Littérature scientifique sur le sujet « Deuil – Photographie »
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Articles de revues sur le sujet "Deuil – Photographie"
De Gournay, Chantal. « Le deuil de l'image. De la photographie à l'image virtuelle ». Réseaux 11, no 61 (1993) : 125–32. http://dx.doi.org/10.3406/reso.1993.2408.
Texte intégralZiolko, Caroline. « Le photographique mémoriel ». Articles 23, no 1 (7 juin 2011) : 33–39. http://dx.doi.org/10.7202/1004020ar.
Texte intégralLétourneau, Sophie. « Roland Barthes enquête : La chambre claire ou la mélancolie policière ». Études littéraires 42, no 2 (24 juillet 2012) : 69–79. http://dx.doi.org/10.7202/1011521ar.
Texte intégralRojas-Urrego, Alejandro. « La hantise de l’oubli ». Le présent de la psychanalyse N° 11, no 1 (27 octobre 2023) : 79–98. http://dx.doi.org/10.3917/lpp.241.0079.
Texte intégralBalint-Babos, Adina. « Imaginer, monter : la mémoire inachevée d’Auschwitz selon Georges Didi-Huberman ». Voix Plurielles 11, no 2 (3 décembre 2014) : 20–31. http://dx.doi.org/10.26522/vp.v11i2.1097.
Texte intégralChin, A., C. Rigby, A. Short et W. T. White. « Verified records of Kuhl’s devil ray (Mobula kuhlii) in the Solomon Islands from citizen scientists ». Pacific Conservation Biology 26, no 1 (2020) : 100. http://dx.doi.org/10.1071/pc18088.
Texte intégralHardcastle, John. « ‘Photographers are the devil’ : an essay in the historiography of photographing schools ». History of Education 42, no 5 (septembre 2013) : 659–74. http://dx.doi.org/10.1080/0046760x.2013.816880.
Texte intégralMas, F., R. Forselledo et A. Domingo. « Mobulid ray by-catch in longline fisheries in the south-western Atlantic Ocean ». Marine and Freshwater Research 66, no 9 (2015) : 767. http://dx.doi.org/10.1071/mf14180.
Texte intégralErmolin, Evgeniy, Hernán De Angelis et Pedro Skvarca. « Mapping of permafrost on Vega Island, Antarctic Peninsula, using satellite images and aerial photography ». Annals of Glaciology 34 (2002) : 184–88. http://dx.doi.org/10.3189/172756402781817824.
Texte intégralSari, Anindya Ratna, Ida Bagus Candrayana et Farhan Adityasmara. « Pemotretan Pakaian Tradisional Adat Bali Dalam Karya Fotografi Prewedding Di Maxhelar Photography ». Retina Jurnal Fotografi 4, no 1 (27 mars 2024) : 31–43. http://dx.doi.org/10.59997/rjf.v4i1.3259.
Texte intégralThèses sur le sujet "Deuil – Photographie"
Sassi, Sonia. « Roland Barthes : figures du discours de l'amour, de la mort et du deuil dans "Fragments d'un discours amoureux", "La chambre claire. Note sur la photographie" et "Journal de deuil" ». Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100039.
Texte intégralThis doctoral thesis is entitled Figures of the speech of love, death and mourning in Fragments of a lover’s discourse, Camera Lucida. Reflections on Photography and Mourning Diary, published respectively in 1977, 1980 and 2009. At the point of convergence of language sciences and literature, this long-term research is based on a generative approach, understanding the three texts of the corpus in relation to each other, throughout the stages of the investigation conducted. In the analysis of the three essays, which constitutes an interdependent triptych, the objective of this thesis is not only to highlight the affinities and their intersections, but also their differences and disparities at all levels: the configuration of the themes, words, notions and key expressions constituting love, death and mourning, the morphology and composition of the three texts, the metaphoricity and its semiotics, the enunciating dispositions of the speech and the interdiscourse they support. Thus it will be easy to recognize what a science of enunciation and discursive formations can bring to literary analysis: microreadings centered on lexis, minute details and sequences through which literature confronted with love passion, funeral amazement and grief, affirms its strength, but also its collapse
Rèbre, Isabelle. « Figures du deuil et du photographique. Formes du film-essai chez Naomi Kawase, Alain Cavalier et David Perlov ». Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080044.
