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1
Lanzoni, Anna <1990>. « Figure simboliche di animali all'interno della decorazione scultorea del portale maggiore della cattedrale di Ferrara ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13476.
Texte intégralRésumé :
Questo lavoro, ha come oggetto l’analisi della decorazione scultorea del portale maggiore della cattedrale di Ferrara, altrimenti noto come ‘Porta dei Principi’. In particolare, nel sesto capitolo, il più corposo della trattazione, l’attenzione sarà focalizzata sui rilievi a soggetto faunistico scolpiti sui quattro pilastrini a sezione quadrata che compongono la strombatura del portale stesso. L’obiettivo è quello di verificare se, e in quale modo, tali figure possano essere messe in relazione con altri elementi appartenenti al programma iconografico del protiro e del portale, e se sia possibile attribuire loro specifici significati simbolici.
2
Joyeux, Laure. « Les animalités de l’art : modalités et enjeux de la figure animale contemporaine et actuelle ». Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30012/document.
Texte intégralRésumé :
Ma démarche de recherche comme de création s’articule autour de l’animalité dans ses relations avec l’art d’une part et autour des notions-clés que sont l’anthropomorphisme animal, le zoomorphisme, la métamorphose, la figure animale et l’hybridation, constantes thématiques, iconiques et plastiques de mes travaux d’autre part. Comment et pourquoi l’artiste convoque-t-il l’animal de manière récurrente et diversifiée ? Comment ont pu se jouer entre l’homme et l’animal, mais aussi aujourd’hui de manière frappante, des complémentarités physiques et matérielles, des affinités mentales, des tensions exacerbées ? Si l’animal est le témoin excentré du fonctionnement de nos sociétés, tel un miroir déformant et critique, que révèle sa figure aux prises avec l’art de nos comportements de bête sociale et de la relation que nous entretenons avec lui ? Le recours à des concepts émanant de différentes disciplines, en particulier des sciences humaines, a irrigué et éclairé les analyses d’œuvres : les nôtres, celles de l’art d’hier et d’aujourd’hui. Il s’en est dégagé leur densité sémantique quant à la teneur du lien qui nourrit le binôme homme-animal, que les situations mises en scène soient fictives ou réelles. Le parallèle entre pratiques d’expression plastique (imitation, caricature, assemblage, mise en scène) et figures de style (métonymie, métaphore, comparaison, allégorie) au sein des processus cités plus haut vise à mettre en valeur le caractère discursif des œuvres choisies. La convocation de l’animal bénéficie ainsi, au sein de notre thèse, d’une triple définition. L’image de l’animal, reflet et mémoire de notre humanité, accompagne l’homme, tel le paradigme – modèle vivant ou image modèle –, d’une certaine identité de l’homme – ses fragilités, ses révoltes, ses excès, ses obsessions, etc. La figure de l’animal est aussi à entendre comme une médiation, réussissant là où l’attaque et le dialogue directs ne sont plus possibles, parvenant à concilier les contraires. Ainsi investie, l’image ambigüe ou ambivalente de l’animal donne lieu à la multiplicité, à une extraordinaire fertilité iconographique et artistique. Ses figures, au défi de la forme monolithique, sont rarement isolées ; elles se croisent, se mélangent et s’interpénètrentMy research as well as my creative process on the one hand, revolves around the animal figure in its relationship to art, and on the other hand, around the key-notions of animal anthropomorphism, zoomorphism, metamorphosis, the animal figure and hybridization; constant, iconic and plastic themes of my work. How and why does the artist call forth animals in such a recurrent and diversified manner? How have physical and materiel complementarities, mental analogies as well as exacerbated tensions come into play today, in such a striking fashion between mankind and the animal world? If animals are the off-centered witness of how our societies function, as a distorting and critical mirror, what does its figure reveal when grappling with the art of our beast-like behaviors and of the relationship that we maintain with it? Resorting to concepts emanating from different academic disciplines, in particular, the human sciences, has provided and shed light to the analyses of the works: our own, those of the past and of today. The result being, an utterance density as regards the content of the link which feeds the man-animal pair, whether the situations staged are fictitious or real. The parallel drawn between the methods of plastic expression (imitation, caricature, assemblage, staging) and stylistic devices (metonymy, metaphor, comparison, allegory) within the process listed above is aimed at highlighting the discursive nature of the selected works. Eliciting the animal world within our thesis, thus benefits from a three-fold definition. The animal’s image, which is the reflection and recollection of our humanity, accompanies mankind, as the paradigm – living model or ideal image –, of a certain identity of mankind – its weaknesses, its rebellions, its excesses, its obsessions, etc. In addition, the animal’s figure is also to be understood as a mediator, prevailing over direct criticism and dialogue, and managing to reconcile opposites. Thus invested, the animal’s ambiguous or ambivalent image gives rise to multiplicity, to an extraordinary, artistic and iconographic fertility. Its figures, which challenge the monolithic form, are rarely isolated; they cross over, are mingled, and permeate
3
Malay, Michael. « The figure of the animal in modern and contemporary poetry ». Thesis, University of Bristol, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.682680.
Texte intégralRésumé :
This study is concerned with exploring the notion that there is a special relationship between animal life and the 'poetic'. It provides close readings of modern and contemporary poetry with the aim of testing, refining and drawing out the implications of this claim. The introductory chapter briefly examines the history of the animal in Western philosophy and literature. It charts this history in order to contextualize one of the gUiding questions of this study: how have animals been seen by philosophers and poets, and what differences exist between their different 'modes' or 'disciplines'? These questions lead to a discussion of J. M. Coetzee's The Lives of Animals (1997), which dramatizes these issues in fiction. The text explores a notion central to this study - namely, that poetry has a special capacity for relating to animal others. The thesis examines the implications of this idea, asking if there is something peculiar about 'poetic' thought that enables it to cultivate connections with animal life that distinguishes it from other forms of language. The thesis pursues then these questions in relation to four poets: Marianne Moore, Elizabeth Bishop, Les Murray and Ted Hughes. It provides a formal analysis of recurring literary strategies in each poet's work - such as metaphor and similebut also offers a broader consideration of the cultural factors informing each writer's oeuvre. It asks the same question in many different guises: how do poets use language in such a way that faithfully responds to the singularity of animal life?
4
Lecomte, Vincent. « Un penser animal à l'oeuvre ». Thesis, Lyon, 2017. http://www.theses.fr/2017LYSES043.
