Littérature scientifique sur le sujet « Dialogue – Dans l'art »
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Articles de revues sur le sujet "Dialogue – Dans l'art"
Saint-Martin, Lori, Sylvie Lamarre et Laure Neuville. « Sexe, pouvoir et dialogue ». Études françaises 33, no 3 (15 mars 2006) : 37–52. http://dx.doi.org/10.7202/036078ar.
Texte intégralGrossman, Simone. « Intuitisme et art brut dans la poésie d'Hedi Bouraoui ». Polisemie 2 (7 septembre 2021) : 1–17. http://dx.doi.org/10.31273/polisemie.v2.721.
Texte intégralBryant-Bertail, Sarah. « Préface ». Theatre Research International 19, no 2 (1994) : 97–98. http://dx.doi.org/10.1017/s0307883300019325.
Texte intégralBELKHOUS, Meriem. « L’intertextualité, un outil clé pour la représentation littéraire chez Maïssa Bey ». ALTRALANG Journal 5, no 01 (10 juin 2023) : 187–99. http://dx.doi.org/10.52919/altralang.v5i01.270.
Texte intégralحفيظة, بلقاسمي. « ترجمة النص الشكسبيري ». Traduction et Langues 4, no 1 (31 décembre 2005) : 90–100. http://dx.doi.org/10.52919/translang.v4i1.334.
Texte intégralKingman, Manuel. « La noción de cultura popular : Interés de los debates entre los 80 y 90 del siglo XX para reflexionar sobre la contemporaneidad ». Calle 14 revista de investigación en el campo del arte 12, no 2 (3 août 2017) : 112. http://dx.doi.org/10.14483/21450706.12359.
Texte intégralViza, Nancy. « El enclavado como estética retorcida, que irrumpe el espacio oficial colonial del arte limeñ ». Calle 14 revista de investigación en el campo del arte 12, no 2 (3 août 2017) : 54. http://dx.doi.org/10.14483/21450706.12355.
Texte intégralLennon, Thomas M. « Berkeley on the Act-Object Distinction ». Dialogue 40, no 4 (2001) : 651–68. http://dx.doi.org/10.1017/s0012217300004923.
Texte intégralThèses sur le sujet "Dialogue – Dans l'art"
Marinelli, Arous Hayet. « L'art de la langue dans le dialogue interculturel ». Paris 8, 2012. http://www.theses.fr/2012PA083455.
Texte intégral"The art of language in intercultural dialogue" could be conceived as a genesis that is ongoing, for which continually contribute social and cultural, scientific, technological, economic and geopolitical events, and where intervene anthropological, philosophical, historical, artistic, sociological, psycho, psycho-cognitive, behavioral and paralinguistic facts and elements. The present work aims at illuminating the issues of intercultural communication by defining the anthropological components underlying this art and by deciphering the parameters that govern the interaction between language and culture, between the languages themselves and between cultures in the presence of the same territory in the exchanges between interlocutors of different cultural backgrounds. Through the study of the dynamics of language, is reflected its culture, one that strengthens language in its foundation and structure. Any individual brought his own world view by referring to common cultural assumptions that enroll him in a community, region, country or territory. The encounter with the Other is essential to enrich the human experience, because it necessarily leads to the confrontation of two or more distinct consciousnesses, thereby encouraging them to reflect actual or action for a reconstruction of themselves and their world. Thus the transformations take place even the smallest that affect primarily the art of language. Intercultural mediation plays an important role at this level of communication. It can restore the meaning of an utterance made on the merits of a common truth beyond saying that this would be a sham. This mediation is supposed to consider not only the explicit content of the message but also its implicit elements of context and paralanguage that accompanies it. This way it can ensure the realization of transactional intercultural dialogue. By putting himself first as consciousness and free opening then the difference of others, than later dialectically misunderstanding between them, the actors in this intercultural dialogue co-establish an original truth, thus contributing to the mutual enrichment of human experience. Globalization widen the gap between cultures of greatest economies and those in the Third World and contributes to the hegemony of the first across languages, cultures and habits in consumer aspects by the relocation of these exchanges and universalization. Paradoxically, this would produce a critical awareness and a spirit of rebellion of the people against their material living conditions and the consumer society. Conflicts generated by this form of intellectual liberation need to be overcome thanks to the use of intercultural dialogue as an implementation of a critical objectivity that allows to remove the mystery of the prerequisites for the establishment of a genuine dialogue transcultural based on mutual recognition of anthropological truths governing a kind of vase communicating between cultures in their complementarity. The purpose of this dialogue is to build an "All-World" that meets the aspirations of "Every-Man" as said Edouard Glissant, its realization may become effective from the time when cultural differences are targeted and the potential to go further and to be similar are listed in the starting cultures. In short, the main issue due to cross-cultural communication through language as art, art as language, culture prone to mutations, academic and philosophical speculation as trial, is now anthropological and transcultural. It relates to the need to restore an intercultural dialogue where hostilities arise between cultures, a dialogue capable of ensuring cross-cultural truths where there is war dispute
Jeridi, Sihem. « Les enjeux humanistes du dialogue entre poésie et peinture dans Les écrits sur l'art de Francis Ponge ». Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100064.
