Thèses sur le sujet « Art égyptien – Thèmes, motifs »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les 50 meilleures thèses pour votre recherche sur le sujet « Art égyptien – Thèmes, motifs ».
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.
Vivès, Luc. « Le thème égyptien au XIXe siècle : les images de l'Egypte dans la littérature française ». Paris 4, 1996. http://www.theses.fr/1996PA040175.
Texte intégralOur research aimed at bringing to the fore the close dependence existing between, on the one hand, the literary and artistic pictures of the XIXth century's Egypt and, on the other hand, a wide part of modernism which is linked to what we have chosen to name sign imaginary. Through the naissance of Egyptology speeches and archaeological subjects, through the progressive increase of travelling relations and the numerous - generic and stylistic - changes of orientalist and exoticism pictures, we have been able to piece together the slow assertion of the linguistic themes within the different portrayal system of modern and ancient Egypt. From three main picture series - subdividing itself into as many motifs as exposition methods - we have tried to grasp, in a chronological order, the conditions of appearance of the Egyptian-like art and the various pictorial metamorphoses allowing it to be perpetuated as far as today, in order to invest or to be invested with all the linguistic signs. In this manner, we have been able to notice the contamination of the touristic and the novelistic genres, the exchanges and the breaks between the Egyptian-like literary and the Egyptian knowledges, the birth of the historical novel, the development of the linguistic sciences and the progressive supremacy of the (hieroglyphic and alphabetic) signs within the modern western thought. The French literature, that the prism of the pharaonic hieroglyph carried on fascinating, has thus taken back to it not only archaeological and linguistic pictures, but also its own methods of representation : the language cannot be written any longer, be described and, so, appropriate itself without a henceforth familiar resort to a great many Egyptian patterns
Coulon, Laurent. « Le discours en Égypte ancienne : éloquence et rhétorique à travers les textes de l'Ancien au Nouvel Empire ». Paris 4, 1998. http://www.theses.fr/1998PA040060.
Texte intégralThis thesis deals with the discourse in ancient Egypt and the various shapes of valorization which matter is the discourse itself as a social activity as well as a literary shape and topic. The question, thus, relates to the way in which the ancient Egyptians have been picturing to themselves the discourse and its applications, its importance, its functions and its aesthetic value. The method adopted is built upon a pragmatic approach in which the texts from the ancient kingdom to the new kingdom that mention the dimension of the discourse (autobiographies, teachings, royal inscriptions, literary or religious texts) are related to their sociological and historical context. It is then possible to draw out, for each period, the place given to eloquence: thus, in the times of united monarchic power, the existence of court eloquence is stated, which is the means of distinction above all. On the contrary, during the first intermediate period, with the local withdrawal of the provinces, an unprecedented spreading out of political eloquence appears in assemblies where the community's future is committed. The literary discourse forms also the subject of a study in so far as it builds a reflection on the part taken by the discourse. During the middle kingdom, productions such as "the eloquent peasant" or "the lamentations of khakheperreseneb" are questioning deeply the lack of social communication or the loss of reference in an official discourse which fairness is fallacious. During the new kingdom, the literature, which had become more autonomous in the sphere of the discourse, appears as an all-powerful rhetoric that trifles with the truth and the false. The study eventually opens on an endeavor to evaluate the Egyptian rhetoric in itself, especially through what links the latter to the magic discourse
Villaeys, Julie. « La genèse de l’identité royale égyptienne de Nagada I à Nagada III (3900-2700 avant notre ère) ». Electronic Thesis or Diss., Sorbonne université, 2023. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2023SORUL164.pdf.
Texte intégralPre- and protodynastic Egypt (3900 - 2700 BCE) is a formative period, during which the state and kingship are gradually being established. It is also a world teeming with images: in a context where hieroglyphic writing had not yet made its appearance or is just beginning to emerge, iconography and the material support with which it is associated occupy a central place. Artistic productions convey concepts directly related to ideology. They are therefore the medium of choice for expressing royal identity. However, particular attention needs to be paid to terms and concepts. When can we start talking about "kings"? Is it appropriate to draw a line between 'chief' and 'king'? We will see that kingship remains a vague and etic semantic concept, which is also poorly integrated into the socio-political classifications of societies. In the end, it seems wiser to move beyond the quest for the 'first kings' and focus instead on the iconographic mechanisms that structure a more general identity of power throughout the Pre- and Protodynastic periods. We will thus see the emergence of several visual markers linked to power, as well as several iconographic dynamics that intersect in the iconographic theatre. While it is not easy to associate the concrete reality of the exercise of power with a mode of iconographic representation, it is nonetheless possible to perceive the existence of ruptures and continuities. These are mainly linked to the representation of power as a concept, not linked to an earthly individual, or to its personalisation. During the Nagada II and III periods in particular, certain iconographic markers were re-exploited and diverted to suit new needs and serve the expression of a "royal" identity
Bida, Habib. « La notion d'imitation de la nature dans l'art arabo-islamique ». Paris 1, 1993. http://www.theses.fr/1993PA010751.
Texte intégralSoulillou, Jacques. « La représentation du crime dans l'art aux 19ème et 20ème siècles ». Paris 1, 1994. http://www.theses.fr/1994PA010631.
Texte intégralEuzet, Claire. « Le musicalisme : une tendance de l'abstraction ». Paris 4, 1996. http://www.theses.fr/1996PA040135.
