Thèses sur le sujet « Coris »
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Santos, Elisa Kretzer. « O processo de formulação da estratégia : um estudo de caso no Coris Centro de Pesquisa Clínica ». Universidade do Estado de Santa Catarina, 2011. http://tede.udesc.br/handle/handle/217.
Texte intégralCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
More and more, global medicines and health product industries are turning their attention to developing countries such as Brazil, to carry out research in new health technology development. The practice of Clinical Trials in Brazil has been spreading since the 1990 s and besides scientific knowledge, this activity requires, in no less an important way, administrative knowledge, primarily strategic management of services and relationship with various stakeholders. Within this framework, the objective of this study is to analyze the process of strategic formulation of Coris Centro de Pesquisa Clínica. This study is characterized by qualitative approach, a case study, with descriptive and exploratory method, using primary and secondary data and with semi-structured scripted interviews. The results showed that the strategic formulation in Coris Centro de Pesquisa Clínica does not always occur in a deliberate and intentional way, it can occur in answer to necessities identified in the environment and in an emergent way. Furthermore, the results of the research reveal a great influence from stakeholders in the process of formulation and adaption of the clinical Trial organization strategy, directly influenced by these results
As indústrias globais de medicamentos e produtos para saúde têm cada vez mais voltado sua atenção para países em desenvolvimento, como o Brasil, para a realização de pesquisas de novas tecnologias para saúde. A prática de Pesquisa Clínica no Brasil vem se difundindo desde a década de 90 e tal atividade requer além de conhecimento científico, de forma não menos importante, o conhecimento administrativo, primando por uma gestão estratégica dos serviços, assim como pelo relacionamento com os diversos atores envolvidos no processo, os stakeholders. Cotejando este quadro, o objetivo desta pesquisa foi analisar o processo de formulação da estratégia do Coris Centro de Pesquisa Clínica. Este estudo caracteriza-se como de abordagem qualitativa, delineamento de estudo de caso, com método descritivo e exploratório, uso de dados primários e secundários e teve como técnica de investigação entrevistas com roteiro semi-estruturado. Os resultados demonstraram que a formulação da estratégia em um Centro de Pesquisa Clínica nem sempre ocorre de modo deliberado e intencional, podendo ocorrer em resposta às necessidades identificadas no ambiente e de modo emergente. Os resultados da pesquisa ainda revelaram a grande influência dos stakeholders no processo de formulação e adaptação da estratégica na organização, influenciando diretamente nos seus resultados
Arce, Braúl Darcy Gianina. « Patrón alimentario en niños y niñas de 6 a 23 meses de edad según estacionalidad en 5 caseríos del distrito de Coris-Áncash-2015 ». Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2018. https://hdl.handle.net/20.500.12672/8439.
Texte intégralTesis
Yang, Feng. « Heterogeneous vortex dynamics in high temperature superconductors ». Palaiseau, Ecole polytechnique, 2009. http://pastel.paristech.org/5451/01/Corps-PhD-YF.pdf.
Texte intégralTeixeira, Lúcia Helena Pereira. « Coros de empresa como desafio para a formação e a atuação de regentes corais : dois estudos de caso ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/5439.
Texte intégralFoisil, Nadia [Verfasser]. « Être et avoir un corps : Corps quotidien, corps scénique / Nadia Foisil ». Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2016. http://d-nb.info/1114640050/34.
Texte intégralGmach, Nomen. « Tatouages berbères : corps voilés, corps dévoilés ». Paris 1, 2002. http://www.theses.fr/2002PA010501.
Texte intégralFelsenheld, Édouard. « La médecine du sport chez Galien : corps athlétiques, corps sains, corps malsains ». Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040229/document.
Texte intégralThe physician and philosopher Galen of Pergamon (2nd century AC) criticizes athletes, even more strongly than Hippocrates and other intellectuals of the classical period did. But this denunciation is counterbalanced by another point of vue: sport is reappraised in a practical and theoretical way.On the one hand, Galen makes a diagnosis of all disorders that might affect amateur and, most of all, professional athletes. As a consequence, sportsmen involved in competitions are deeply depreciated. Physical activity is considered as producing bad health and, for many other reasons, it is the target of a general condemnation. In particular, the human nature of athletes comes into question.On the other hand, Galen rehabilitates sport as a usefull activity that is beneficial for health and indirectly for the intellect: physical exercise plays a role in the development of the medical argumentation and parallels can be drawn between sport and Galen’s activity both as a physician and as a philosopher
Attely, Marie-Willye. « Le corps de l'infirmière : paradoxes et non-dits d'un corps à corps ». Paris 13, 2009. http://www.theses.fr/2009PA131024.