Texte intégralFrancis Ponge undertook a dialogue with the painting to question the foundations of such interference such as it shows itself in the Parisian frame of the 20th century. This relationship conceived by the poet as an alliance participates of the institution of a humanist philosophy which cries out its attachment in the reality as the major principle of the artistic and poetic creation. The thematic and technical unity which governs texts relaying on systematic links which concern several aspects: parallelism of the practices, the convergence of the visions of the art, the uniqueness of the definition of artist... Ponge prepares the ground for a new turning point in its work which is the dialogue between the writing and the paint a thought which settled down definitively in the pages of The Workshop although it displayed throughout its texts in particular the first ones. Of a reflection which is outlined between the lines under the shape of a spun metaphor, the thought on the art dresses a major status in the poetics of Ponge
Harostéguy, Sébastien. « La référence à l'art ancien dans la peinture de Gérard Garouste et Martial Raysse : référence, dialogue, émulation rejet ». Bordeaux 3, 2008. http://www.theses.fr/2008BOR30056.
Texte intégralThis essay concerns the reference to the ancient art in Gerard Garouste and Martial Raysse’s work. It focuses principally on painting and aims at investigating the role of ancient and classical models in the creating process of both artists. A first approach, the one of historiography, allows emphasizing how difficult was the acknowledgement of Garouste and Raysse’s painting in France. It took place in a post-modern quarrel context, dominated by the polemic notion of “retour à l’ordre”. The second part is dedicated to the quotation, intended, from a literary point of view, as the “degré zero” of the relation with ancient art. We will refer here to the theory of intertextuality, initiated by Julia Kristeva in 1969 and promoted by the structuralism in the following decade. Thirdly, we will emphasize the fact that considering classical tradition makes easier a larger evaluation of ancient art role in Raysse and Garouste paintings. Their strategy of gap besides classicism’s normative values manifests itself as a rephrasing of painting’s categories and as a reassessment of the iconographic tradition repertory. Finally, their work inserts in a more specifically literary reflexion whose model is the humanistic doctrine of ut pictura poesis. Pictures define a space of meaning verbalization between the reminiscence of a hereafter of painting and recourse to the play potential of words, between transcendence and immanence
Côté, Amélie. « Une histoire de résonnance : un dialogue entre texte et images ». Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29336/29336.pdf.
Texte intégralBasile-Martel, Sonia. « Expérience artistique d'une jeunesse atikamekw : l'art comme médiation favorisant le dialogue et la communauté comme lieu d'affirmation identitaire ». Thesis, Université Laval, 2014. http://www.theses.ulaval.ca/2014/30574/30574.pdf.
Texte intégralDottin-Orsini, Mireille. « Les représentations de la femme à la fin du XIXe siècle - la figure de Salomé et le dialogue entre la littérature et les arts (1870-1914) ». Paris 4, 1996. http://www.theses.fr/1996PA040091.
Texte intégralIn the late XIXth century, the changing woman figure, from the romantic muse to the femme fatale cliché, triggers off a dialogue between literature and painting which pushes into the limelight the obsession of the ontologically threatening exacerbated feminity. Woman is ambiguously presented as both giving death and sentenced to death. Scientists, more particularly physicians, confirm and foster the current misogynous statements, helping to turn female vampirism into a natural fact. This obsession is brilliantly illustrated by the manifold representations of the literary and pictorial myth of a fin de siecle Salome which gives it an eternal value, as well as the artistic guarantee of contemporary painters like Regnault and Gustave Moreau or even of renaissance painters. It also endows it with decorative elements and, lastly, sums up the war of the sexes in a most striking and final way. The biblical account is tampered with to the point of turning the dancer into a near goddess laden with the haunting fears born from female otherness and fin de siecle Eros. A period myth, both important and repetitive, but kept at a distance and made trite by omnipresent parody
Park, ChanYoung. « La Bible illustrée par Marc Chagall (1887-1985) : un dialogue interculturel et son évolution ». Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040141/document.