Texte intégralThe concept of musicalisation of art was introduced at the beginning of the XXth century. The 3rd November 1913, Henry Valensi revealed for the first time to the public, "La loi des prédominances", during a conference on "Colour and forms, or the musicalisation of all the arts". Other painters were working on theories of correspondence between sound and light waves: "bleuisme" by Gustave Bourgogne, "rapports des sons et des couleurs" by Charles Blanc-Gatti, "émotivisme" by Vito Stracquadaini. Henry Valensi eventually founded a group with these painters: "the circle of musicalist artists" (4th march 1932). This circle has organised numerous exhibitions in France as well as abroad and over the years, many painters have joined the group. Their aim has been a method inspired by musical composition resulting in a style as abstract as that in music
Badet, Muriel. « L'enlèvement : les mouvements du désir : ses représentations dans l'art occidental, de la Renaissance au XXe siècle ». Paris, EHESS, 2002. http://www.theses.fr/2002EHES0075.
Texte intégralThis study is based on a wide range of works and texts which provide the starting point. Their comparison allows to study the stakes of abduction representation. There is no chronological objective, but choosing the love abductions, the first question refers to the etymology of the term “abduction” and its various meanings, from rape to rapture. A whole series of actions follow such as to take away, to lift up, to move. The disruptions and contradictory impulses of desire are represented by the dynamic of abduction. When there is passion, the image used are those of amorous pursuit, brutal fevers; when it is strategic, the representation changes, and concentrates on the presence of accomplices or signs indicating the trap into which the victim will fall. The movement is stopped. In the examples of men abducted by women it would appear that desire is suffered rather than voluntary. The position of domination is reversed for the dominated. The only choice left to the abductor is to grabe the object of desire. At the same time, inertia rather than activity is the emotion's signal. The main combined of power and apathy affect the woman when she has decided to be abducted. The apathy represents and agreement and leads to the abduction, where the body is overwhelmed and where the soul swoons and flys away with a feeling of unlimited pleasure. Moving the study to the social experience, we notice that if abductions are punished, their representations mix the erotic symbol of the subject with the wedding rules, and with panegyric or hegemonic speeches
Sansy, Danièle. « L'image du juif en France du nord et en Angleterre du XIIe au XVe siècle ». Paris 10, 1994. http://www.theses.fr/1994PA100035.
Texte intégralThe imaginary of the Jew in northern France and in England, as well in the texts as in the pictures, is represend from the twelfth to the fifteenth century by two main figures: the murderer of Christ and the infidel. The Jew’s guilt of Christ’s crucifixion is alleged and repeated in the allegations of christian children murders which occur in the second half of the twelfth century and in the charges of host desecration, particularly in the miracle of billettes in 1920. As the devotion to the suffering Christ is increasing, the Jew is described as Christ’s torturer, becoming a character of the passion plays in the end of the middle ages. As a non-christian, the Jew is considered as synagogue's child and as a permanent source of blasphemy within the Christian society. He becomes an emblematic figure of the infidelity, more than the Saracen, but he is not considered as a real danger of apostasy or heresy. Surprisingly, the associations between the Jew and the devil are very exceptional, even if some iconographic attributes of the Jew come from those of the devil. The study of the physical distortions, the clothing differences, the Jewish badge, and the headdress in the pictures confirms that there is not a typical representation of the Jew
Guerber-Cahuzac, Chloé. « Le corps réinventé : sens et enjeux de la modélisation du corps humain par le cinéma ». Paris 3, 2003. http://www.theses.fr/2003PA030033.
Texte intégralSubordinated to the narrative, the body in cinema is often reduced to actions, to legible symbols. To reappear as itself, it must revolt against the rules of fiction and become "an opposing body. " This reinvention is governed by the analogical specificity of the medium. To distinguish the particularities of the filmed body and of its modeling, we evoke time-lapse photography, visual anthropology, sculpture, painting, and dance. Our aesthetic approach thus integrates historical, cultural, anthropological, and ethical dimensions. Then, four specific cases illustrate the construction of the body against the narration : the Keatonian character ; the Hollywood model resulting from censorship in the 1930s ; the motif of the fragmented body in the French cinema of the 1960s ; the exhausted body filmed by John Cassavetes. Little by little, concepts emerge to remind us that all reinventions of the body bring together a singular universe, a collective imagination, and the status of the medium
Tempestini, Isabelle. « De l'icône au portrait : le visage dans la peinture russe ». Paris, INALCO, 2001. http://www.theses.fr/2001INAL0012.
Texte intégralThe face has a privilegied place in Russian painting. It defins the art of icons as well as portraits. Its image, in idealised form, is present in ancient religious painting whose ideas have been followed up to this day. Secular art emerges, progressively breaking away from sacred art, and is constantly dominated by the portrait. The thesis is divided into three parts. An analysis dedicated to early portraits known as parsuny, at the end of the sixteenth and begining of the seventeenth centuriees, shows the links which bind together these effigies with icons in the Kremlin's Armoury Palace. Princes and tsars are the first to get themselves represented, followed by the nobility, who introduced western styles. However, some resistance to these changes can be seen in provincial painting until the first half of the nineteenth century. The second part studies the influence of icon and parsuna on provincial portraiture also called "merchant portraiture". Merchants, rich farmers or Old Believers filled with religious piety commissionned representation of themselves in hieratic postures with expressionless faces emerging from their bright costumes. This type of picture is close to Malevich's ultimate pieces in the thirties, at the time when avant-garde artists went back to their roots. So the third part associates the artist's latest portraits with Russian religious and popular culture, revealing a continuity in Russian art
Feuillet, Isabelle. « La danse du peintre : essai d'analyse d'une pratique picturale ». Rennes 2, 1998. http://www.theses.fr/1998REN20032.