Texte intégralThis research, emanating from the field of the Human Sciences in sciences of education, uses the hermeneutic approach in a movement where the biographic process allows the nurse to be seen in the narrative of the interviews, and to observe the nurse, as caregiver in a body-to-body relation with the patients. This thought concerns the paradox of the nurse body in her/his activity inside the places of care including general-purpose reanimation, adult psychiatry and geriatrics. Therefore, this thesis, taking its theoretical roots from the concept of biographisation, will attempt to show how the complexities and the paradoxes of the human body physical presence enable the observation of that which this unspoken by the nurse who becomes a professional caregiver
Guerra, Serres Laura. « Corps malade, corps créateur : fragmenter, rassembler, réparer ». Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H314/document.
Texte intégralThe research in Arts suggests questioning and clarifying the process from the illness experience to creation. How is the creative gesture activated, transformed by the illness? The plastic work associated with the writing tries to verify the following hypothesis: it’s through the process of fragmentation (Heinz Kohut), of gathering (Anne-Sophie Le Poder) and mending (Jeanine Chasseguet-Smirgel) that the body, now a creator, surpasses itself while resuming flesh, turns itself into something different, through its own fear and pain, repaired or reconstructed by their passage. The first part (fragmentation), whith the notion of space, analyses Louise Bourgeois and Yayoï Kusama’s works. Does the fragmentation of the body represent the way the experience of the illness is embodied, incorporated into creation, without illustrating it? The second part explores gathering as a gesture of conciliation with the body. In Mona Hatoum, Chiharu Shiota, or Niki de Saint Phalle’s works, how does this gesture become a blood which welds (Agamben), while making us looking at a hole in time? In the third part (Repair), the reflection goes on with Rebecca Horn and Berlinde de Bruyckere ‘s works, and the choreographic play "Körper" by Sasha Waltz. Questions related to the illness and creative body will be linked to memory and otherness. In the peculiarity of their plasticity, materials become places to rewrite the body in its experience of pain, without representing it
Besbes, Khadija. « Les représentations du corps en situation de maladie organique : corps biologique/ corps relationnel ». Paris 7, 1988. http://www.theses.fr/1988PA070062.
Texte intégralModalities of entering into a situation of organic illness, touching fondamentally and imperceptably the interior of the body and of verbalising this experience. Breast cancer does not appear at first on the sensitive relational body but on the biological, silent body diagnosed as carrier of a dynamic internal process, which will register in a sensitive and destructive manner on the body envelope. Cellular instrumental medecine modifies the concept of the sick subject, usually defined as experiencing a rupture of biological balance, leading towards sensorial modifications influencing the repartition of the libinal energy. Associated with a type of clinical medecine, this definition also reveals a significant representation : that of a subject in sensitive communication with his physiologically interactive body, as also producing effects or the environment, thus enabling their verbalisation. The revelation of an illness in its non-painful stage does not implicate the subject the psychosomatic unit, but the biological body, dangerously uneasy because imperceptible. Cleaving between the somatic and the psychical space, due to non-transposition of perceptions into sensations; cleaving also between environment and body, which no longer has a symbolic mediative fonction. A dimension which the patient will find particularly in a symbolic production from corporal signs
Kallel, Sethom Sonia. « Corps revêtu - Corps contraint : quand les vêtements et le corps racontent une souffrance ». Paris 1, 2003. http://www.theses.fr/2003PA010558.
Texte intégralBesbes, Khadija. « Les Représentations du corps en situation de maladie organique corps biologique/corps relationnel / ». Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376119082.
Texte intégralMacia, Enguerran. « Les personnes âgées : un corps à part : du corps bio-culturel au corps vécu ». Aix-Marseille 2, 2006. http://www.theses.fr/2006AIX20696.
Texte intégralPutting back the Anthropology in an epistemological context Mauss-defined (1924), the objective of this thesis is to study the ageing process into its complexity. In this way, we have interviewed 400 persons, aged 60 to 92 years old, living in Marseille. The statistical methods used are those employed in epidemiology. These statistical results were combined with a qualitative analysis of the discourses. This work is made up of four chapters. The first one is about the biological ageing. The sub-chapters deal with obesity, visual acuity, chronic diseases, disabilities and self-rated-health. The second chapter is about psychosocial ageing : self-esteem, age-stereotypes and social activities were studied here. The third chapter focuses on the interactions between biological and psychosocial dimensions of the ageing process. Finally, the fourth chapter is about the appearance of the aging body
Redon, Roland. « Le corps vide : un corps dépossédé du langage ». Paris 8, 2009. http://octaviana.fr/document/155987682#?c=0&m=0&s=0&cv=0.