Texte intégralRésumé :
Évoquer ou convoquer l’animal en art met en perspective et accroît l’œuvre humaine jusque dans les excès et les incohérences qu’elle peut manifester, mais rend également possible un accès à ce qui est extérieur au domaine humain. Les artistes s’inspirent de la symbolique à laquelle donne corps l’animal, de sa morphologie aussi bien que des modes d’expressions qu’il invente et déploie. Il leur arrive même de se laisser tenter par le mimétisme. Les créateurs et les poètes ne disposent-ils pas d’autres outils que les penseurs ou les scientifiques pour atteindre cette étrangeté qui semble pourtant souvent si familière ? Qu’il s’agisse d’œuvres plastiques, de performances, de créations musicales ou scéniques, y convier l’animal offre une matrice infinie de figurations et de reconfigurations. L’expression de ce répertoire corporel et comportemental s’articule comme un véritable langage structuré. Au-delà d'une transposition qui permet de donner à entrevoir l’humanité de l'homme, les artistes peuvent aussi tenter la percée vers la réalité d’autres êtres vivants. Entre confrontation, dialogue et transfert, les pratiques artistiques reflètent la diversité, le polymorphisme même du rapport humain aux animaux, et l’histoire d’une attitude foncièrement ambivalente, prise entre empathie et exploitation. L’expérience de l’animal, voire l’expérience animale, donne lieu à un partage de territoire(s) et de conscience(s), ouvrant sur le dévoilement d’un penser en imagesTo evoke or to summon the animal in art puts in perspective the work of mankind, increases its excesses and its inconsistencies as well as it makes possible to open up the door to what is outside the human reach. Artists inspire themselves from the symbolic to which the animal is giving flesh, its morphology up to the ways of communication it creates and deploys. Artists may even be tempted by mimicry. Don’t creators and poets dispose of no other means than this one to address that strangeness that seems however so familiar to them ?To invite the animal in art work, could it be plastic arts, performances, musicals works or on stage, is to offer an infinite matrix for figuring or reconfiguring. The expression of its physical and behavioral repertory is articulated as a structured language. Beyond a transposition that allows a glimpse at human kind’s humanity, artists can also try to break through the reality of other living beings. Half way through confrontation, dialogue and transference, artistic practices mirror the diversity of human relationships with animals and even its polymorphism, as well as they reflect on the history of a human attitude fundamentally ambivalent, torn between empathy and exploitation. The animal experience, the animalistic experiment even, gives rise to a territory and consciousness sharing, opening up to the unveiling of a thinking through images
5
Moreau, Ronan. « Sur les chemins des terres sauvages : figures et symbolique des animaux de la forêt dans l'Inde ancienne ». Paris 3, 2008. http://www.theses.fr/2008PA030123.
Texte intégralRésumé :
Cette étude des figures et de la symbolique des animaux sauvages dans l’Inde ancienne, repose sur une lecture des Veda et des épopées que sont le Rāmāyan_a et le Mahābhārata. Elle consiste à dresser un portrait aussi complet que possible d’animaux emblématiques de la forêt : loup, chacal, hyène, ours, lion, tigre, panthère, éléphant, rhinocéros, sanglier, et buffle. À la fois animaux vrais et conceptuels, leur image apparaît complexe et en partie attachée à la définition du milieu où ils vivent, l’aran_ya ou les « terres sauvages ». Essentiellement présents au travers de leurs relations avec l’homme, qui éprouve une fascination constante à leur égard, ils sont repoussés ou sollicités, conduisant dans ce dernier cas à une animalisation de l’individu. Avant tout lexical, le phénomène interroge sur sa nature profonde, et sur les liens entre l’homme et l’animal qui se révèlent ici par un transfert de force et de puissance. Cette relation amène logiquement à envisager l’animal sauvage cette fois dans un environnement divin et/ou démoniaque où, entre mythes et sacrifices, il apparaît tantôt comme protégé du dieu, tantôt comme l’une de ses multiples formes possibles, souventredoutableThis study about the images and the symbolism of the wild animals at ancient India is based on a reading of the Veda and the epics that are the Rāmāyan_a and the Mahābhārata. It consists in drawing up a portrait as complete as possible of emblematic animals of the forest: wolves, jackals, hyenas, bears, lions, tigers, panthers, elephants, rhinoceroses, wild boars, and buffalos. Equally real and conceptual animals, their picture seems complex and partially attached to the definition of the environment where they live, the aran_ya or the wilderness. Mainly represented through their relations with man, who is constantly fascinated by them, they are either pushed away or appealed, in that case leading to an animalisation of the individual. Primarily lexical, the phenomenon questions its deep nature and the links between man and animal, which reveal themselves by a transfer of strength and power. This relation tends logically to consider the wild animal in a divine and/or demoniac environment where, between myths and sacrifices, it appears sometimes as a protégé of the god, sometimes as one of its multiple forms, often dreadful
6
Joyeux, Laure. « Les animalités de l'art : modalités et enjeux de la figure animale contemporaine et actuelle ». Phd thesis, Université Michel de Montaigne - Bordeaux III, 2013. http://tel.archives-ouvertes.fr/tel-00937248.
Texte intégralRésumé :
Ma démarche de recherche comme de création s'articule autour de l'animalité dans ses relations avec l'art d'une part et autour des notions-clés que sont l'anthropomorphisme animal, le zoomorphisme, la métamorphose, la figure animale et l'hybridation, constantes thématiques, iconiques et plastiques de mes travaux d'autre part. Comment et pourquoi l'artiste convoque-t-il l'animal de manière récurrente et diversifiée ? Comment ont pu se jouer entre l'homme et l'animal, mais aussi aujourd'hui de manière frappante, des complémentarités physiques et matérielles, des affinités mentales, des tensions exacerbées ? Si l'animal est le témoin excentré du fonctionnement de nos sociétés, tel un miroir déformant et critique, que révèle sa figure aux prises avec l'art de nos comportements de bête sociale et de la relation que nous entretenons avec lui ? Le recours à des concepts émanant de différentes disciplines, en particulier des sciences humaines, a irrigué et éclairé les analyses d'œuvres : les nôtres, celles de l'art d'hier et d'aujourd'hui. Il s'en est dégagé leur densité sémantique quant à la teneur du lien qui nourrit le binôme homme-animal, que les situations mises en scène soient fictives ou réelles. Le parallèle entre pratiques d'expression plastique (imitation, caricature, assemblage, mise en scène) et figures de style (métonymie, métaphore, comparaison, allégorie) au sein des processus cités plus haut vise à mettre en valeur le caractère discursif des œuvres choisies. La convocation de l'animal bénéficie ainsi, au sein de notre thèse, d'une triple définition. L'image de l'animal, reflet et mémoire de notre humanité, accompagne l'homme, tel le paradigme - modèle vivant ou image modèle -, d'une certaine identité de l'homme - ses fragilités, ses révoltes, ses excès, ses obsessions, etc. La figure de l'animal est aussi à entendre comme une médiation, réussissant là où l'attaque et le dialogue directs ne sont plus possibles, parvenant à concilier les contraires. Ainsi investie, l'image ambigüe ou ambivalente de l'animal donne lieu à la multiplicité, à une extraordinaire fertilité iconographique et artistique. Ses figures, au défi de la forme monolithique, sont rarement isolées ; elles se croisent, se mélangent et s'interpénètrent.
7
Löfving, Axel. « The Dispersal of Gold : Material and Figural Traits of the Gold Foil Figures from Västra Vång ». Thesis, Södertörns högskola, Arkeologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-41584.