Texte intégralWe propose a comparative analysis between a form of pictural practice and contemporary dance. The progressive approach sets in a first place, the problem of the model and otherness. The classical model is analysed in its relation to the painter along with the dancer model. It is the presence / absence of the model which draws our attention here. The drawing will endeavour to assimilate all the tension and energy a dancing body can convey, and so to the limits of representation
Richard-Jamet, Céline Catherine Jeanne. « Les galeries de "femmes fortes" dans les arts en Europe au XVIe et au XVIIe siécles : une étude iconographique comparative ». Bordeaux 3, 2003. http://www.theses.fr/2003BOR30061.
Texte intégralOriginating from the Nine Worthies theme, from them they sometimes adopt the distribution, the Strong Women series blossom as early as the 15th century in Italy, then spread to France and the rest of Europe in 16th and 17th century. These series or galleries, constituted by heroines embodying precise virtues, are inspired by feminine qualities as praised by Salomon in "La femme de Caractère", extracted from his book "Proverbes". They are created only after the "hommes illustres" series, as counterparts, and later acquire their own autonomy. These cycles cover diverse functions depending on the country, the time period : in Italy, the first series serve the function of memory, they are commemorative, then they become edifying, through the cassoni who educate young wives ; in France, they allow to legitimate a regent accession to the throne and to support her power, process who was copied by the Dutch, the Florentine and Viennese court. Spain focuses on women from the Bible and fills its churches of cycles sculpted or painted on mirrors, destined to edifying the faithful ; the Belgium series educate the monks ; the Dutch engraved cycles praise women at home, whereas England seems to be apart. Queens, women from the Bible and amazons appear recurrently in series, to the detriment of vestals and saints. The most irreproachable heroines are disgracied, the most barbaric acts are justified
Magne, Elisabeth. « Les cuisines de la création : approche anthropologique et esthétique de l'alimentaire dans l'art ». Paris 3, 1999. http://www.theses.fr/1999PA030072.
Texte intégralFrom antiquity on, the history of still life has ranked very high the anecdote of the grapes painted by zeuxis which were so true to life that some birds, thinking they were real, pecked at them. To capture the eye, painters have always used food as bait, which as the utmost balt, appeals to the eye, the hand and all of the greedy senses. An implicit and never failing complicity has been progressively woven between the masters of illusion and provisions. Still lives, cooking and meals have nourished the images of art history. However, the domestic origin of the theme and its coverly carnal links with the body, digestion and with all that is material, have spoilt its representation. Culinary paintings, therefore, held in lowly estime, slavishly went through all sorts of art experiments. It is in this very downgrade into the wasteland, apparently devoid of any ambitions, that new picturial modes have seemed to germinate. Paintings of mouths eager to eat, of bellies avid for food, of digestions to come ; paintings shaped by the very fertile and transient nature of food. The theme of life and of near death, of pleasure and of excrement has contamined those who have indulged in it, setting up its own process at the very heart of a style of painting. In this freedom granted to the low ranked, the tools for a profound reshuffling of aesthetic landmarks will be discovered
Forbrig, Karsten. « « Il y a derechef : encore une fois : seulement le théâtre » : recycling et covering dans l'oeuvre théâtrale de Werner Schwab ». Nantes, 2013. http://www.theses.fr/2013NANT3033.
Texte intégralAubert, Alain. « Propositions pour une "scenaristique" : "l'intrigue scenarique" ». Paris 3, 1996. http://www.theses.fr/1997PA030023.
Texte intégralThe "scenaric plot" can be found in film scenarisation. In order to study it, we will situate scenarisation in cinema as a whole. Cinema is divided into ten sub-territories that determine the scenario. This will constitute the general environment of the plot. We can then subdivide scenarisation in eight polarities. Besides sources and investigation, we can distinguish : idea, problematic, scheme, character, plot, spatial organisation, timing and dialogue. This will constitute the specific internal environment of the plot. We will then validly deal with the analysis of the "scenaric plot". In the first place, it is made of matter of "contents", which can be seen as composed of "semantic basins" (from "law" to "destiny"). Secondly, it seems to conform to a same form of expression, or obliged ternary existential scheme (situation-action-situation). Then it comes out, thanks to its own matter of expression, not the characters, but four axis of interactions: socio-economical, strutural, dramaturgical, and socio-psychic. At last, it complies with certain modes of the form of expression (logic, credibility: dramatization, "satirisation"). We then can foresee a "scenaristic"
Foucher, Stéphanie Gabrielle Dominique. « Le décor sculpté cistercien d'inspiration végétale dans l'Ouest de la France : XII-XIVe siècles ». Poitiers, 2003. http://www.theses.fr/2003POIT5018.
Texte intégralThe inventory of sculptures from medieval cistercian abbeys is very often perceived as offering a unity typically defined by simple motifs exclusively based on vegetal representation. A complete inventory of cistercian supports inside a zone corresponding to greater Western France has allowed to conduct a detaile analysis of the sculptures cistercian corpus of vegetal inspiration of the roman or gothisc area. An independant analysis of the supports, motifs, compositions and comparisons with local non cistercian repertories has made it possible to identify the characte stics wich have contributed to define with precision the medieval sculptured cistercian decor of vegetal inspiration
Oh, Jin-Kyeong. « La répétition d'images et d'objets du dadaïsme au pop art (des années dix aux années soixante) ». Paris 1, 1993. http://www.theses.fr/1993PA010597.
