Thèses sur le sujet « Cinque sensi »
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Cellier-Lamblin, Berlande. « De l'objet "a" à la sublimation : les cinq sens du regard ». Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30002/document.
Texte intégralThe object of our research led ourself to wonder about the place of the look as such it is the object a, object cause of wish. The look instinct connected with this object a, moved ourself towards the sublimation so called by Freud. The wording of Freud : “Nothing is in the mind which wasn’t in the senses” drawned the framework. From the senses’ birth to the relation between the five senses and the object a, we developped the concept of sublimation. From this concept of sublimation, links appeared with perversion, autism, phobia through the play of differents objects which are connected to them. Then we defined the symbolism process used to settle the first traces, visualize pictures and what is about the state of creator process. We tried, through works of Leonard de Vinci and Albrecht Dürer to show where the sublimation takes part in the wishing subject’s srtructure and how the five senses’ feelings would displace themselves one compared to another and would be condensed in the look
Farkoa, Oscar. « Flaveurs et féérie ou cinq sens gourmands pour des contes de fées classiques (1691-1756) ». Paris 4, 2006. http://www.theses.fr/2005PA040192.
Texte intégralCulinary and “gourmand” perspective of the five senses in the fairy tales between 1691 and 1756. Literature dimension of the genre, born and transmitted by spoken language, refractory to any confinement, connection to food and eroticism. The path to the wonderful, the décor, the influence of Louis XIV, the relation to the sin, the study of the context, time and geography of gastronomy and the links with fairy tales. If the search for refinements and culinary improvements seems to always have been part the human being preoccupations since he could eat all his soul without feeling concerned for his survival, the 16th century clearly stood out as turning point in the food aestheticism and made the first step towards modernity. Double purpose: firstly, intend to restore the interest in fairy tales and create the desire to go deeper in the knowledge of the legacy of unfairly underestimated authors; secondly, emphasize on the importance of the blossoming of gastronomic sensibility at that time, particularly meaningful in this literary genre and witness of its importance at the golden age of fairy tales
Pouliot, Chantal. « Le corps et les cinq sens dans Truismes (1996) et Naissance des fantômes (1998) de Marie Darrieussecq ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60745.pdf.
Texte intégralD'Onghia, Alessandra <1993>. « Problemi in Cina e nel mondo analizzati secondo un’ottica cinese : analisi, traduzione e commento del libro “Common sense” (“常识” chang shi) di Liang Wendao ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12600.
Texte intégralCarella, Claudia <1989>. « Il senso tragico e l’immaginario di Zhang Yueran Proposta di traduzione e commento traduttologico dei racconti “Xiao Ran” e “Il fantasma della città di Sushui” ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3531.
Texte intégralLe, Corre François. « Distinguishing the senses : individuation and classification ». Thesis, Paris 6, 2014. http://www.theses.fr/2014PA066419.
Texte intégralThis Dissertation is concerned with two theoretical issues about the senses. The first issue focuses on the question how the senses are to be individuated (regardless of the way one commonly conceive of them). The strategy is to test the ability of the criteria of individuation available in the literature to withstand objections. I argue that the senses are to be individuated in terms of the environmental properties they give access to, and show that this criterion can withstand all of the objections it has received. The second issue is the question why do we believe in exactly five senses? On the basis of observations from anthropology and comparative linguistics, I argue that this belief result from what we been taught. In addition, this Dissertation contains two supplementary studies. The first study focuses on the question how people ordinarily distinguish among the senses. I argue that people are sensitive both to the types of environmental properties the senses give access to and to the body parts they are attached to. The second study is concerned with the phenomenon of sensory substitution that has long been considered as a challenge for the individuation of the senses. I argue that sensory substitution is not a challenge of this kink because the type of environmental information processed by a sensory substitution device is metamodal, i.e. accessible through any sensory modality
Garin, Boronat Manuel. « El gag visual y la imagen en movimiento. Del cine mudo a la pantalla jugable ». Doctoral thesis, Universitat Pompeu Fabra, 2012. http://hdl.handle.net/10803/83522.
Texte intégralThis thesis studies the visual gag as moving image, analyzing its essential patterns, forms and functions. A series of key silent film and slapstick examples are located in order to examine their evolution throughout film history and their extensions in other media like television and video games. The research focuses on three main dimensions of the gag’s formal construction, time, space and movement; three formal scopes that lead to three functional limits: narration, gameplay and sense. The thesis confirms the essential role of the gag as one of the most powerful forms of visual resistance in contemporary culture, that questions narrative and symbolic values through comic possibilities.
Dumas-Côté, Clémence. « L’écrit comme présence ? Cinq photos à te montrer (récits poétiques), suivi de Qui est là ? La présence chez Sophie Calle (essai) ». Mémoire, Université de Sherbrooke, 2017. http://hdl.handle.net/11143/10475.
Texte intégralRobbins, Ann. « La Signification et l'Influence des Cinq Sens sur le Suet de la Domestication dans l'Oeuvre de Colette : The Signification and Influences of the Fice Senses on the Opic of Domestication in the Work of Colette ». Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/RobbinsA2003.pdf.