Texte intégralRésumé :
Gold Foil Figures or guldgubbar (henceforth GFFs) are precious metal artefacts from the Scandinavian Late Iron Age. This master's essay offers a new approach to GFFs. As opposed to the established understanding of GFFs as representational images with real or mythic referents, belonging to an aristocratic milieu, this essay instead attends to GFFs in terms of their material and Figural traits. The material for this study consists if 42 GFFs from the find site of Västra Vång, Blekinge, Sweden. A comprehensive presentation of this artefact material is a secondary aim of this essay. With the aid of a neomaterialist theoretical apparatus that draws heavily on the work of Gilles Deleuze, Félix Guattari, and Wilhelm Worringer, the 42 GFFs undergo two separate analyses. In the first, the material traits expressed in the sequence of GFF production and deposition is studied in terms of a chaîne opératoire. In the second, I attend to the non-significatory expressive qualities of form and expression, or Figural traits, belonging to these 42 GFFs within the wider artistic milieu of Animal Style Ornamentation. I conclude that GFFs were as a rule artefacts made for purposes of immediate disposal, not display, as a mode of dispersing gold. Västra Vång’s GFFs offer several indications that handling between the cutting operation and deposition was minimal, such as the fresh, unworn edges. The thin, brittle foils are ill suited to display. Approaching the designs on these artefacts as various sets of Figural traits being expressed allows me to contextualise the GFFs within the wider artistic milieu of Animal Style Ornamentation. New territorial rhythms can be established only as certain elements are freed from a settled state, and made to act together with new elements, in new terrains. GFFs bring about new territorial rhythms of form and expression to gold matter, gold made to circulate as it becomes deterritorialised from a monetary function within the Roman economy. A flow of gold is extended as gold is brought to Scandinavia from continental economies. The influx of this flow of gold is not contained to an élite social stratum. Individuals in possession of minute amounts of gold returned to Scandinavia, having acquired gold as payment for involvement in military operations on the continent. This ownership of gold may have hindered their harmonious reintegration into a society based on other economic principles. The GFFs emerge as a vector of dispersing gold. The artistic expression of Figural traits is equally energised by movements of de- and reterritorialisation. Understanding that the Figural traits expressed on the GFFs from Västra Vång are part of a wider artistic milieu of Animal Style Ornamentation, alongside other systematised expressions making up parts of a collective assemblage of enunciation, makes their appearance on artefacts that were deposited immediately upon their manufacture easier to grasp. The particular procedures of miniaturisation allowed for an acceleration of the expression of variation in the conjunction of a flow of artistic expression onto a flow of gold matter. The dispersive handling of gold must be traced to both the material premises and the expressive artistic ones. Gold is not chosen because it is precious, or because of what it connotes, but because it is available, because the artisan smith is attendant to its traits as a metal matter.
8
Ortega, Garzón Sandra María. « De hombres y de bestias : figuras animales de lo político en el teatro colombiano contemporáneo ». Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/664099.
Texte intégralRésumé :
La presente tesis estudia el auge del imaginario animal dentro de la dramaturgia colombiana de los últimos veinte años (1996-2015), fenómeno estrechamente vinculado a la situación sociopolítica del país, en el que existe una persistencia en la figura animal como mecanismo de representación metafórica de lo político. Esta investigación tiene como marco histórico la época del conflicto armado colombiano, un periodo caracterizado por un conflicto interno que azota a Colombia desde los años cincuenta del siglo pasado hasta hoy, y que ha desatado una violencia política y social generalizada en el país. Situación que ha servido de germen escritural para un gran número de artistas colombianos que a través de la fecundidad simbólica y metafórica de sus imágenes expresan su visión del mundo.
Esta investigación se sustenta en aportaciones teóricas de ámbitos como la filosofía, la antropología, la sociología, la semiótica, la literatura y el teatro; y a nivel metodológico se acoge a las premisas “mitodológicas” de Gilbert Durand para indagar en las imágenes-texto de lo animal en la dramaturgia colombiana y en su universo como fuente de creación. Todo ello con el fin de hallar los lazos que unen la dramaturgia textual y escénica —la ficción de las obras— a la realidad colombiana y alcanzar así una interpretación profunda de las figuras animales.
El estudio sobre lo animal en esta tesis está dividido en dos partes: la primera, escrita a manera de bestiario, da cuenta de las figuras de la “bestialidad” encontradas en las obras del corpus. Allí se analizan las dos visiones de bestialidad presentes, la natural y la anormal, para hallar las figuras de la bestia y el monstruo como imágenes de otredad. La segunda parte, estructurada bajo dos temáticas principales, el cuerpo y el hábitat del animal, está dedicada a develar los mecanismos escriturales y escénicos utilizados por los dramaturgos para figurar y pensar la animalidad; figuración que llevó a concluir que, en la ficción colombiana contemporánea el lugar del animal es el del exilio y la exclusión, la visión del hombre es la de un “hommo inhumanus” y la visión del mundo es la de un mundo “cárnico”This dissertation studies the boom of animal imaginary within the last twenty years (1996-2015) of Colombian dramaturgy. This is a phenomenon closely linked to the socio-political situation in the country where animal figures persist as a mechanism of metaphorical representation of its political reality. This research has as historical background the period of the armed conflict in Colombia, an era characterized by an internal armed struggle affecting the country from the 1950s to the present day that has sparked a wave of social and political violence in the country. This situation has served as scriptural seed for many Colombian artists who have used their symbolic and metaphorical images to reflect their worldview. This research is supported by theoretical contributions from different scientific disciplines, including philosophy, anthropology, sociology, semiotics, literature and theatre studies. In terms of its methodology, it uses Gilbert Durand's myth analysis model to dive into the images-text of the animal in Colombian dramaturgy and its universe as a source of creation. And in order to find the links between text and scenic dramaturgy —the fiction of the plays— with the Colombian reality, this study offers a comprehensive interpretation of animal figures. The study on “the animal” in this thesis is divided in two parts: the first one, written as a bestiary, reflects upon the findings of “bestiality” in the work. This part discusses two visions of bestiality, a natural and an abnormal one, as a way of finding beasts characters and monsters as images of otherness. The second part is structured under two principal subjects, the animal’s body and habitat. It is focused on unveiling the textual and scenic mechanisms used by playwrights to picture and to think of animality; an imaginary that led us to conclude that, in contemporary Colombian fiction, the place of the animal is exile and exclusion, and the vision of man is that of an “hommo inhumnus” while the vision of the world is that of a “meat” world.
9
ARBEID, Barbara. « Bronzi votivi etruschi a figura animale. Problemi culturali, storico-artistici e cultuali ». Doctoral thesis, Università degli studi di Ferrara, 2011. http://hdl.handle.net/11392/2388834.
Texte intégralRésumé :
This study aims to provide a catalog of Etruscan votive bronzes in animal shape already
known, published and unpublished, and to provide a proposal for typological,
chronological and cultural classification which takes into account primarily the data
provided by the original contexts. For this reason, the matter has been divided into three
parts. In the first part has been collected and discussed through the analysis of their
chronological and geographical distribution, the contexts that have returned to the
Etruscan votive bronzes in animal figure, including the bronzes with an original decorative
function which were found in votive contexts. In the second part, the catalog of Etruscan
votive bronzes in animal shape is provided, divided according to subjects and types
identified for each subject, together with a discussion of possible models, interference
between small plastic votive and decorative, and chronological development of the class in
question. Finally, the third part has attempted to propose some hypotheses about the
Etruscan votive bronzes in animal shape from the point of view of worship, investigating
the relationship between choice of subject, type of cult and gods, in search of a clue for
understanding the meaning of this class of votive objects within the Etruscan ritual
practices, and the links to the cults of fertility and sanatio on one hand, and to the animal
sacrifice in connection with the offer of bronze objects, on the other.
10
TETI, Marco. « Il disegno animato giapponese di serie degli anni Ottanta. Storia, figure e linguaggio ». Doctoral thesis, Università degli studi di Ferrara, 2010. http://hdl.handle.net/11392/2389191.
Texte intégralRésumé :
This dissertation is about the Eighties’ Japanese animated series, their formal and content
characteristics will be analyzed in the following chapters.
We point out that the anime we considered most are the ones that were broadcast in Japan during
the Eighties, thus we do not refer to anime we saw on European or American television during those
years. As a matter of fact, during that decade Japan produced the worldwide largest number of
animated series as ever.
The approach we will have in this research is mainly a pragmatic way of studying.