Texte intégralThe repetition of images and of objects is a remarkable and constant phenomenon in the modern ar. We can define three categories of works of art in which the repeated images and objects appear. First, the iconographical significance of the repetition due to the techniques of reproduction connected with the modern industrial society ; second, the formal abstract effect of the repeated figurative images or objects ; third, psychological effect of the repetition : feelings of strangeness, anguihs and obsession. In modern art, the artists use the monotonous repetition to search for their own artistic language and to prodduce, paradoxically, a variation of style. Even though it is a matter of the stereotyped and depersonalized repetition, as long as there is a will of artists to pursue the aesthetic and plastic investigations and experimentations, the works of art will always have the value of originality and of uniqueness
Ansen, Selen. « Aux confins du corps : le monstrueux : (esthétique du corps et de l'informe dans le 7e Art ». Strasbourg 2, 2001. http://www.theses.fr/2001STR20058.
Texte intégralPeri, Francesco. « Art des nerfs, nerfs d’artiste. Modernité et maladies nerveuses dans la littérature française et allemande, 1865-1914 ». Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA025.
Texte intégralBased on a cross-examination of medical, scientific, literary, and critical materials, this work attempts a transnational genealogy of the concept of Nervenkunst (“art of the nerves”). Through a historical reconstruction of the French origins of the discourses that coalesce in that category (and a survey of their prerevolutionary and ancient sources), our research proves that a genetic connection between the writer’s craft and the nervous system is neither a peculiarity of Austrian literature in the 1890s nor a premonition of psychoanalysis, but the product of a system of exchanges and transformations that span several centuries, to converge in the years of early Naturalism. The first part chronicles the invention of “modern nerves”; in other words, it offers a cultural history of the neurological imagination before and after 1789. The second part describes the genesis of an idea of the nervous author during the Second Empire and the early Third Republic (focusing on the work of the Goncourt brothers and their entourage). The third part deals with the germanization of these originally French contents: how did these notions take root in the German-speaking world at a time (1870-1890) when Berlin’s relations with Paris were problematic at best? The answer lies in a system of cultural mediations and mutual perceptions that involves, among other things, Austria and Scandinavia
Schaub, Nicolas. « L'Armée d'Afrique et la représentation de l'Algérie sous la Monarchie de juillet ». Strasbourg, 2010. http://www.theses.fr/2010STRA1021.
Texte intégralMany artists followed the Army of Africa after the conquest of Algiers in 1830. What corpus of pictures did these artists constitute and how did they achieve it? How did these pictures get around? To what extent did they play a role in the formation of the European orientalism during the XIXe century? These are the questions we wanted to answer in this thesis. Between 1830 and 1850 the military and political conquest of the Algerian space comes with the diffusion of textual and visual creations (engravings, drawings, paintings, photographs and sculptures) that shaped the algerian territory. In a few decades, a spreading of contradictory and relatively autonomous representations reached the European public. The circulation of these orientalist features took advantage of the expansion of the industrial processes in the domain of image-making. The affects carried by these pictures influenced our gaze durably, and are still active today. Any understanding of the genesis of these pictures implies a review of the complex relationships between image-makers, and military or political authorities that imposed the new colonial setting in Algeria. Most artists to whom one owes the strongest pictures of the XIXe century visual culture were themselves enlisted among the soldiers. This work argues that it has become a necessity to trace back the path of these artists and image-makers that returned from Algeria with their experiences of the land, elaborating representations that belong without any doubt to the ‘orientalists’ fantasies, but also rest upon a particular perception of reality
Lagou, Ioanna. « L'iconographie de l'enfance dans l'aire byzantine à l'époque des Paléologues ». Paris, EPHE, 2009. http://www.theses.fr/2009EPHE5026.
Texte intégralSubject of the present study, concerned with the iconography of childhood, is the illustration of three types of children: the imperial, the noble and the common. The first two types are often traced in family portraits; the common child icon is mainly studied in Christological scenes, in scenes with saints and in scenes portraying certain liturgical activities. In the first chapter the status of children within society is briefly addressed, while in chapters two and three using a variety of works of art as example, supported also, when that possible, by textual evidence of the period that produced them, a more thorough analysis of the presence of children in the iconography is attempted. Some of these are analysed in more detail as arguments establishing a new interpretation of scenes arise, as is the case of the portrait of “Despotissa” of Arta Theodora who is depicted with a little prince or others because of their remarkable iconographical theme, such as the composition of the Entry into Jerusalem. This study is not exhaustive, but it is an effort to understand, through the iconography of childhood, which was the place and role of children in the byzantine society of Paleologan times. The icon of children is the product of a period of constant changes in both the political and social field where the individual finds new means of emancipation, and donors, as well as artists, have more often the opportunity to take initiatives. The artistic production proposes new iconographic formulas or revisits the old ones. In this context, the presence of children is constant and manifests its own value
Bégasse, Hubert. « L'esthétique de la simultanéité dans la peinture de Robert Delaunay ». Paris 1, 1996. http://www.theses.fr/1996PA010689.
Texte intégralChen, Shu-Hwa. « Les Bohémiens dans l'art français au XVIIème siècle ». Paris 1, 1994. http://www.theses.fr/1994PA010627.
Texte intégralThis thesis is proposing un historic and iconographical study about bohemian in Europe and most particularly in the french society during the seventeenth century. We have divided our work into two distincthy parties, i. E. One side historic and sociological and the other side structhy iconographical. On the first side, we have proposed to study the history and the specificities about those mythical people through the historical and the literary statements. This typological study about bohemians in the ancient france helped us to understand the sources inspirations whose artists disposed. If they form groups or if they developped a personality of one's own, even as a leading or as a secondary person intergrated in the plastic arts which we have study in the second part. We have distinguished two big kind of works : profane works and religions. In one case or in another, the artist is using the most of times the bohemian figure with a moralizing objective. The remarkable presence of the bohemian in the iconography is mirrored the imaginaires and the spirituality of the occidenta societies at the seventeenth century
Decanis, Gilles. « Dédoublements et redoublements photographiques ». Aix-Marseille 1, 2005. http://www.theses.fr/2005AIX10046.