Texte intégralFrom non-verbal exercices, i. E traditionnals asiatics therapeutics technics, Tai-chi-chuan and Qi Gong, all based on free energy circulation, we suggest empty body concept. The Chinese tradition, by its united conception body and mind, has developed many corporals technics with as therapeutic and as méditation objectives. Based upon Buddhist philosophy, mainly Nagarjuna’s, to understand veracity of vacuity, we consider empty body as an ethical and political way of life, able to, within a “let go” attitude, conflict with merchandizing and mechanization of bodies peculian to the modern world, and with the action born in reaction to radical democratisation through a consensual communication. The empty body conflicts with all this, by means of silence, immobility, internalization, and spontaneity, by a refusal that leaves no chance to contradiction
Araujo, Nivalda Assunção de. « Corps humain, corps urbain : la traversée des apparences ». Paris 1, 2008. http://www.theses.fr/2008PA010532.
Texte intégralZinetti, Philippe. « La blessure : la représentation du corps sur le corps ». Paris 1, 1993. http://www.theses.fr/1993PA010668.
Texte intégralThe body is tested by the act of painting which covers the skin and thus tries, through meditation to concentrate the creative energy on my own body. A dark shape, asign of opening, appears on the body. It seems that the absence, the gap are inscribed on the skin by that representation. The skin must be understood as a frame which protects the body and which throught its opening enables to have a glimpse of the interiority of that one. The dreamlike work must be led from any frame serving the elaboration of plastic practise. So, the fabric hung in the workshop outlines the organisation of the practise which itself takes form on the surface of the body : the skin, to be eventually printed on the photographic film in charge of memorizing the act of painting. The suffering, suggested by representation, as well as that desire fo r flaying the skin allows to think this opening as a wound. The empty-full, inside-outside dialectics elaborate the shap e in what is defined as the representation of the body on the body. The sign of the double appears in the representation and the other body becomes the support of painting. From the activity of the body, what is only kept is the remembrane of the short-lived act of painting, the action led within the workshop is inscribed on the photographic palimpsest and the picture becomes the new frame invested by plastic practise. So, the body through its state of life institutes the very constitution of its hide. The signs of the frame, of the surface offered to the exterior stare arise from its action. This offering is but the vain attempt of gathering the different states of the body between life and death. Therefore, the wound could very well be this symbolic extension which signs the presence of the body in the representation
Barbisan, Léa. « Le corps en exil. Walter Benjamin, penser le corps ». Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040161.
Texte intégralThe body constitutes a discreet but persisting leitmotiv in Walter Benjamin's work. The question of the body is a privileged approach to Benjamin's anthropological thought, of great importance for the epistemological, ethical and political issues which structure and give consistency to his work. The first part of my thesis is about the theory of knowledge. I describe how the body, gradually leaving Benjamin's philosophy of language, becomes the matrix of an intention that cannot be reduced to subjectivity and is capable of subverting its categories and hierarchies. The body, neither subject nor object, close and disquieting at the same time, a place for suffering and desire, blurs the borderline between the ego and the world. This observation leads Benjamin to a reassesment of the division between the human being and nature. The second part puts into evidence the role played by the body in Benjamin's ethics which, starting from a reflection about somatic vulnerability, examines the separation between autonomy and heteronomy. As the part of nature that we cannot dispose of, the body is what gives us the feeling of time and enables us to understand our own historicity. The third part deals with Benjamin's thought upon the interpenetration of nature and history, as he witnesses the way technology affects the bodies of his contemporaries. Hence, he reflects on the emancipation of the masses, defined as excentric collective bodies without a precise identity or outline, threatened by capitalist exploitation and fascist domination
MOURGUES, MARIE-HELENE. « Application des corps de series formelles a l'etude des corps reels clos et des corps exponentiels ». Paris 7, 1993. http://www.theses.fr/1993PA077085.
Texte intégralLimat, Daniel. « Le corps chez Alain : le concept de corps et les relations de l'âme et du corps : les rapports du corps et de la culutre ». Besançon, 1987. http://www.theses.fr/1987BESA1006.
Texte intégralLimat, Daniel. « Le Corps chez Alain le concept de corps et les relations de l'âme et du corps : les rapports du corps et de la culture / ». Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37607477r.
Texte intégralGrenier, Diane. « Le corps imaginaire et le corps réel dans la fibromyalgie ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0001/MQ43688.pdf.
Texte intégralAubry, Yves. « Variétés algébriques et corps de fonctions sur un corps fini ». Habilitation à diriger des recherches, Aix-Marseille Université, 2002. http://tel.archives-ouvertes.fr/tel-00977396.