We have to admit that we adopted the method above mentioned in a rough way. To specify,
theoretical assumptions of pragmatics are shared: for this reason we examined Japanese animated
series in concrete terms of semiotic level and psychological effects of anime on spectators.
First and foremost, this study is a reconstruction of the historical period of Eighties’ animation
production in Japan.
This thesis is divided into five chapters. In the first chapter an historical overview will be given as
exhaustive as possible; in the second one, the most common topics treated by aforementioned
production will be discussed. Recurring characters will be shown in the third chapter. The forth
chapter will be dedicated to aesthetics and formal levels and finally, in the fifth and last chapter,
some animated series are analyzed since they are considered by who wrote this dissertation, the
most significant examples of Japanese animation.
11
Autran, Isabelle. « Les figures sexuelles de l'altérité : échanges symboliques entre les sexualités animales et humaines ». Montpellier 3, 2007. http://www.theses.fr/2007MON30043.
Texte intégralRésumé :
Le « point de départ » de ce travail réside dans une double équation aux frontières poreuses : l’autre/l’animal et l’altérité/l’animalité. Les « échanges symboliques des sexualités animales et humaines » délimitent le champ thématique (la sexualité) selon lequel vont être abordées ces notions. L’« échange symbolique » est ici un retournement rhétorique qui matérialise deux orientations thématiques. Dans la première proposition, la problématique de la sexualité sera le prisme d’intelligibilité qui permettra de penser le vivant animal. La sexualité chez l’animal sera envisagée comme un comportement signifiant dont il conviendra d’analyser les différents paliers de complexifications. Ici, la sexualité constitue – au sens phénoménologique du terme – notre vision de l’altérité animale et cela amène logiquement à se demander comment l’accès à cette altérité est possible. Dans la deuxième proposition, « les figures animales de la sexualité », les configurations argumentatives dans lesquelles sont prises les figures animales permettent de penser la sexualité humaine. Les figures animales déterminent des horizons de sens qui se déploient selon des couples d’oppositions existentielles : exister et ne pas exister ; exister en tant qu’homme et non comme animal (même si cette distinction n’est pas toujours tranchée) ; et enfin, exister en tant qu’être sexué. Le prisme d’analyse des figures animales s’effectue ici par la voie d’une herméneutique qui s’applique dans le champ du sacré, du rite et de la croyance. La question est alors de montrer comment l’animalité en tant construction ontologique se définit et se catégorise dans et par le champ de la sexualitéIf we combine the notions of the Same and of the Other, we obtain the following avenues of research: the animal and man, and the animal in man or the animality of man as an ideological construction which is a reversed ontology from a concept which is defined as the negative of the human element. The notion of figure allows to dialecticize the relationship between human sexualities and animal sexualities by highlighting the modes of alteration of the one (man) by the other (the animal). Here the “symbolic exchange” is a rhetorical reversal which materializes two theme orientations: “the sexual figures of animality” and the “animal figures of sexuality”. In the first proposal, the problematics of sexuality will be the prism of intelligibility which will allow to think the living animal aspect. The animal sexuality will be considered as a significant behaviour, the different stages of complexification of which should be analyzed. In the second proposal, the argument configurations in which animal figures are taken allow to conceive human sexuality. The animal figures determine horizons of senses which unfold according to couples of opposites. The analysis prism of animal figures is effected through a hermeneutics which applies in the domain of the sacred, rite and belief
12
Cooper, Simon George Art College of Fine Arts UNSW. « Mutant manifesto : a response to the symbolic positions of evolution and genetic engineering within self perception ». Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/44255.
Texte intégralRésumé :
Believing that ideas about evolution and genetics are playing an increasing role in popular conceptions of who we are and what it means to be human, I sought ways to express this through my art. In particular I tried to articulate these notions through figurative sculpture. As the role of figurative sculpture in expressing current ideas about being human has declined in the West, I saw this as a challenge. It was the intent of my Masters program to reposition the sculpted body back within contemporary western cultural contexts. For an understanding of those contexts I relied heavily on my own culturally embedded experience and observations. I took as background my readings of evolutionary inspired literature and linked it with my interpretations of the genetic mythologies so prevalent in recent movies. The result was an image of contemporary humans as multifaceted, yet subservient to their genes. These genes appear to be easily manipulated and the product of technological intervention as much as, if not more than, inherited characteristics. As part of developing a sculptural form able to manifest this, I investigated some non-western traditions. I used field trips and residencies to research Buddhist and Hindu sculptures of the body and developed an interest in the spatial and conceptual relationships between those bodies. Through making figurative work in the studio, I came to realise the figures' inadequacy in expressing temporal relationships. As temporal change is a fundamental element of evolution and genetics, I needed to explore this element. The result was a number of series; groups of works that create their own context of relationships. Not all these groups use sculptures of the body but they evoke the notion of bodies, naturally or technologically hybridised, mutating, transforming, evolving and related to each other generationaly through time.
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Aidoudi, Wejdene. « Figures féminines dans l’œuvre de Zola : des romans aux films : lecture sémiologique ». Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0275/document.
Texte intégralRésumé :
Cette thèse de doctorat s’articule autour de trois axes. Elle a trait d’abord à la configuration de la sexualité féminine dans l’œuvre des Rougon-Macquart et dans son adaptation cinématographique. La recherche est ainsi centrée sur la représentation du corps féminin et de sa métamorphose dans l’œuvre romanesque zolienne ainsi que dans l’œuvre filmique correspondante. Quant au deuxième axe de recherche, il se rapporte à l’étude des photogrammes, des lexies au niveau de l’incipit et de l’excipit des romans zoliens et à partir de l’ouverture et du dénouement des adaptations qui en ont été faites. Les divergences entre les romans et leur mise en scène interrogent par ailleurs la question de la fidélité du cinéma à la littérature dont il s’inspire, qui reste jusqu’au jour d’aujourd’hui une question assez problématique. Une analyse des seuils filmiques et romanesques a été jugée ainsi fort utiles. Ces seuils s’avèrent un espace où le sens de la créativité et le don artistique du concepteur de l’œuvre filmique ou romanesque voient le jour. Au terme de notre recherche, nous avons constaté que la femme zolienne évolue dans un milieu où interfèrent le réel, l’imaginaire et le symbolique. Et c’est à à travers son rapport avec les lieux et les objets que cette femme accède au rang de figure. La métaphore animalière constitue ainsi l’essence même de la figuralité zolienne qui met en relief ces corps féminins et les dotent d’une présence mythologique. Finalement le naturalisme zolien est-il d’une veine expressionnisteThis doctoral thesis is structered around three axes. It deals with the configuration Of the female sexuality in the work of Rougon-Maquart and it its film adaptation. The research is centered on the representation of the female body and its metamorphosis in Zola’s novel works as well as in the corresponding film works. As for the second axis of research, it relates to the study of photograms in the incipit and excipit of Zola’s novels and from the opening and settlements that have been made. The divergences between the novels and their staging also question the question of the film’s fidelity to the literature on which it is based , which remains a rather problematic issue until today. An analysis of filmic and novel thresholds was found to be very useful. These thresholds turn out to be a space where the creativitity and artistic gift of the designer of the filmic or romantic work are born . At the end of our research, we have noticed that Zola’s female evolves in a background where the real , imaginary and symbolic interfere. And it is through her contact with the settings and objects that she reaches the rank of a figure. The animal metaphor thus constitutes the very essence of Zola’s figurality which hilghlights these female bodies and endows them with a mythological presence. Finally is Zolian naturalism an expressionist vein ?