Texte intégralDumas, Robert. « Traité de l'arbre ». Paris 1, 2000. http://www.theses.fr/2000PA010651.
Texte intégralVieillefon, Laurence. « La figure d'Orphée dans l'antiquité tardive : les mutations d'un mythe : du héros païen au chantre chrétien ». Paris 4, 2000. http://www.theses.fr/1999PA040248.
Texte intégralMostowski, Alexia. « L' écriture du silence : une esthétique de la blancheur dans la poésie française contemporaine : (Eugène Guillevic, Jacques Dupin, Lorand Gaspar, Claude Esteban) ». Montpellier 3, 2009. http://www.theses.fr/2009MON30004.
Texte intégralThe aim of this thesis is to highlight what constitutes one of the major temptations of modern and contemporary poetry. Heiress of Mallarmé era, poetry is more than ever aware of the vacuity of words and of the inexpressible. All certainty regarding the qualifying and ownership of the world being excluded, poetry has to go throught the ordeal of annihilation to conquer a new horizon. This aesthetics of verbal privation which it seems to claim today, drives to its climax the paradox of its own existence. The art of « logos » doesn't hold this passionate covetousness of the verba ; the object of desire now stands in the silence and the typographic whites. Eugène Guillevic's, Lorand Gaspar's, Jacques Dupin's ans Claude Esteban's minimalist poems seem to dismantle before our eyes, always harrassed and tempted by the hollowing-out, by the aphasia. The contemporary poem's presence in the world, thus, comes trought this experience of furthermost bounds, this ineffable absence of the world, as if the original chant was trying to find again a new breath through the coveted silence
Gillet, Fanny. « Saisie/dessaisissement : enjeux de l'unité texte/image chez Keats, Tennyson, Rossetti et dans l'art préraphaélite ». Toulouse 2, 2008. http://www.theses.fr/2008TOU20101.
Texte intégralThis dissertation on word and image focuses on the relationship connecting Keats, Tennyson, Rossetti's poetry and Pre-Raphaelite art, be it through visual representations of poems, ekphrastic works, illustrated books, or Rossetti's “double works” of art linking poem and painting. This strong link partly results from the persistence in nineteenth-century England of the powerful tradition of ut pictura poesis, a comparison by Horace which has been used to blend poetry and painting, as if they were mirror images of each other. However, since they remain heterogeneous forms of art, each with its own codes and modes of apprehension, we can wonder whether simultaneous perception may entail no uneasiness. Indeed, being a reader/viewer implies, from the very start, abandoning some habits of perception. Even as we try to maintain the uniqueness of each work of art, doublings, mirroring effects debunk stable interpretation. If we admit this form of amazement implied by word and image, there might be a way of considering them as a whole, each aspiring to find completeness by including the other: only then may they become inseparable “halves”. There still exists a potentially painful interstice between the two that the art of inachievement, through sketches or suspension, sublimates, creating a more complex unity, a dynamic process aiming to grasp both poetry and painting, in which the reader/viewer enters the path of labyrinthine a(maze)ment
Thoury, Corinne de. « Le couteau et la croix, émergence du paradoxe : esthétique et poi͏̈étique du sacrifice dans l'art à travers les figures d'Isaac et du Christ ». Paris 3, 2001. http://www.theses.fr/2001PA030163.
Texte intégralThe two great biblical sacrifices give rise to a number of inconsistencies, which are difficulties to define an interpretation. Isaac, son of the Holy Promise, risks death by a test sent by God himself ; Christ, becomes flesh, dies subjected to a punishment reserved for criminals and slaves by the state. From an artistic point of view, Crucifixion and Isaac on the altar display a polymorphy, illustration of the complexity of the faces linked to the sacrifice and raise the question of the different ways to picture the body. This question penetrates the theological debate of the first centuries of our era and the answer was the proclamation of the Incarnation dogma, founded on a paradox. .
Baracca, Pierre. « La matérialité, une emblématique artistique : un mouvement long de Giotto aux installations, sociologie de l'art ». Paris 3, 2005. http://www.theses.fr/2005PA030129.
Texte intégralThis sociological research deals with the social meaning of the sudden flow of objects into contemporary Western art that occurred about 1960, at the tail-end of a long-lasting process in the course of which objects were first introduced into religious imagery (Giotto), then became the subject of pictures (Still Lifes), finally to be presented in concrete form (as ready-mades, accumulations, installations). Introducing the notion of ‘artistic emblematics' as applied to materiality, will enable us to assimilate these artistic practices to social strategies for the positive appropriation of earthly life and for disenchanting the world (cf. M. Weber). This notion of ‘artistic emblematics' points, via that of resilience, to a vision of the artist as an active subject of the production and reception of art, by showing how she operates within social groups, institutions and socialization. This notion reopens the debate on the relationship of art with ideology, the use of economic metaphors (market, competition, goods) in the artistic field, and reception in concentric circles
Bellehigue, Myriam. « Elizabeth Bishop : un art de l'exil ». Paris 3, 2001. http://www.theses.fr/2001PA030114.