Texte intégralRibeiro, Maria da Conceição Santos. « As cores e a visão e a visão das cores ». Master's thesis, Universidade da Beira Interior, 2011. http://hdl.handle.net/10400.6/1027.
Texte intégralThe light is regarded as the energy that supports life. Every information that we attract and the perception of objects especially depends on the nature of the images that are formed in our eyes. We know that through light we receive large amounts of information from the world around us and to see those images and objects we need a visual system. We can say that the color has an important role for our survival (for example: some living beings such as some birds that have some colors in their plumage that is very important to them). Is a physical and expressive and symbolic phenomenon of most importance in visual language.Sometimes it can be a subjective concept that is based on the interpretation that sensorial system and the brain give to the different lengths of light received. Seeing is for us, such a natural phenomenom that is becomes necessary an effort of imagination so that we can realize that such phenomenom includes the solution of certain problems. The eyes are one of the most important organs of human body, they are responsible for the capture of outside information and it‟s encoding, in nervous impulses through the actions of specialized nervous cells. It‟s a fantastic and rather complex organ, considered an extension of brain tissue. Until the 16th century, was wrongly thought that the eyes produced light, today we know that they are only light receivers. With this work is intended to describe in short words how the human being can see and identify colours, talk about colours theories, describe the functioning of visual process and present some anomalies of vision and it‟s colours.
Bernard, Paul. « Corps indéfinis : la représentation des corps dans l'art d'après Auschwitz ». Paris, EHESS, 2015. http://www.theses.fr/2015EHES0188.
Texte intégralThis doctoral dissertation, untitled Undefmed Bodies : The Representation of Bodies in Art after Auschwitz, aims to demonstrate that this event deeply ruptured the forms of representation of the human body in the plastic arts ; especially in painting. Such a rupture engages the so-called traditional modes of representation (for which we argue that they belong to an aesthetics of discernment), as well as those inherited from the artistic modernity, by making this bodies undefined, i. E. Undiscernible. In a perspective both historical and theoretical, this dissertation proposes a deep examination of several artworks, from before and after Auschwitz, trying to question for the latter the multiple forms of the temporality determined by the term "after", following then a dialectic close to the notion of translation : transmission as well as treason of the event. Therefore, the main purpose of the dissertation is to reconsider an artworks' corpus (already existing since it derives from contemporary art) and to define analysis devices able to define the conceptual and hermeneutic outlines of such a corpus. Both examination and analysis aim at rethinking the modes of representation of the human body as well as a kind of habitus which has been developed around them in the aftermath of Auschwitz
Lesage, Benoît. « Le corps en présence : une approche plurielle du corps dansant ». Reims, 1992. http://www.theses.fr/1992REIML002.
Texte intégralRos, Nicolas. « Corps des modules et corps de définition de revêtements algébriques ». Toulouse 3, 2004. http://www.theses.fr/2004TOU30288.
Texte intégralLet k be a perfect field and let c be an algebraic closure of k, separably closed. Let also bk be a k-curve. We note bc the c-curve obtained from bk by extension of scalars. We study the category rev of c-covers over bc that is to say finite and etale morphisms over bc. If f is an object of rev, a field of definition of f is a field a c-cover isomorphic to f can be defined over. Furthermore, the group gal(c/k) acts on rev functorially ; for all s in gal(c/k), the cover s. F is the pull-back of f along spec(s). If, for all s in gal(c/k), s. F is c-isomorphic to f, k is said to be the field of moduli of f. That is a well-known fact that the field of moduli is the intersection of the fields of definition. However, we don't know if a c-cover which is defined over all the the completions kv of k (v valuation of k) - and so with field of moduli k - is necessarily defined over k. First, we describe a cohomological criterion in order to express the fact that a certain type of covers of bc is defined over a given field. Then, using the kummer's theory, we explain a method to construct covers (defined over k) over the projective line whose group of automorphisms is a given gal(c/k)-module. By means of the class field theory and the special cases of grunwald-wang's theorem, we construct a cover between curves which is defined over all the completions of the rationals field without being defined over the rationals field. In conclusion, we exhibit a violation of the local-global principle for the category rev
Fraboulet, Meyer Aurélie. « Corps et interprétation : lorsque le corps pianistique raconte une histoire ». Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100215.