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Moca, Matteo. « Figures du surréalisme italien : (Les mots, les corps, les métamorphoses, les animaux et les monstres) ». Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100024.
Texte intégralRésumé :
Cette étude se propose de répondre à la question concernant l'existence, en Italie, d'une littérature surréaliste. En effet, il est indubitable que le surréalisme n’a jamais pris une forme définie en Italie, en se différenciant ainsi de la situation en France; cependant, des influences et la proximité de certains auteurs italiens à la poétique du surréalisme sont évidentes. Dans ma thèse, je démontre qu'à certains moments, il est même possible de parler d'un proto-surréalisme italien, qui anticipe l'explosion française. Nous avons étudié, en particulier, l'oeuvre de Alberto Savinio, Antonio Delfini e Tommaso Landolfi, mai aussi l'expérience artistique et littéraire de l'école métaphysique que joue un rôle important dans la définition des paradigmes théoriques du surréalisme tant pour la France que pour l'Italie. Chez chacun des auteurs qui nous avons étudiés, nous avons cerné et mis en exergue les points de contact et d'adhésion à la littérature surréaliste, notamment en ce qui concerne les travaux du théoricien français André Breton. Il est évident que, pour chacun de ces auteurs, le discours a suivi des lignes autonome et en fait, nous n'avions pas l'intention de théoriser l'appartenance hypothétique de ces écrivains à un groupe soudé et uni comme en France, mais nous avions l'intention d'évaluer l'impact possible de la poétique surréaliste sur les œuvres de ces auteurs. Malgré toutes les différences entre les cas, nous pensons pouvoir affirmer, à la fin de notre travail de recherche, qu'il y a eu, en Italie, un moment où un certain groupe d’auteurs a produit une littérature surréaliste ; ils n'ont peut-être pas repris pleinement les dictées théoriques brétoniennes, mais certainement ils les connaissaient et ils en ont exploité certains élémentsIn this work, the issue about the existence of Surrealist Literature in Italy will be analysed. It is obvious that, differently from the French environment where it was born and developed following precise theoretical rules, Surrealism has never taken a clear shape in Italy. Having said that, some influences and a certain affinity to Surrealist poetics is evident in some authors. In this work, the possible existence of an Italian Proto-surrealism which anticipates the 'French explosion' is taken into consideration. In particular, the works of Alberto Savinio, Antonio Delfini and Tommaso Landolfi, have been studied together with the artistic and literary experience of the Metaphysical 'School' which plays an important role in the definition of theoretical standards of Surrealism both in France and in Italy. In every author taken into consideration, the contact points and the adherence to Surrealist Literature, specifically in relation with André Breton's theoretical works, have been highlighted. It is clear that, for every author, the study followed autonomous lines. There was no intention, indeed, to theorise a possible belonging of these writers to a close and harmonious groups as in France. There was, instead, the aim of considering the possible impact of Surrealist poetic on the works of these authors. At the end of the work, it might be stated that, despite the several differences, there was a moment in Italy in which a certain group of authors produced a Surrealist Literature. They did not completely follow Breton's theoretical treatise, but they surely knew it and explored some of its elements
In questo studio ci siamo proposti di rispondere alla questione concernente l'esistenza, in Italia, di una letteratura surrealista. É fuori di dubbio che il surrealismo in Italia non ha mai preso una forma definita, differenziandosi in questo rispetto alla Francia dove è nato e si è sviluppato seguendo delle regole teoriche precise; nonostante questo, alcune influenze e una certa vicinanza alla poetica surrealista è evidente in alcuni autori. In questa tesi si prova a dimostrare che, in certi momenti, è possibile parlare anche di un protosurrealismo italiano che anticipa l'esplosione francese. Si sono studiate, in particolare, le opere di Alberto Savinio, Antonio Delfini e Tommaso Landolfi, ma anche l'esperienza artistica e letteraria della scuola metafisica che gioca un ruolo importante nella definizione dei paradigmi teorici del surrealismo sia in Francia che in Italia. In ognuno degli autori che si sono studiati, abbiamo messo in luce i punti di contatto e l'adesione alla letteratura surrealista, in particolare in relazione ai lavori teorici di André Breton. È evidente che, per ognuno degli autori, il discorso ha seguito delle linee autonome e, in effetti, non si aveva l'intenzione di teorizzare un'appartenenza ipotetica di questi scrittori a un gruppo unito e affiatato come in Francia, ma di valutare il possibile impatto della poetica surrealista nelle opere di questi autori. Malgrado tutte le differenze, si pensa di poter affermare, alla fine del lavoro, che c'è stato, in Italia, un momento dove un certo gruppo di autori ha prodotto una letteratura surrealista. Essi non hanno ripreso pienamente il dettato teorico di Breton, ma certo conoscendolo e esplorando alcuni elementi
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Songoulachvili, Catherine. « Les figures de l'animal chez Marcel Aymé et Mikhaïl Boulgakov ». Clermont-Ferrand 2, 2008. http://www.theses.fr/2008CLF20002.
Texte intégralRésumé :
Multiples sont les approches qui nous conduisent à imaginer, à écrire et à penser l'animal. Cette créature non humaine est, depuis toujours, l'objet d'"une énigme plus gênante" (Georges Bataille) que l'être humain tente de deviner, de percer ou de définir. En effet, l'animal l'amuse et le dérange, l'intrigue et le préoccupe au point de le troubler, de lui imposer une réflexion sur lui-même et sur autrui, car l'"animal prochain" (Florence Burgat) et "part maudite" (Georges Bataille) de l'homme refuse constamment d'être regardé comme une chose. Il se veut irrationnel et d'un esprit suprême, celui "de l'immanence et de l'immédiateté" (Georges Bataille). Image de notre intimité humaine, perturbateur de nos esprits, expression de nos subversions grotesques, outils de perversion, l'animal comme personnage principal est une représentation de soi et de celle de l'être humain. Dans un contexte culturel et philosophique, le symbolisme et le réalisme animaliers ouvrent ainsi une autre perspective à la fiction et à l'imagination humaine. La production littéraire qu'elle soit française ou russe intègre l'animal comme leitmotiv, comme un sujet central, à travers lequel Marcel Aymé et Mikhaïl Boulgakov exposent une parodie de la comédie humaine. De plus, instrument de l'imagination, moyen d'expression, l'animal, outre son rôle de domination et de possession, est perçu comme un reflet de nos préoccupations, de nos désirs, de nos ambitions. Mais il est surtout celui qui nous lie à notre passé et nous rappelle notre appartenance culturelle ou sociale. Par ailleurs, l'animal peut aussi être révélateur de l'identité collective, tout en posant des questions d'exclusion et d'inclusion. Ecrire et imaginer l'animal, mais aussi définir sa fonction et sa signification "poétique", permettent à Marcel Aymé et Mikhaïl Boulgakov d'aller au delà de la simple représentation naturaliste, de la simple tradition animalière tout en transgressant l'ordre réel et imaginaire. Il s'agit pour eux de montrer une présence animal qui oscille entre réalité et symbole, allégorie et métaphore, histoire et mythocritique, passé et présent. De fait, grâce aux différents procédés d'écriture, le réalisme fantastique de Mikhaïl Boulgakov et le réalisme magique de Marcel Aymé, d'une part soulèvent les interdits, les tabous et les inhibitions et, d'autre part, dénoncent les abus et les travers de la société humaine où les différentes figures de l'animal demeurent, avant tout, l'accessoire des fictions littéraires russes et françaises
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Sariols, Persson Deerie. « Figures de l'altérité au XXe siècle : des bestiaires aux monstres ». Paris 3, 2007. http://www.theses.fr/2007PA030077.