Texte intégralThis thesis analyses the poetical and prose works of Elizabeth Bishop alongside her letters, unpublished manuscripts, translations and paintings. The thematics of "exile" enable us to study the various forms of foreignness which the poetic subject has to face in her relation to the world, to herself and to language. Introspection, stasis and discordance help define the melancholy stance that the exiled "I" manifests initially in her refusal of loss. Once uprootedness and dispossession are accepted, the subject, practising movement and acquiring a nai͏̈ve vision, opens up to the unknown and to surprise. She is therefore led to elaborate a "proliferal" (both prolific and peripheral) poetic cartography in order to describe a reality marked by metamorphism and secrety. Moreover, this new style turns the poem into a locus of desire, simultaneously revealing and hiding things to and from its reader. .
Dobre, Cristina Madalina. « Viziunea mortii în cultura cultura româna veche ». Paris 12, 2007. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990002534450204611&vid=upec.
Texte intégralThe thesis' prupose is to catch the way in which the Romanians from the past related themselves to the death, the network between the gestures and behaviors through which they faced it, putting face to face four types of discourses : religious, literary, iconographical and ritual. The quoted sources - historiographical texts, literary creations belonging to some diverse sprecies and genres, homiletics funeral, iconographical scenes, reports of foreign travelers - have determined the time qpan of this case study : 17th-19th century. The basic relationship ment to give coherence and to offer and even right idea on collective menthalities about death was that one between writting, image and oral tradition. From the superposes and the interlaces of these levels the face of a terrifying reality revealed itself like in a puzzle, as well as the ways by which the communities tried to accept it in its quality of ineluctable reality and to understand its reason to be
Fürdös, David. « Priape dans la littérature et l'iconographie du monde gréco-romain ». Lille 3, 2011. http://www.theses.fr/2011LIL30009.
Texte intégralPriapus is one of the most popular god of antiquity, but he is also the most unknown, scoffed and scorned of all greek and roman gods. Indeed, how is it possible to think, in our so religiously shared times, that the people of Antiquity could have believed in such an obscene, bawdy and sometimes ridiculous god ? The goal of our study is to clear Priapus' reputation showing how complex his representation was, according to the place, and the will of the sponsor of the representation. The particularly rich and various clothing he wears goes against the reputation of aggressive nudity, characteristic of this god whose various body movements, full of symbols, is in contradiction with another strong prejudice : his unvarying exhibitionist behaviour. Coming from Minor Asia, Priapus arrived in Rome with a cultural background, that he constitued going across all the countries and the regions where his cult settled down to such an extent that he managed to reach all the layers of the population, becoming therefore one of the most represented divinity of antiquity. A literary genre is even dedicated to Priapus, giving his footprint in the legends that are built around his character. The making of a considerable iconographical study allows to our study the establishment of comparisons, constants and differences in the representations of the god and to make a confrontation with greek and latin texts about Priapus. Through the three appendices that have never been gathered and that enrich this work, we hope to help restoring the character of this god who should be better known
Krzywkowski, Isabelle. « Le jardin des songes : étude sur la symbolique du jardin dans la littérature et l'iconographie fin-de-siècle ». Paris 4, 1996. http://www.theses.fr/1996PA040145.
Texte intégralThe aim of this thesis is two-fold. It offers a vision of the imaginary fin-de-siècle landscape, and it proposes a way to analyse fictional space. After having studied the inherent constraints of the spatial characteristics of gardens, as well as the elements that issue from its generic topos, we have shown how the age subverted a tradition by filling the garden with a particular content. This has also allowed us to show that the age organized, both in literature and in painting, an approach to the notion of space which highlighted its aesthetic principles : the garden, in that it is principled in artifice and is presented unlike nature, as a place always on the point to degenerating, appears as an archetype of fin-de-siècle space. Its representation being based on metaphor and oxymoron, the garden perverts the classificatory categories, and thus offers itself as a place where the academic procedures of mimesis are challenged
Mochiri, Pouneh. « Ut pictura prosa ornata : fonctions et implications de la description d'art dans la littérature en prose au XVIè (Domaine Franco-Italien) ». Paris 7, 2002. http://www.theses.fr/2002PA070081.
Texte intégralOur reflection bases on the different ways of writing works of art in the prose literature of the sixteenth century. In the same time we consider the theories of image and the humanistic debates in Italian art treatises, we analyse French and Italian narrative texts. The category of "descriptive" includes the ekphrasis of artefacta, as well as descriptions of landscapes, female portraits and pictorial scenes. Our plan is made up of four parts: the components of the artistic atmosphere, the narrative meanings of descriptions, their hermeneutical dimension and their linguistic implication. In the first place, we examine the main characteristics of described artistic articles. Then, we study the narrative functions of art descriptions: the way they are attached to the narration, their structural role and the digressions they induce. Besides, the combination of iconical and verbal codes implies exegesis from readers: that' s the reason why our third part approaches didactic, theological and epistemological meanings of the image. Finally, we'll try to question the link between art descriptions and the defence of vernacular languages. In a certain way, pictorial prose aims at promoting French language, according to the rhetorical criterions of copia and varietas
Lazaris, Stavros. « Art et science au moyen age : l'illustration des manuscrits grecs hippiatriques. etude iconographique et analyse des rapports texte-image ». Université Marc Bloch (Strasbourg) (1971-2008), 1997. http://www.theses.fr/1997STR20017.
Texte intégralGérard-Marchant, Laurence. « Couleurs, parures, costumes : reflets dans l'oeil du peintre, renaissance et résurgences, interrogations historiques et propositions plastiques personnelles ». Paris 1, 1989. http://www.theses.fr/1989PA010586.