Texte intégralEvery subject possesses not only one human body but several bodies, influenced by their interaction with the environment. A subject is also influenced by a primitive corporal dimension, which incarnates their style, their way of being in the world. Style is inserted into the expressive intentions of the subject, by an intentional and unconscious energy which influences their behaviour. This doctoral thesis concerns the expressive intentions of a pianist during the performance of musical gesture (a combination of the subject’s mental representation of the musical work and the involvement of the pianist’s body). Results have shown that both style and the primitive dimension orient a pianist’s body towards a particular organization: a body organized at various levels linked to differing aspects of musical gesture. This organization suggests that a pianist’s body incarnates the proto-narrative structure of musical gesture, implying that a pianist’s body also incarnates their personal story constructed throughout their mental representation of the musical work. It is not purely a functional support, neither purely an emotional support, but fits in above these two dimensions. Furthermore, a pianist’s body is manipulated unconsciously, confirming the existence of an intentional and unconscious energy. This research shows importantly that a pianist’s body has been “surnaturé” to incarnate the telling of a story
Hau, George Kin Tak. « Elliptical galaxy cores ». Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624785.
Texte intégralGavoty, Gwenaëlle de. « Bijou de corps ». Paris 1, 2007. http://www.theses.fr/2007PA010609.
Texte intégralMarcuzzi, Jean-Max. « Corps et aliment ». Paris 10, 1993. http://www.theses.fr/1993PA100142.
Texte intégralIt seems not to be possible to understand the human body without a proper determination of its food, because the human being is not only as Heidegger says, "world-constructing", but also "constructing himself". The human beeing builts its body as a center of power that might make possibilities true. The "poetical" relation to the world is also a "practical" relation to itself. Body and food are therefore neither natural, nor mere instruments, but are "non-utilitary artefacts". Food cannot be defined in only rational or quantitative terms, because it is constructed in an "imaginary synthesis" in which ist measurement, its sensible qualities, its value and its power are determined altogether. The body is the historical construction of a manifest power from which possibilities can be projected and realised. This is the reason why the construction of the body cannot be abandonned to a nature that is not responsible, because the possibilities to which it is opened have always a collective, cultural and historical meaning. There is no political community without a community of production and share of food. Thinking what food is implies to think about the responsability of a community of bodies; so food appears as beeing an "ethical thing", which is a specific human reality that cannot be reduced to animal food
Breton, Myrtille. « Le corps opérateur ». Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/37822.
Texte intégralRichir, Luc. « L'invention du corps ». Paris 12, 2000. http://www.theses.fr/2000PA120062.
Texte intégralSCHMELING, MICHAEL CH. « Corps de transseries ». Paris 7, 2001. http://www.theses.fr/2001PA077115.
Texte intégralLi, Manhua. « Le corps ascétique ». Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEE061.
Texte intégralThis thesis proposes to analyse, describe and translate the “body” as place of ascetic practice. Recommencing with Nietzsche’s On the Genealogy of Morality, I re-evaluate the moments of ruptures during the course of the history of asceticism both inside and “outside” of the European tradition. Particularly, the two notions of asceticism that do not deny the body – “tranquillity” and “heart-fasting” – in Mencius’ and Zhuangzi’s philosophy constitute the first rupture in the history of Chinese philosophy. Bearing in mind these ruptures, I demonstrate, from a methodological point of view, that the question of “exteriority” of Chinese philosophy in relation to European philosophy is a challenge for the genealogical approach. As such, I go further by defining the body as place of ascetic practice. And in this sense, ascesis is a form of self-cultivation or a process of accumulation of force that takes place in the body. With this notion of the ascetic body, I engage in a genealogical experience (Versuch) that explores the aesthetical, ethical and political dimensions of the body in Nietzsche, Foucault and some Chinese texts that I retranslate. Finally, I conclude that the ascetic body implies not only a critical attitude towards oneself but also an art of living together
Baillargeon, Claude. « Le corps d'escalier ». Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1991. http://theses.uqac.ca.
Texte intégralMémoire de création. Ce mémoire a été réalisé à l'UQAC dans le cadre du programme de maîtrise en études littéraires de l'UQTR extensionné à l'UQAC. CaQCU CaQCU Document électronique également accessible en format PDF. CaQCU
Smadja, Robert. « Poétique du corps ». Lille 3 : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb37593974t.
Texte intégralGuisgand, Philippe Caullier Joëlle. « Lire le corps ». Lille : A.N.R.T, 2005. http://www.univ-lille3.fr/theses/GUISGAND_PHILIPPE/html/these.html.
Texte intégralRaith, Ouarda. « Corps controle, corps libere : les figures du corps dans le discours de jeunes femmes maghrebines nees en france ». Paris, EHESS, 1998. http://www.theses.fr/1998EHESA034.