Texte intégralRésumé :
Le XXe siècle en Occident a hérité de l’imaginaire animal et monstrueux du passé pour le transformer. Les mythes fondateurs de l’altérité moderne sont nés au XIXè siècle : Frankenstein ou le Prométhée moderne de Shelley, Dracula de Stoker, L’étrange cas du dr. Jekyll et M. Hyde de Stevenson. Le Horla, de Maupassant incarne le monstre indicible. L’île du docteur Moreau de Wells est un exemple de « l’humanimal », entre l’homme et la bête. Les genres fantastiques, de science-fiction et d’horreur, que ce soit en littérature comme au cinéma, bande dessinée ou jeux d’ordinateur ont absorbé le monstre et l’animalité dans des formes classiques et innovatrices, notamment en ce qui concerne le corps. L’animalité reflète le non sens de la vie dans La métamorphose de Kafka. Elle prend parfois le parti de l’ironie et de l’humour dans des formes brèves (Borges et Cortázar, par exemple), dans les fables animalières (Truismes de Darrieussecq, Les grands singes de W. Self) ou dans la réécriture des contes traditionnels (Le cabinet sanglant d’A. Carter). En tant que confrontation à l’autre, les trois enjeux principaux du monstre sont la peur, la mort et le mal. Il peut ainsi être idéalisé, comme dans Les chroniques martiennes de Bradbury ou vu comme ennemi, tels les Grands Anciens de Lovecraft. La mort s’incarne dans des êtres comme les zombies ou les vampires et dans la quête de l’immortalité, à travers l’homme artificiel, que ce soit le golem (Le Golem de Meyrink), le robot (R. U. R. De Čapek), le mutant ou le cyborg. Incarné par Satan, le mal absolu est aujourd’hui représenté par la malignité dans l’homme comme l’exprime L’Orange mécanique de Burgess. Le système monstrueux, évoqué par 1984 d’Orwell, s’est concrétisé dans l’histoire véritable. La bande dessinée Maus d’Art Spiegelman, le démontre. Solaris de S. Lem, dépasse le problème du bien et du mal et pose d’autres questions métaphysiquesXXth century’s Western culture has inherited from the past to recreate its own animal and monstrous imaginary. But the founder myths of modern alterity are born in the XIXth century : Frankenstein or the Modern Prometheus, by Shelley, Dracula, by Stoker, The Strange Case of Dr. Jekyll and Mr. Hyde, by Stevenson. The Horla, by Maupassant embodies the unspeakable monster. The Island of Doctor Moreau, by Wells is an example of “humanimal”, between man and beast. Literary genres as fantasy, science-fiction or horror, in fiction, films, comics or computer games, have adopted monsters and animality in classical or new forms, especially concerning the approach to the body as a theme. Animality reflects life’s nonsense in Kafkas’s Metamorphosis, but sometimes it chooses rather irony and humor in short genres (Borges and Cortázar), in animal fables (Truismes, by Darrieussecq, Great Apes, by Will Self) or in a renewal of traditional fairy tales (The Company of Wolves, by A. Carter). The three main stakes from the monster as a confrontation with the other are fear, death and evil. So it can be idealized (as in Bradbury’s The Martian Chronicles) or taken as an enemy (as Lovecraft’s Great Old Ones). Death can be represented by zombies or vampires, also in a search for immortality, through the figure of artificial man, golem (The Golem, by Meyrink), robot (R. U. R. By Čapek), mutants or cyborgs. Absolute evil is incarnated by Satan. Today’s society believes rather in man’s inner evil, as Bradbury’s A Clockwork Orange describes. Orwell’s 1984 shows the monstrous political system. The comic Maus, by Spiegelman, describes how horror has actually been in real history. Solaris, by S. Lem, on the contrary, goes beyond good and evil in a rather metaphysical science-fiction story
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Montén, Anna, et Cecilia Limegård. « En pilotstudie av hästen som relationsskapande komponent i behandling av psykisk ohälsa : Undersökning av deltagare i hästunderstödd behandling och jämförelse med en grupp fritidsryttare ». Thesis, Linnéuniversitetet, Institutionen för psykologi (PSY), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-52639.
Texte intégralRésumé :
Syftet med pilotstudien var att undersöka hur klienter som deltog i hästunderstödd behandling (n = 13) till följd av psykisk ohälsa såg på relationen till hästen och dess anknytningsfrämjande och alliansskapande egenskaper, samt i vilken utsträckning respondenterna hade ett auktoritärt förhållningssätt gentemot hästen. För jämförelse användes en grupp fritidsryttare (n = 23). Klientgruppen rekryterades genom intresseföreningen Organisationen för Hästunderstödda Insatser (OHI) och fritidsryttargruppen från två ridskolor. Deltagarna fick genomföra en enkät med frågor avseende anknytningsfrämjande kvaliteter i relationen till hästen, samt vilka relationsskapande egenskaper de ansåg hästen besitta. Resultatet indikerade att båda grupperna i hög utsträckning såg positiva egenskaper i hästen och såg relationen till hästen som positiv. Resultaten indikerade att klientgruppen i högre utsträckning såg egenskaper och relationella kvaliteter i hästen som kan ses som anknytningsfrämjande och alliansskapande. Fritidsryttargruppen uppgav i högre utsträckning ett auktoritärt förhållningssätt gentemot hästen. Trots det begränsade urvalet och att resultatet inte genomgående var entydigt, tolkas resultaten som att det finns belägg för vidare utforskning av ämnet och undersökning av frågeställningen för ett större urval med en reviderad kvantitativ enkät då pilotstudien fann signifikanta skillnader mellan grupperna.The purpose of this pilot study was to explore clients undertaking equine assisted treatment for mental illness (n = 13) view of the horses attachment and working alliance facilitating abilities. Further, the study aimed to explore to which extent the respondents viewed themselves as being authoritative in relation to the horse. For comparison a group of recreational equestrians (n = 23) were used. The respondents in the client group were recruited from the association Organisationen för Hästunderstödda Insatser (OHI) and the recreational equestrians were recruited from two riding schools. The participants undertook a survey with questions regarding attachment facilitating qualities in their relationship with the horse, and which relationship facilitating characteristics they experienced in the horse. The results indicated that the respondents in both groups over all viewed the horses’ characteristics and their relationship with the horse as positive. The results indicated that the client group to a higher extent regarded the horse as having characteristics and relational qualities that could be viewed as alliance and attachment facilitating. The recreational equestrians reported an authoritative approach toward the horse to a larger degree than the client group. Although there were limitations regarding the size of the sample, and coherence in the results, the results indicated that there are grounds for future research of the subject and research question at hand, with the use of a larger population and a revised survey, as the pilot study did find significant differences between the groups.
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Zeimbekis, Marika. « The typology, forms and functions of animal figures from Minoan peak sanctuaries, with special reference to Juktas and Kophinas ». Thesis, University of Bristol, 1998. http://hdl.handle.net/1983/b0f803cb-7e47-421f-b795-9e07859be9c4.
Texte intégral
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Roncolato, Ana Angelica. « Psicodiagnóstico compreensivo de crianças com distúrbios de conduta : aspectos psicodinâmicos ». Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/47/47133/tde-22072011-154721/.