Texte intégralStrawczynski, Nina. « Temps, ordre et désordre : constructions et agencements des images dans la céramique attique (VIe-Ve siècles av. J.-C.) ». Paris, EHESS, 2000. http://www.theses.fr/2000EHES0019.
Texte intégralGrosu, Juliane. « Territoires du corps féminin ». Limoges, 2013. http://www.theses.fr/2013LIMO2021.
Texte intégralThis geocritical research studies the feminine body as a geographic space in six works that use different media supports—text, fixed images, and mobile images—and in which the body becomes a landscape and a territory: Le Pique-nique sur l’Acropole (Louky Bersianik), Enclosed Worlds in Open Spaces (Kathy Prendergast), Hable con ella (Pedro Almodóvar), “Six inches” (Charles Bukowski),The Pillow Book (Peter Greenaway), and El anatomista (Federico Andahazi). Situated at the crossroads of Post-Modernism, st-Colonialism, and Feminism, these works of fiction share two main themes: fragmentation as well as domination and the exploration of the feminine body. The main question that guides this work is: how do these authors conceptualize the bodies of women in their seductive, desirable, or frightening dimensions? Firstly, this study undertakes a particular interest in the genesis of the works, in their intertexutal and intratextual processes, also questioning artistic genres and sexual genders. The study of cosmographies of the feminine body enables us, then, to analyze the various aspects of their mise en scène which locates them between natural and cultural conceptions. This research equally examines the topographies of feminine resistance, the mobile identities that escape control, as well as the ephemeral territories that endlessly draw and redraw themselves. Because, when confronting the (bio) power, the body also positions itself as a “site of resistance” (Elizabeth Grosz) and as the subject of a “biorevendication” (Christine Détrez and Anne Simon). The analyses of ekphrasis, parody, and geography in these fictional works allow for the valorization of concepts essential to this study, such as mimesis (Aristotle), heterotopia (Michel Foucault), médiance (Augustin Berque), corpographèse/bodygraphesis (Marie-Anne Paveau and Pierre Zoberman), and territorialization/deterritorialization (Gilles Deleuze and Félix Guattari)
Vuilleumier, Laurens Florence. « La raison des figures symboliques à la Renaissance et à l'âge classique : études sur les fondements philosophiques, théologiques et rhétoriques de l'image ». Paris 4, 1996. http://www.theses.fr/1996PA040216.
Texte intégralIn order to point out the philological, philosophical, theological and rhetorical basis of XVIIth cent. Imagery, the author had first to write the still now missing history of the reception of Pythagoras' symbols from the beginning of the renaissance. Stressing the contribution of successive generations of humanists: Traversari, Alberti, Ficino, Poliziano, Pico, Nesi, Reuchlin, Steuco. . . The following period was marqued by the integration, around the symbola themselves, of other symbolic figures, as well ancient, such as the proverb, the enigma and the hieroglyphic, as modern, such as the emblem and the device. Erasmus, Giraldi and Caussin have thus contributed, each in his own way, to reinforce the unity of the new symbolic world. But nobody more than Claude Mignault, through the very intricate story of his Alciati's editions and evolution of his famous Syntagma de Symbolis. At the beginning of the XVIIth c. , the Pythagorean model is reinforced if not replaced by Dionysius areopagita, whose work inspires altogether the symbolic theology and the mystic theology of the Jesuit father Maximilian van der Sandt, whose pious approach legitimates a special chapter devoted to the uelum templi considered as the allegory of allegory, the last part of the book would show how the great rhetoricques of the second half of XVIIth century succeeded in analyzing and codifying the new language: Jacob Masen for the visual and graphic image, Emanuele Tesauro for the metaphora and Menestrier for the festive and funeral decorations of ephemeral baroque
Bazile, Sandrine. « Le saltimbanque dans l'art et la littérature de 1850 à nos jours ». Bordeaux 3, 2000. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2000BOR30025.
Texte intégralCauchy, Séverine. « Figures de la boucle : tours, détours et circularités dans les pratiques contemporaines ». Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20032/document.
Texte intégralThis thesis in visual arts, inspired by and worked upon through the author’s own artistic practices, proposes a study of the loop in contemporary art. With its curvilinear progression, its selfgenerating form, its repetition, reciprocity and feedback, the loop is examined through the question of its montage, through the exchange and critical narrative that it initiates. This study relates to the art of today, questioning the intentions which direct the elaboration of the loop and the mechanisms which govern its structure. We put the period, from the second half of the 20th century to the start of the 21st, into perspective with several forays into art history. The philosophy of the Enlightenment, the industrial revolution, modernity and post-modernity all punctuate this exploration. This back and forth guides our investigation into three key themes: typology, temporality and space, which, in turn, act as the backbone of this thesis. Acting as markers, an attentive observation of the following objectsand equipment: belt, hoop, band, film, reel, rope or carousel, this study informs the loop via the media of video, cinema, painting, installation and performance. The artistic corpus, by way of the creation of a dialogue between contemporary works (Francis Alÿs, Shilpa Gupta, Rodney Graham, Roman Ondák, Dan Graham, Ryan Gander, Harun Farocki, Simon Starling) and those which preceded them (Giotto, Gustave Courbet, Louis Aimé Augustin Le Prince, Buster Keaton, AlfredHitchcock), allows us to analyse according to what methods the loop amounts to a poetic arrangement
Gillet, Valérie. « La création d'une iconographie śivaïte narrative : incarnations du dieu dans les temples pallava construits ». Paris 3, 2006. http://www.theses.fr/2006PA030030.