Texte intégralThis study deals with the body perception and identity of maghrebian young women born in france, through their speech. I tried to understand incidences of acculturation in their way of thinking their body and their identity. I pointed out that in their way of thinking, maghre, bian and french models were melting, each young woman doing her own arrangement. I also pointed out that acculturation brought about con, tradictions in their way of thinking their identity. During my survey, i questionned 9 young woman from 15 to 34 years old. Each young woman is presented through a portrait in which she speaks about her way of life in her family, the maghrebian models inculcated by her parents, and her way of life outside her family. The main conclusion of my survey is that all young women of the group have assimilated the notion of individuality of her body. They all claimed the autonomy of their body associated to the autonomy of their way of life
Suarez, Atias Ivan Suarez Ivan. « Réseaux idéaux sur des corps CM et des corps totalement réels / ». [S.l.] : [s.n.], 2005. http://library.epfl.ch/theses/?nr=3260.
Texte intégralMORAES, MARCELO CHELLES. « CORPS E SACREMENT : L´IMPORTANCE DU CORPS POUR LA THÉOLOGIE SACRAMENTELLE ». PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6932@1.
Texte intégralOn ne peut pas masquer qu`une partie de la pensée chrétienne, en vertu de la forte influence philosophique de la pensée platonicienne, a été marquée par le mépris du corps. Cette mentalité impregna fortemente le passé, mais, jusqu aujourd hui, elle a des resonances dans les nouvelles expressions religieuses. Dans le monde moderne, la dualité âme/corps a retrouvé chez Descartes son expression la plus évidente, avec le cogito ergo sum. Dans la post-modernité l extrême contraire se présente, avec la valorisation inadéquate du corps, ce qui engendre un nouveau dualisme. Dans notre recherche, nous traitons la sacramentalité avec toute la force de son expression symbolique, qui communique efficacement la grâce, en nous écartant de toute conception extrême - soit celle née du dualisme platonicien, qui valorise l`âme et méprise le corps; soit celle de la post-modernité, qui fait du corps un objet. Dans le langage biblique, l`homme, selon notre thèse, créé par Dieu, n est pas un être dépiécé, dualiste, mais complet possédant une unité indivisible de corps animé, une totalité, dans une condition corporelle. Notre fonction tout le long de ce travail a été précisément d établir le lieu du corps dans le contexte théologico-sacramentel. Les sacrements, qui sont des réalités temporelles et spirituelles, sont des signes visibles de la grâce invisible. Ainsi, le corps garde sa validité par rapport à la théologie sacramentelle et il ne peut pas être méprisé, comme proposait le dualisme, ni instrumentalisé - en perdant sa fonction symbolique - comme veut la post-modernité. Dans cette dissertation, nous avons eu comme but de racheter et valoriser la corporalité sacramentelle, pour que le corps soit compris dans son langage symbolique et communicatif. Le principal système qui justifie et qui est la raison même de la corporalité sacramentelle, c`est la voie dont Dieu lui-même s`est servi: l`Incarnation, qui a respecté notre condition spirituelle-corporelle. Jésus est le sacrément du Père, il est l`image visible du Dieu invisible; par la corporalité donc, le Verbe, qui a pris notre chair, nous a parlé dans le passé; et il nous parle encore aujourd hui par l intermédiaire des symboles sacramentaux.
Por forte influência filosófica do pensamento platônico, não se pode esconder que o desprezo do corpo assinalou uma parte do pensamento cristão. Esta mentalidade impregnou fortemente o passado, mas, até os dias de hoje, encontra ressonância em novas formas religiosas. No mundo moderno, o dualismo entre alma e corpo reencontrou a sua expressão mais clara em Descartes, com o cogito, ergo sum. Na pós-modernidade, o extremo oposto se apresenta, com a valorização inadequada do corpo, gerando um novo dualismo. Dentro de nossa pesquisa tratamos da sacramentalidade, com toda força de sua expressão simbólica que eficazmente comunica a graça, desgarrando- nos de qualquer visão extremista - seja aquela trazida pelo dualismo platônico, que valoriza a alma e despreza o corpo; seja a da pós-modernidade, que torna o corpo objeto - Na linguagem bíblica, o homem que sustentamos, criado por Deus, não é um ser dividido, esfacelado, dualista, mas é um ser completo, com unidade indivisível de corpo animado, de totalidade, em condição corpórea. Nosso papel ao longo deste trabalho foi exatamente estabelecer o lugar do corpo dentro do contexto teológicosacramental. Os sacramentos, que são realidades temporais e espirituais, são sinais visíveis da graça invisível. Portanto, o corpo guarda sua validade para a teologia sacramental e não pode ser desprezado, como propunha o dualismo, nem instrumentalizado -perdendo sua função simbólica- como propõe a pósmodernidade. Nesta dissertação, visamos resgatar e valorizar a corporeidade sacramental, para que ele - o corpo - seja visto na sua linguagem simbólica e comunicativa. O principal sistema que a justifica e é a razão da corporeidade sacramental é o próprio caminho utilizado por Deus: a encarnação, que respeitou nossa condição espiritual-corpórea. Jesus é o sacramento do Pai, é a imagem visível do Deus invisível; assim, através da corporeidade, o Verbo, que assumiu a nossa carne, nos falou no passado, e através da visibilidade dos símbolos sacramentais nos fala no presente.