Texte intégralThis study examines all of the Bible illustrations made by Marc Chagall. Once he started to work on the Bible by etching, the biblical theme became the major subject of his art, and these etchings have been largely used as a model for his other works. We analyse this Bible and all of the other biblical illustrated books of Chagall to find out their characteristics and their meanings in his entire religious art. In fact, we can notice in Chagall’s journey from his birth to his Bible illustrations that this artist has continually been moving between his own Jewish tradition and the outside world. These comings and goings make in him a duality and it becomes dynamic in his creations. His etchings for the Bible show especially this feature. They take root in Jewish tradition but also show various marks of different cultures known by the artist. Nevertheless, we can’t find this characteristic again in any of his other biblical illustrated books, because in appropriating the outside world as his own, the duality disappears and unites. As he works on stained-glass windows in churches, he develops a philosophical view of the universal peace and love based on his interpretation of the biblical message. Then he seeks this universality through all his religious works and biblical illustrations until his last days
Turri, Hoelken Amandine. « La photographie dialogique : entre démarches artistique, politique et anthropologique ». Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAG009.
Texte intégralDialogy was developed in the 1920s by the Russian literary theorist Mikhail Bakhtin. He developed the concept in order to study the works of Dostoyevsky, before extending it more generally to communication. In the artistic context, dialogy entails the representation of dialogues, favoring thick description and non-totalizing responses. In documentary photography, the author adopts a dialogic approach, recognizing the other as an autonomous subject. Dialogic works promote sustained interaction with the interlocutors in the field.This thesis explores the dialogic approach in documentary photography from an ethnographic, methodological and epistemological perspective. The first part focuses on my own fieldwork from 2012 to 2017 with a group of "zonard.e.s": the ZONE 54 project. The second part links the fundamental principles of dialogy, the ZONE 54 project, and other dialogic documentary works by such photographers as Allan Sekula, Susan Meiselas, Marc Pataut and Gilles Saussier
Blancard, Marie. « Les spectacles intérieurs de Leonora Carrington, Frida Kahlo, Gisèle Prassinos, Dorothea Tanning et Unica Zürn. : Dialogue entre écriture et arts plastiques ». Cergy-Pontoise, 2006. http://biblioweb.u-cergy.fr/theses/06CERG0296.pdf.
Texte intégralThis dissertation intends to study the creative imaginative worlds of five twentieth-century artists linked to the Surrealist movement : Leonora Carrington, Frida Kahlo, Gisèle Prassions, Dorothea Tanning and Unica Zürn namely. By focalizing on their double practice, i. E. Their literary and visual art practice, our study aims to define the originality of their “inscapes”. Their works, which are focused on self-representation, question the notions of reflection and identity and the fact of belonging to a particular gender. Deeply influenced by traditional or conventional codes and models, these artists emphasize the difficulties to define one’s position in a world still largely dominated by patriarchal discourses
Tschech, Christina. « Devenir paysage : dialogues corporels avec la nature dans l'art des années 1960-1980 ». Paris 1, 2010. http://www.theses.fr/2010PA010709.
Texte intégralLivres sur le sujet "Dialogue – Dans l'art"
Grande, John K. Dialogues in diversity : Art from marginal to mainstream. Pari : Pari, 2007.
Trouver le texte intégralOnt.) Ryerson Image Centre (Toronto. Archival dialogues : Reading the Black Star Collection. Toronto : Ryerson Image Centre, 2012.
Trouver le texte intégralJames McNeill Whistler and France a Dialogue in Paint Poetry and Music. Taylor & Francis Group, 2016.
Trouver le texte intégralChapitres de livres sur le sujet "Dialogue – Dans l'art"
Gérard Yao, Kouamé. « Les seuils du théâtre ». Dans D'un seuil à l'autre, 189–97. Editions des archives contemporaines, 2017. http://dx.doi.org/10.17184/eac.771.
Texte intégralRapports d'organisations sur le sujet "Dialogue – Dans l'art"
Bellwood-Howard, Imogen, Peter Taylor, Aminata Niang, Kaderi Bukari, Eric Kioko, Peter Wangai, Lansine Sountoura, Bronson Eran’Ogwa et Mohammed Yamusah. Les arts dans le dialogue et la communication sur l’environnement en Afrique de l’Ouest et de l’Est. Institute of Development Studies, août 2023. http://dx.doi.org/10.19088/ids.2023.037.
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