Texte intégralRésumé :
Essa pesquisa aborda o quadro psiquiátrico mais frequente na infância. O distúrbio de conduta é caracterizado por comportamento antissocial persistente com violação de normas sociais e direitos individuais. Os comportamentos antissociais podem surgir precocemente na infância ou na adolescência, e configuram quadro psiquiátrico de difícil tratamento. Fatores individuais, familiares e sociais influenciam no desenvolvimento e na persistência do comportamento antissocial, interagindo de forma complexa e ainda pouco esclarecida. O presente trabalho tem como objetivo compreender os aspectos emocionais desta população clínica. Foram avaliadas 6 crianças na faixa etária entre seis e doze anos, sendo um grupo de 3 portadores do diagnóstico de Distúrbio de Conduta - segundo os critérios da CID-10, atendidas em um serviço de psiquiatria e tendo o diagnóstico confirmado pela K-SADS. O grupo controle, pareado por sexo, idade e condição sócioeconômica, é composto de 3 crianças provenientes de escolas públicas do município de São Paulo/SP, que não apresentaram diagnóstico psiquiátrico a partir do instrumento K-SADS. Para avaliação psicológica foram aplicados o Teste de Apercepção Infantil com Figuras de Animais - CAT-A - e o Teste das Fábulas de Düss, considerando os seguintes aspectos: atitude básica da criança, relação com as figuras significativas, sentimentos expressos, tendências e desejos, impulsos, ansiedades e mecanismos de defesa. Os resultados encontrados mostraram no grupo clínico presença de conteúdo agressivo, hostil, de impulsividade. A incapacidade de controlar seus impulsos faz com que expressem suas angústias diretamente no ambiente de forma agressiva. Observou-se ainda que essas crianças não contam com figuras significativas capazes de conter suas angústias, não sentem que as figuras parentais são capazes de lhes dar sustentação e contorno, diferentemente das crianças do grupo controle. Evidencia-se a necessidade de medidas preventivas e intervenções em saúde mental no âmbito familiar, na escola, além das intervenções com a criançaEssa pesquisa aborda o quadro psiquiátrico mais frequente na infância. O distúrbio de conduta é caracterizado por comportamento antissocial persistente com violação de normas sociais e direitos individuais. Os comportamentos antissociais podem surgir precocemente na infância ou na adolescência, e configuram quadro psiquiátrico de difícil tratamento. Fatores individuais, familiares e sociais influenciam no desenvolvimento e na persistência do comportamento antissocial, interagindo de forma complexa e ainda pouco esclarecida. O presente trabalho tem como objetivo compreender os aspectos emocionais desta população clínica. Foram avaliadas 6 crianças na faixa etária entre seis e doze anos, sendo um grupo de 3 portadores do diagnóstico de Distúrbio de Conduta - segundo os critérios da CID-10, atendidas em um serviço de psiquiatria e tendo o diagnóstico confirmado pela K-SADS. O grupo controle, pareado por sexo, idade e condição sócioeconômica, é composto de 3 crianças provenientes de escolas públicas do município de São Paulo/SP, que não apresentaram diagnóstico psiquiátrico a partir do instrumento K-SADS. Para avaliação psicológica foram aplicados o Teste de Apercepção Infantil com Figuras de Animais - CAT-A - e o Teste das Fábulas de Düss, considerando os seguintes aspectos: atitude básica da criança, relação com as figuras significativas, sentimentos expressos, tendências e desejos, impulsos, ansiedades e mecanismos de defesa. Os resultados encontrados mostraram no grupo clínico presença de conteúdo agressivo, hostil, de impulsividade. A incapacidade de controlar seus impulsos faz com que expressem suas angústias diretamente no ambiente de forma agressiva. Observou-se ainda que essas crianças não contam com figuras significativas capazes de conter suas angústias, não sentem que as figuras parentais são capazes de lhes dar sustentação e contorno, diferentemente das crianças do grupo controle. Evidencia-se a necessidade de medidas preventivas e intervenções em saúde mental no âmbito familiar, na escola, além das intervenções com a criança
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Soares, Fernanda Romano. « Oficinas terapêuticas com crianças em uma clínica-escola de psicologia : utilização de contos de fadas ». Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/47/47133/tde-04112011-115131/.
Texte intégralRésumé :
O objetivo da pesquisa foi verificar o impacto da realização de oficina terapêutica de contos de fadas, com crianças, no fluxo de atendimento e na vivência dos participantes, no contexto da clínica-escola, além de avaliar se o instrumento projetivo CAT-A contribui como uma das formas de mensurar resultados de intervenção e, em caso positivo, de que forma. Pretende-se contribuir para o desenvolvimento do campo do saber ético-teórico-prático relativo a uma modalidade específica de atendimento psicológico que proporcione maior quantidade de vagas às crianças que procuram a clínica. Foi realizada uma oficina terapêutica, onde foram utilizados contos de fadas com cinco crianças de 6 e 7 anos que estavam aguardando atendimento psicológico na clínica-escola. Inicialmente foi realizada uma entrevista com os pais, na qual investigou-se o motivo da consulta e aspectos gerais da criança e suas relações. No primeiro encontro individual com cada criança, foi aplicado o CAT-A. Após esse encontro, deu-se início à oficina, que se constituiu de onze encontros semanais, utilizando-se nove contos de fadas. Em cada encontro foi narrado um desses contos, dividido em três fragmentos. Solicitou-se às crianças que desenhassem o que mais gostaram de cada fragmento e que falassem sobre os respectivos desenhos. Os contos escolhidos abarcaram diferentes fases do desenvolvimento. Após a realização da oficina, o CAT-A foi reaplicado individualmente nas crianças, seguindo-se uma breve devolutiva sobre a oficina. Os pais também passaram por uma entrevista devolutiva a respeito dos resultados da oficina, podendo esclarecer dúvidas. Os resultados obtidos demonstraram a ampliação da queixa trazida pelos pais e pôde-se perceber, através de seus relatos, que a proposta contribuiu para incrementar os recursos das crianças, para manejar os conflitos vivenciados. Foi possível atender maior número de clientes, repercutindo no fluxo da fila de espera. O CAT-A auxiliou no esclarecimento da queixa pelo acesso a conteúdos latentes, que refletem o funcionamento e a vivência da criança, objetivando uma compreensão mais global do problema apresentado. Os resultados apontaram que esse tipo de trabalho poderia ser adotado pelas instituições com maior frequência, visando a seu próprio benefício, dos alunos, e, principalmente, da comunidade carente de instituições de acolhimento e cuidado. Destaca-se a importância da realização de outros estudos como este, com grupos maiores, que venham a corroborar, ou não, os resultados aqui obtidosThe objective of this research was to verify the impact of therapeutic fairytale workshops with children in the service flow and in the lives of the participants in the context of the teaching clinics as well as evaluating if the projective instrument CAT-A contributes as a way to measure intervention results and if so, in which way. The intention is to contribute to the development of the ethical-theoretical-practical knowledge in relation to a specific type of psychological service that allows for a larger amount of spots for the children who seek the clinic. A therapeutic workshop with the use of fairytales was conduced with 5 children between the ages of 6 and 7 that were waiting for their psychological appointment in the teaching clinic. An interview with the parents was done initially to investigate the reasons of the appointment, general aspects of the children and their relationships. In the first individual session with each child the CAT-A was applied. Then the 11 weekly workshops were done, using 9 different fairytales. In each session one of the tales was read in three fragments. The children were asked to draw their favourite thing form each fragment and explain it. The chosen tales comprehended different development stages. After the conclusion of the workshop, the CAT-A was reapplied individually, followed by a quick feedback on the workshop. The parents also had a feedback session, clarifying doubts. The results show an amplification of the initial complaint brought by the parents and it was clear, through their reports, that the initiative contributed to the enhancement of the childrens resources to handle their conflicts. It was possible to handle a larger number of clients, which in turn had a positive impact on the waiting line. The CAT-A helped in the clarification of the complaint through the access of latent content that reflect the childs experience and functioning, allowing for a more global approach of the presented problem. The results indicate this kind of work could be adopted more frequently by institutions for the benefit of their own service, of the students and especially of the community in need of care institutions. It is important to mention the need of other studies like this one, with larger groups to verify the application of the obtained results
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Amory, Annabelle. « La place des animaux dans la relation mortelles-divinités : le cas d’Artémis et de Déméter ». Thesis, Lille 3, 2017. http://www.theses.fr/2017LIL30032/document.