Bouchard, Améthys. « Du corps sacré au corps biotechnologique : dualisme et conséquences en Occident ». Mémoire, Université de Sherbrooke, 2015. http://hdl.handle.net/11143/6818.
Texte intégralSecchin, Braga Paola. « Des corps écrits : spectacles chorégraphiques biographiques et représentations du corps dansant ». Paris 8, 2013. http://www.theses.fr/2013PA083558.
Texte intégralThe objective of this research is to study the interaction between the choreographic field and the biographique - a term that permits us to expand the traditional literary biographical field to individual life depiction through various media. We have therefore focused our research on choreographic performances - understood as instances of the biographique - and on the perception and interpretation of the dancing body in the biographic discourse. We began our investigation approaching the history and the classification of biography, in order to understand the main issues of this literary genre and its basic questions. We made a survey of literary biographies in the field of dance since the XIXth century, developing a quantitative analysis, and we proceeded in the understanding of how the biographical discourse on the dancers developed. On this research, our understanding of biographical and choreographic works are based on concepts from the Literature field. The existing research on corporeality (corporéité) and kinesis (the motor perception of the movement) in literary narrative enabled us to analyze the descriptions and representations of the dancers’ bodies. The last part of the research is devoted to the analysis of eight biographical choreographic works. The structure and operation of each work are highlighted along with the representations of the dancer's body that are implemented in choreographic work. We have also analyzed how the image of the dancing body is constructed in the biographical choreographic discourse. With this analysis we are able to propose a model for the understanding of how the spectator constructs the body image of the biography subject - the biography subject’s body atlas - a collection of representations of the “biographed” body
Gléonec, Anne. « Du corps au corps politique ? : pour une refonte phénoménologique de l'analogie ». Paris 7, 2011. http://www.theses.fr/2011PA070061.
Texte intégralThis research project seeks to reveal the phenomenological conditions legitimizing the analogy between the body and the political body. Such a resumption of the analogy of the body in the political domain has deployed itself a priori against the current of the contemporary factual politic. In this sense, numerous thinkers have gone as far as seeing in modem democracy a 'revolution', founded precisely on the disappearance of the political body, on the loss of social corporeity that characterized the Ancient Regime, for which the king's body furnished the guarantee and the replica. But there is inside democracy a disincorporation more fondamental than the one which is so praised, because this disincorporation is dependent upon modem uprooting and results from the negative forgetting of any membership, any identity, and any filiation, in line with abstract Universalist principles. The task that we proposed was exactly to question phenomenologically the unifying link between disincorporation and uprooting, to reform the analogy, against the old schema of the fusion or general will
Jarrigeon, Anne. « Corps à corps urbains : vers une anthropologie poétique de l'anonymat parisien ». Paris 4, 2007. http://www.theses.fr/2007PA040065.
Texte intégralUrban anonymity is generally more criticised than it is analysed and plays an integral role in the way metropolitan life is experienced. Its daily functioning plays in specific ways on bodies, their appearance and non-verbal communication. This thesis elaborates a poetical approach to anonymity at the junction of urban anthropology and semiotics. It questions the status of seeing and being seen beyond the mere effects of the bodies's co-presence in singular urban places. The bodies readability is recontextualised within the dynamic of daily interpretative practices and put into perspective from a phemonological point of view that focused on a problem of readability offers an opening on visibility. The city is not simply a stage setting nor a collection of inert places. Considered through its public area, it creates situations where the political stakes of relations between anonymous social subjects and the process of "disciplinarisation" of the body and the gaze become manifest. In this study, several empirical investigations are focused on questions intimately bound to the theoretical approach. These anthrophological enquiries, mostly based on cinematographic and photographic material, are linked to a semiotic interpretation of documents, objects, and device, especially architectual device, that are particularly relevant to this analysis. Special attention was given to the Piazza Beaubourg, the Forum des Halles and the Parc de la Villette
Viguier, Emma. « Corps à corps : corps, écriture, photographie : de la mise en signes à la mise en scène, l'exploration d'une pratique artistique ». Toulouse 2, 2008. http://www.theses.fr/2008TOU20008.
