recording of sounds and images and reflections, was used to examine the students’ learning characteristics of each unit concept. According to the purpose of this study, the researcher produced the following conclusions: 1. After attending the teaching activities of reuniting the teaching strategy of POE with aesthetic experience, students were found to have an increase of interest in learning science, having conspicuous improvement in learning involvement. 2. During the teaching process, the incorporation of aesthetic experience could endow students with new perspectives to see science with new visions and stimulate their self research interest. 3. On the topic of animal classification, students were likely to have misconceptions, matching closely with the research results of relevant researches in Taiwan. Students often classified animals according to their names, activity areas, appearances, movement patterns and modes of reproduction. 4. Most students possessing alternative conceptions, after the teaching activities of reuniting the teaching strategy of POE with aesthetic experience, were able to rectify those alternative conceptions and changed them into correct science concepts.
PORTERA, MARIAGRAZIA. « La genesi evolutiva dell’estetico. Da Darwin al dibattito contemporaneo ». Doctoral thesis, 2014. http://hdl.handle.net/2158/866222.
Texte intégralLoo, James, et 羅振豪. « From Politics to Aesthetics : George Orwell’s Animal Farm as Translation ». Thesis, 2019. http://ndltd.ncl.edu.tw/handle/5np72k.
Texte intégral國立臺灣師範大學
翻譯研究所
107
Abstract The field of translation studies has expanded much in the last thirty years, since the late eighties when it first became recognised by the Western academic world as a legitimate discipline. In the thick of the age of interdisciplinary studies, translation has gone beyond a language-to-language duality, a phenomenon most notably traced back to what is considered the cultural turn in Translation Studies, opening up to fields that have once regarded translation as nothing more than a secondary activity. This dissertation is onboard with such a progress, as it examines George Orwell’s Animal Farm as an act of translation, culminating in a narrative both as a text and as an agenda. By adopting a structuralist approach to narratology as a means of appraising the text, and then subsequently applying the arguments of Andre Lefevere’s concept of rewriting as delineated in his seminal text, Translation, Rewriting, and the Manipulation of Literary Fame, this dissertation looks at how Animal Farm is Orwell’s translation of his politics into his aesthetics. Keywords: Orwell, Animal Farm, narratology, Lefevere, Translation, Rewriting, and the Manipulation of Literary Fame,
Sams, Chelsea L. « Primate Aesthetics ». 2016. https://scholarworks.umass.edu/masters_theses_2/375.
Texte intégralRebelo, Inês Barbosa. « O mundo dos animais e a perceção estético-musical da natureza na educação pré-escolar : projeto de intervenção centrado no "Carnaval dos animais" de Camille Saint Saens e na "Enciclopédia da música com bicho" ». Master's thesis, 2012. http://hdl.handle.net/1822/24718.
Texte intégralEste relatório de estágio foi realizado tendo por base o estágio curricular realizado nas valências de Pré-Escolar e de Creche no Patronato Nossa Senhora da Torre. Tem como título “O mundo dos animais e a perceção estético musical da natureza” – Projeto de intervenção para a Educação Pré-Escolar centrado na peça musical “Carnaval dos Animais” de Camille Saint Saens e na “Enciclopédia da Música com Bicho”, e trata essencialmente a importância da música na Educação Pré-Escolar, e a perceção estético musical, tendo por base a temática animal. Este tema surgiu em parte das crianças pois tanto a música como os animais são para elas temáticas fascinantes. Todas as atividades foram realizadas tendo em conta uma sequência, mas também as reações das crianças às atividades anteriores, sendo modificadas quando necessário. Este projeto, tendo por base o modelo curricular High/Scope, tinha como principal objetivo desenvolver a noção de que uma mesma realidade pode ser observada, interpretada e compreendida segundo várias perspetivas que ultrapassam a sensorial (p.e. a perspetiva estética). Este objetivo foi alcançado assim como outros e todas as atividades foram do agrado das crianças, sendo realizadas com grande entusiasmo, fazendo assim com que este projeto tivesse sucesso em ambas as valências.
This internship report was conducted based on the curricular internship held in the Patronato Nossa Senhora da Torre’ Preschool and Daycare valences. The report is entitled “The world of animals and the musical aesthetical perception of nature” – Project of intervention for Preschool Education, centered in the musical “Carnaval dos Animais” by Camille Saint Saens and in the “Enciclopédia da Música com Bicho”. The report concerns essentially the importance of music in Preschooler Education and the musical aesthetic perception, based on the theme “the animals”. This subject was suggested by the children since both the music and the animals are fascinating subjects to them. All the activities follow a sequence, but were also planned according to the children’s reaction to the previous activities done and were modified when necessary. This project, based on the curricular model “High/Scope”, had as main objective to develop the idea that the same reality can be observed, interpreted and understood according to various perspectives that go beyond the sensorial capability (eg. the aesthetic perspective). This goal and other defined were achieved; all the activities pleased the children since they were carried with great enthusiasm, making this project successful in both valences.
Webel, Scott Michael. « The city of living garbage : improvisational ecologies of Austin, Texas ». Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-898.
Texte intégraltext
Poláková, Petra. « Vnímání krásy savců v ZOO Praha : vliv věku a vzdělání respondentů ». Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-348330.
Texte intégralMLS, Pavel. « Vnímání výtvarného umění ve volném čase dětí a mládeže ». Master's thesis, 2009. http://www.nusl.cz/ntk/nusl-51161.
Texte intégralPROKOPOVÁ, Monika. « Od pokladů pozemských k pokladům duchovním Edukační program v předmětu Život a umění pro žáky II. stupně církevní základní školy : Gotická, renesanční a barokní architektura a umění na příkladech památek Městské památkové rezervace Tábor ». Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-204750.
Texte intégralJINDRÁKOVÁ, Edita. « Filosofická interpretace děl Marca Chagalla ». Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-172627.
Texte intégral