Texte intégralThis dissertation is a consideration of the photographic in its relation to memory and mourning in both their personal and historical forms. It demonstrates how photography is a figure of mourning; how it is at once a means of connecting and a means of cutting off. Figures of mourning and filmmakers’ unique formal gestures are analyzed through a pared-down corpus of three essay films. In Letter From a Yellow Cherry Blossom (2002), Naomi Kawase is personally confronted with death. Her use of photographic stills provokes an interruption that reverses a seemingly fatal trajectory. Photography is a connecting figure that brings together the living and the dead. In Alain Cavalier’s This Answering Service Takes No Messages (1978), the filmmaker embodies a man in mourning. He uses a number of photographic stills from his personal archives, including newspaper clippings showing cadavers from the Second World War. This gesture of reuse brings out the historical dimension of the issues investigated in this dissertation. Photography becomes a figure of cutting off: the film deploys a number of figures through which rupture is insistent and participates in a process of mourning. In David Perlov’s Diary (1973-1982), a project bookended by two wars, these issues take on a political dimension. The Israeli filmmaker and photographer makes use of a number of photographic formats. Through reuse and repetition, the photographic allows for a transformation of the figure that breaks off from a traumatic past
Najm, Daoud. « Relire la scène maternelle : Deuil et photographie chez Roland Barthes et Hervé Guibert ». Thèse, 2008. http://hdl.handle.net/1866/18241.
Texte intégralBarada, Nina. « Sur un cinéma élégiaque : de la preuve à la plainte : le deuil, l'archive, la photographie ». Thèse, 2017. http://hdl.handle.net/1866/20763.
Texte intégralLétourneau, Sophie. « La mélancolie même de la photographie : Roland Barthes ». Thèse, 2009. http://hdl.handle.net/1866/3267.
Texte intégralIn any body of knowledge, from humoral medicine to psychoanalysis, from art history to philosophy, melancholy has been defined by a gap. Unless he becomes apathetic, the melancholic will try to cope with this deficiency by engaging in intellectual or artistic activities: melancholy is both genius and inadequacy. Melancholy is a labour that deals with absence – but what kind of absence? Arts and scholarly literature has portrayed melancholy as a result from a flaw in the image: a memory or an accurate representation is missing in the melancholic mind. We do not see much of melancholy but an ongoing process of imagination, craft and organization that we call “intellectualization” or “creation”. Melancholy supposes a tendency to formalize: it is the search of the ideal mode of representation, be it a graphic, a name or a literary genre. Few productions allow the study of melancholy at work as well as Roland Barthes’ (1915-1980). Intellectual, his written works question the meaning and the forms of literature and the world in a melancholic way. Creative, his production shows a figure of melancholy that varies from one book to another, depending on what is missing – though it always has something to do with a defect in the image. In this sense, photography has been used as the image of both reality and memory for the writer-to-be. The photographic image is a key to understand his theoretical quest and desire to write a novel. With photography, melancholy appears in the city (L’Empire des Signes), on the mirror (Roland Barthes par Roland Barthes), in love (Fragments d’un Discours Amoureux), and on a grave (La Chambre Claire). Figuring what literature cannot grasp, a photograph sets the conditions of a melancholic narrative. Thus, fragmentation, collection, speculation, investigation, and formalization are the many operations that describe Roland Barthes’ poetics. In these operations, we see as well a model for the melancholy of the creative process.
Livres sur le sujet "Deuil – Photographie"
Mosse, Richard. The devil you know. Las Palmas, Canary Islands] : Centro Atlántico de Arte Moderno, 2014.
Trouver le texte intégralKeribar, İzzet. Öteki ya da değil ne fark eder ! İstanbul : Doğan Kitap, 2012.
Trouver le texte intégralArevyan, Ani Çelik. Göründüğü gibi değil : Fotoğrafları = Nothing is as it seems : photographs by. Karaköy, Istanbul : Istanbul Modern, 2010.
Trouver le texte intégralNapier, Susan. Devil To Pay. harlequin, 1992.
Trouver le texte intégralHugo, Pieter. Pieter Hugo : Between the devil and the deep blue sea. 2017.
Trouver le texte intégralChapitres de livres sur le sujet "Deuil – Photographie"
« List of Photographs ». Dans Devil in Deerskins, vi. University of Manitoba Press, 2014. http://dx.doi.org/10.1515/9780887554551-001.
Texte intégral« Acknowledgements and Photographic credits ». Dans Guide to the Manta and Devil Rays of the World, 5. Princeton University Press, 2019. http://dx.doi.org/10.2307/j.ctvs32s7t.3.
Texte intégral« Acknowledgements and Photographic credits ». Dans Guide to the Manta and Devil Rays of the World, 5–10. Princeton University Press, 2018. http://dx.doi.org/10.1515/9780691207216-001.
Texte intégralHauser, Kitty. « Revenants in the Landscape : The Discoveries of Aerial Photography ». Dans Shadow Sites. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199206322.003.0009.
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