Texte intégralTriggered by an artistic practice in which the body is a medium for written signs at the heart of a staged conceptualisation, this study is a means to discover three visual and discursive languages : body, writing and photography. I paint, write, make signs on the body. Creating it, recreating it through transient additions. These fleeting bodywritings become the pretexts for a photographic ritual that composes, stages and displays them. Creating signs and staging signs are the two steps (or rituals) which form or transform the body and then drag it into a referential elsewhere ; a place where the wanderings of imagination take shape. Written and staged bodies are used in many intertwined fields, such as philosophy, anthropology, ethnology, art history, sociology, cinema and so on. Standing on a thin line between theory and plasticity, rituals bring about another body : a body fed with cultural, artistic and disciplinary invocations ; a body made up with representations, conceptualisations and dreams… Through the so-called 'primitive' use of bodywriting, through signs, through looks and pictures, another body, a new skin is arising. It is made of artistic modelling and visual play-abouts ; self-representation and veils ; presence and absence. This study is the exploration of a ritual which consists of taking written bodies into a creative process implying transformations, concealments, interlaced imaginations and body settings
KARAM, SOFIA BAPTISTA. « CE QUE PEUT UN CORPS FILMÉ : INVENTAIRE DE CORPS DANSANTS AU CINÉMA ». PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=24608@1.
Texte intégralCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Ce mémoire propose une étude essayiste sur un ensemble de films dans lesquels les personnages éclatent en mouvement et dansent, à partir de trois intuitions fondamentales : que le corps ne se tient pas enfermé en soi et qu il a besoin de se mouvoir, que le fait de voir quelqu un danser est contagieux, et que le cinéma est une expression artistique privilégiée de présentation du corps et de la vie en mouvement. Dans cet inventaire de corps dansants, il ne s agit pas de comédies musicales, ni de films au sujet de la danse, mais de films dans lesquels des moments de danse ont lieu de manière inattendue, où une grande énergie se dégage, créant ainsi un espace puissant de résonance entre le spectateur et le film. Dans ce sens, les essais qui composent ce mémoire touchent l explosion du corps dansant dans des films tels quels, Cria Cuervos, Le livre de Marie, Beau Travail, 35 Rhums, Mauvais Sang, et présentent des formes de regarder et d écouter les corps en mouvement, en dialogue avec la pensée de Jean-Luc Nancy sur le corps, la danse et le cinéma.
Esta dissertação propõe um estudo ensaístico acerca de um conjunto de filmes cujos personagens irrompem em movimento e dançam, partindo de três intuições fundamentais: o corpo não se aguenta trancado e precisa se movimentar, o fato de ver alguém dançando é contagiante, e o cinema é uma forma de expressão artística privilegiada de apresentação do corpo e da vida em movimento. Este inventário de corpos dançantes no cinema não aborda filmes musicais, nem filmes sobre dança, mas filmes em que momentos de dança acontecem, potencializando a narrativa cinematográfica e criando um espaço de ressonância entre o espectador e o filme. Neste sentido, os ensaios que compõem este trabalho versam sobre a explosão do corpo dançante em uma coleção de filmes tais como, Cría Cuervos, Le livre de Marie, Beau Travail, 35 Rhums, Mauvais Sang, construindo formas de olhar e escutar os corpos em movimento, dialogando principalmente com o pensamento de Jean-Luc Nancy sobre o corpo, a dança e o cinema.
Catto, Marie-Xavière. « Le principe d’indisponibilité du corps humain : limite de l’usage économique du corps ». Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100139.
Texte intégralThe principle of unavailability of the human body has been thought in two different ways : as a prohibition of selling or giving someone, as a prohibition of causing a breaching physical integrity. We defend that the principle of unavailability of the human body still remains under these two apsects, but not exactly within the same meaning. It takes the form of a violation-saving principle, which prevents from all unnecessary violations of bodily integrity, and which aims not to prohibit but to avoid the bodily integrity violations, by its external side, and to limit those, by its internal side. It also takes the form of a principle of non-negociation, which prohibits that pressures may be exercised onto someone to make a person accept an infringement on her body. These two aspects extend in public law the principle of unavailability which already existed in private law. This principle is however threatened by the health requirement, more and more subjective, and by the interference of profit-making interests. These two logic allow some violations of bodily integrity for reasons unlinked to health, but for economic ones
Bouftass, Saïd. « La morphologie du corps humain entre pédagogie artistique et science du corps ». Paris 8, 2001. http://www.theses.fr/2001PA082034.
Texte intégralMarmasse, Gilles. « De la nature à l'esprit. Corps animal et corps humain chez Hegel ». Paris 1, 2001. http://www.theses.fr/2001PA010612.
Texte intégralMalysse, Stéphane. « Corps à corps : regards français dans les coulisses de la corpolâtrie brésilienne ». Paris, EHESS, 1999. http://www.theses.fr/1999EHESA009.
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