Texte intégralFrom the end of the VIIth century onwards, temples were built in tamil land under pallava patronage. Essentially dedicated to Śiva, their walls are adorned with representations of god embodied in various aspects. He can be represented in a benign form, savage, covered with blood as well as a victorious and royal one. The narrative śaiva iconography was not well developed until this time, and the figuration of different deeds of Śiva has to be invented. The pallava dynasty created an iconography inspired at the same time by the pan Indian mythology and the local tradition, borrowing various elements to various religious movements. If some of the representations appear and disappear with the dynasty, most of them, nevertheless, will influence the posterior southern iconography
Duchesne, Cathelyne. « L'hellénisation du motif plastique et littéraire du griffon à travers le monde grec à la fin VIe siècle et au Ve siècle av. J-C ». Master's thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/27493.
Texte intégralThe griffin of the Archaic Period in Greece is the result of the import of the pattern from the Middle East. If its popularity at that time was obvious, it drastically decreased at the end of the Greco-Persian wars. However, when it reappeared in full force during the fourth century BC, it was completely changed. Ancient sources reference a tale, a Scythian myth in which the griffins are in perpetual conflict with their neighbors, the Arimaspians, over the glittering gold that is plentiful where they roost. In the arts, the griffin was no longer represented as a bronze protome on cauldrons dedicated to various deities, but rather on terracotta vases. Apart from its morphology, the creatures associated with each support are widely different in style, and the motif is nigh unrecognizable. What might have occurred for the griffin motif to have changed so much ? The Hellenization of the pattern in the fifth century through art and writing is difficult to discern. As for the Roman texts, they are of dubious reliability due to interpretations that do not necessarily reflect the thought process of the originals artists. However the Hellenization of the plastic and litterary motif is easily perceived through the stylistic development of the plastic pattern and the presence of the griffin in a pseudo Greek Scythian Koine fabricated.
Visa-Ondarçuhu, Valérie. « L'image de l'athlète d'Homère à la fin du Vème siècle avant J. -C. , dans la littérature et l'iconographie ». Paris 4, 1993. http://www.theses.fr/1993PA040004.
Texte intégralThe systematic study of texts referring to the athlete, both with the investigation of iconographic documents, allows to estimate the regard shown to the competition sportsman, to perceive through the historical circumstances and the various opinions of the authors, an outburst of celebration and enthusiasm, but also reticence and criticism, in a tradition of agonistic metaphor
Li, Xiaohong. « Le dragon dans la Chine antique, étude iconographique des origines à la dynastie Shang (env. XVè- env. XIè siècles av. J. -C. ) ». Paris 4, 1999. http://www.theses.fr/1999PA040017.
Texte intégralHeller, Karin. « Une expression contemporaine du mythe : analyse des bandes dessinées dites fantastiques des années 1980-1990 ». Paris 4, 1997. http://www.theses.fr/1997PA040073.
Texte intégralThe present research concerns four strip-cartoons heroic fantasy: Thorgal (Jean van Hamme and Grzegorz Rosinski); Une aventure de John Difool (Alessandro Jodorowsky and Moebius); Les tortues ninja (Peter Laird and Kevin Eastman); Le monde d'Arkadi (Caza). The analysis leads to recognise the heroic fantasy as an entire expression of the religious which manifests a similarity with the myth in the archaic cultures. It allows to discover fundamental themes which dominate the mythical thought in these four series. The points are the following ones: the human being is thinking of himself, is thinking of his owns mystery using a cosmical language, or at least he perceives his own existence in relation with cosmical phenomena. On this cosmological background it appears that the human being of today is dominated by the idea of transformation of all things and beings. To be born, to grow up and to die/disappear obey to a law, the law of alternation, the acting of a balance between the forces of the good and the evil, of light and darkness. At least, these four myths, with differences for each one, are proclaiming a twilight of the traditional gods and propose an expression of the divine characterised by a relation of "mutuality" between cosmical, technical and human forces
Rivière, Ciavaldini Laurence. « L'apocalypse des ducs de Savoie, entre Westminster et Naples : spiritualité et pouvoirs princiers dans l'art gothique ». Université Pierre Mendès France (Grenoble), 2000. http://www.theses.fr/2000GRE29028.
Texte intégralVaandrager, Meta. « Tabernacle, Temple et Jérusalem céleste : premier, deuxième et troisième temple ? : étude d'iconographie biblique de la peinture du IXe au XIIe siècle ». Paris 4, 1996. http://www.theses.fr/1996PA040271.
Texte intégralResearch has been carried out into various concepts of three different words, tabernacle, temple and celestial Jerusalem, such as they appear in the holy history of the bible. They represent all three various concepts of the dwelling of god and the place of cult. Our research concerns the images (iconography) and their texts of the middle ages (ninth to twelfth century)
El, Cheikh Taha Mahmoud. « Recherches esthétiques sur la calligraphie arabe dans son rôle d'inspiration pour les artistes arabes contemporains ». Paris 1, 1995. http://www.theses.fr/1995PA010532.
Texte intégralAt the beginning of the twentieth century since as all academic commissions did not recognize arab calligraphy as an art, a new inspiration was born amongst a great number of artists who considered arab calligraphy as a fundamental factor of their expression. These artists from different islamic and arab countries created a new current, researching all modern ways of representation. Their varions artistic works with their different forms of expression may be classified into many groups as follows : 1- The expressionism group 2- The composition group. 3- The experimental calligraphy group. 4- The simultaneous calligraphy group. 5- The analytical calligraphy group. 6- The group of those artists :aking use of calligraphy as an easy solution to avoid artistic problems such as those in connection with plastic art. We have studied 125 painters from 17 countries, reproduced and analysed 354 artistic works with calligraphy for basis