Texte intégralLUCIBELLO, Sabrina. « I cinque sensi dei materiali : verso una modalità di selezione dei materiali ». Doctoral thesis, 2003. http://hdl.handle.net/11573/410099.
Texte intégralMESSERE, Giulia. « L’educazione alimentare a cinque sensi nei percorsi di sviluppo e apprendimento. Il progetto Edueat ». Doctoral thesis, 2020. http://hdl.handle.net/11393/265527.
Texte intégralCORONA, FRANCO. « Il motore replicante della percezione. Virtuale : 6° senso della percezione ? » Doctoral thesis, 2009. http://hdl.handle.net/2158/592718.
Texte intégralRaynaud, Michel Max. « Cinéma et sens de la ville : la ville idéelle ». Thèse, 2010. http://hdl.handle.net/1866/4614.
Texte intégralIt is mainly though movies that we get to know and share cities’ realities, even those where we live. Through movies, we discover more cities than we will ever visit. We know cities we had never seen. We learn to discover cities we already knew. We have memories of non-existing cities. Either as spectators or creators, cities exist first in our imagination. To perceive, represent and create are complementary acts calling for common functions. Every perception is conditioned by knowledge and memory and depends from culture. In order to communicate, representations must be aware of the target audiences’ mechanisms and memory codes. Movie making deals not only with the reproduction. It creates and has learned to use those codes and mechanisms, as in the case of city representation. As for urban planners and other related professionals, the study of cinema can open new scientific fields dealing with representation and perception as means to share city’s reality. City and movies should then be seen as a spectacle (show) in its hermeneutical meaning, a spectacle (show) from which the emergence of a paradigm becomes possible. In other words, the basic belief system or worldview that guides the investigator, not only in choices of methods but in ontologically and episemologically fundamental ways. (Guba & Lincoln, 1994). We propose to describe, to shape and to show the conceptual functions of such paradigm; we call it the ideel city.
Mediante el cine conocemos y compartimos la realidad de las ciudades, aun de aquellas en las que vivimos. Mediante el cine descubrimos más ciudades de las que podremos algún día visitar. Conocemos ciudades que nunca hemos visto. Aprendemos a descubrir ciudades que ya conocemos. Tenemos el recuerdo de ciudades inexistentes. Ya sea como espectadores o creadores, la existencia de las ciudades empieza en nuestra imaginación. Percibir, representar y crear son actos complementarios que apelan a funciones comunes. Toda percepción es condicionada por el conocimiento y la memoria, y depende de la cultura. Toda representación que intente comunicar, debe conocer los mecanismos y los códigos culturales del público al cual se dirige. El cine no solamente reproduce: crea y ha aprendido a utilizar dichos códigos y mecanismos, particularmente para representar la ciudad. El estudio del cine puede abrir a los urbanistas y a los profesionales de las disciplinas conexas, nuevos campos disciplinares a propósito de la representación y de la percepción como modos de compartir la realidad de la ciudad. La ciudad y el cine deben ser por tanto vistos como un espectáculo en la acepción hermenéutica del termino; espectáculo a partir del cual es posible que surja un paradigma. Dicho de otra manera, the basic belief system or worldview that guides the investigator, not only in choices of methods but in ontologically and episemologically fundamental ways. (Guba & Lincoln, 1994) A este paradigma, que nos proponemos describir, dar forma y cuyas funciones conceptuales mostramos, lo hemos llamado la Ciudad ideel.
Le, Corre Francois. « Distinguishing the senses : individuation and classification ». Thesis, 2014. http://www.theses.fr/2014PA066419.
Texte intégralThis Dissertation is concerned with two theoretical issues about the senses. The first issue focuses on the question how the senses are to be individuated (regardless of the way one commonly conceive of them). The strategy is to test the ability of the criteria of individuation available in the literature to withstand objections. I argue that the senses are to be individuated in terms of the environmental properties they give access to, and show that this criterion can withstand all of the objections it has received. The second issue is the question why do we believe in exactly five senses? On the basis of observations from anthropology and comparative linguistics, I argue that this belief result from what we been taught. In addition, this Dissertation contains two supplementary studies. The first study focuses on the question how people ordinarily distinguish among the senses. I argue that people are sensitive both to the types of environmental properties the senses give access to and to the body parts they are attached to. The second study is concerned with the phenomenon of sensory substitution that has long been considered as a challenge for the individuation of the senses. I argue that sensory substitution is not a challenge of this kink because the type of environmental information processed by a sensory substitution device is metamodal, i.e. accessible through any sensory modality
Robbins, Ann. « La signification et l'influence des cinq sens sur le suet de la domestication dans l'oeuvre de Colette = The signification and influences of the five senses on the topic of domestication in the work of Colette / ». 2003. http://www.library.umaine.edu/theses/theses.asp?highlight=1&Cmd=abstract&ID=FRE2003-002.
Texte intégralSERPETTA, MARIA GIULIA. « La Regola per ben confessarsi di Giacomo della Marca : edizione e commento linguistico ». Doctoral thesis, 2018. http://hdl.handle.net/11393/251618.
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