Texte intégralRésumé :
Réunissant des sources littéraires, épigraphiques, archéologiques, iconographiques et archéozoologiques, cette thèse étudie la question de la symbolique de l’animal dans la relation entre le mortel et la divinité, en s’intéressant particulièrement à Artémis et à Déméter, deux déesses en charge des problèmes des femmes à différents moments de leur vie. Pour répondre à cette interrogation, deux corpus sont mis en place : le premier répertorie 83 sanctuaires de Déméter et Artémis ayant un rapport avec les animaux, et énumère toutes les offrandes qui y ont été retrouvées, ainsi que les mythes et inscriptions associées. Le second corpus se place du côté de l’animal et regroupe les représentations et les textes hors sanctuaires attestant d’un lien entre l’espèce et l’une des deux divinités, mais reprend également les offrandes d’animaux déjà étudiées dans le premier catalogue, en les classant par type iconographique. L’analyse synthétique des données des corpus rassemble les animaux sous trois principales symboliques. Premièrement, la fécondité des femmes est au centre des préoccupations, pour assurer la pérennité de la cité. Ả ce titre, le porc entretient avec Déméter une relation particulière : durant les Thesmophories, il est utilisé pour assurer la fertilité à la fois des semailles et des femmes. Auprès d’Artémis, ce sont les animaux des milieux humides et l’eau qui favorisent la vie. Le bétail d’élevage est également offert aux deux divinités pour assurer la pérennité du troupeau et, par extension, de la cité. Ensuite, la femme avant son mariage est perçue comme un animal sauvage qu’il faut domestiquer. Artémis veille alors sur les jeunes filles et, en tant que déesse des passages, assure cette domestication par le mariage lors de l’arkteia, un rite d’initiation pendant lequel les fillettes font « l’ourse ». Divinité de la nature sauvage, elle a, tout comme la Pόtnia Théron, un pouvoir de vie et de mort sur les animaux mais aussi sur les femmes, qu’elle n’hésite pas à punir pour leur transgression, comme pour Callisto et Atalante. Artémis comme Déméter sont également des divinités kourotrophes qui s’occupent des enfants sans distinction de sexe et reçoivent des offrandes en conséquence. Enfin, si les animaux semblent auprès des deux déesses se rapporter principalement aux femmes, le cheval et le chien évoquent également le statut de citoyen, obtenu après une longue éducation dont Artémis est la garante. Ils sont aussi des animaux chthoniens et, au même titre que le serpent, le cochon et la tortue, permettant le lien entre le monde des vivants et celui des morts. Certaines espèces évoquent avec leur simple présence la divinité : c’est le cas du sanglier de Kalydon, qu’Artémis utilise pour se venger des hommes, et des victimes des sacrifices, qui permettent de communiquer avec les divinités. Malheureusement, certaines occurrences animales restent en marge de ces trois symboliques : elles sont offertes en trop petit nombre ou à d’autres divinités, ne permettant pas de faire un lien précis avec Artémis et DéméterThis thesis is based on literary, epigraphic, archaeological, iconographic and archaeozoological sources and studies the symbolic of the animals in the relationship between women and divinities. Two goddesses have been chosen for this purpose: Artemis and Demeter. They have in common the fact they take care of women at different moments of their lives. Two main parts compose the survey. First, a catalog lists 83 sanctuaries of Artemis and Demeter who have a link with animals, together with offerings found inside and myths and inscriptions associated with. A second index classifies all the animals connected with Artemis and Demeter: offerings of the sanctuaries from the first corpus, imageries and texts no connected with a shrine but showing a link between an animal species and a goddess.A synthetic analysis of information from the catalogs talks about three main interpretations on the presence of animals beside Artemis and Demeter. At first, fertility of women is very important in ancient Greece because it permits to renewing the civic body. The pig has a special relationship with Demeter about fecundity: during the Thesmophoria, the animal is used to assure the fertility of both women and fields. With Artemis, wetland animals are connected with the water and the life. The cattle are also offered to both goddesses in order to assure the perpetuation of the herd and the city at the same time. Then, the woman before her marriage is like a savage animal and she must be domesticated. Artemis takes care of young girls because she is the goddess of passages and transitions. She allows the domestication of the girls with an initiation called arkteia: during this ritual, the little girls make “the bear”. As divinity of the wild nature, Artemis also is assimilated to the Pόtnia Théron and has the power of life and death on both animals and women. She punishes the girls who transgress the rules: Callisto and Atalante. Artemis and Demeter are kourotrophic goddesses taking care of all gender children. However, if the animals with the divinities are close to the women, there are in connection too with the boys: the dog and the horse evoke the citizenship status of the men and the formation of the young boys, especially with Artemis. Some species are also chthonic characteristics, as the snake, the pig and the tortoise and make a link between the life and the death. Other animals incarnate the divinity: the boar of Kalydon has been send by Artemis because she was angry and a lot of animals are victims of ritual sacrifices and permit a communication with the gods and goddesses. Unfortunately, there are also some species with no real connection with Artemis and Demeter: there are offered in small number in the sanctuaries of both divinities or there contrariwise are given to all the gods
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Druet, Lucile. « KUMONEKOTABI L'art de la relation, la relation comme oeuvre d'art : Japon, emprunts, possibles et nuances comme dispositifs formels pour une figure photographique entre paysage, animal et détour. Passages ». Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2202.
Texte intégralRésumé :
Réfléchir les images pour réfléchir le monde. Entre unité, éclats et nuances, Kumonekotabi est un travail de recherche fonctionnant à la fois sur des images et des écritures qui sont comme autant d’espaces où une figure photographique entretient une relation à la fois simple et pourtant liée avec le Japon. Construites sur des modalités comme le plié, l’encadré, le sériel, les images construisent une logique bricolée mais également performative qui expose le corps capté dans sa relation avec le Japon, ses rêves et ses ancrages. Le travail d’écriture est une analyse de ces mêmes images, mettant en évidence les histoires mais aussi les forces et les intertextes qui habitent leurs territoires.Ainsi, à la fois théoricienne, poète et plasticienne, Kumonekotabi est une thèse éventail, entremêlant expériences visuelles et écrites avec la culture japonaise. C’est une ouverture et une fermeture, une interface de créativité, un espace entre lenteur et vitesse, la maturation et la fulgurance. Un phénomène qui avec ces emmêlements nous donne finalement les outils pour comprendre la pertinence de cet archipel éphémère créé par les images et leur simultanéité.En cela, Kumonekotabi est un travail qui envisage avec des images et leurs interprétations une certaine idée de la limite et de l’écart, du contact et de la distance. Un travail d’ambiance pris dans ce dialogue entre l’art de la relation, la relation comme œuvre d’art pour aboutir à cette idée que réfléchir les images permet de comprendre une certaine partie de notre monde et vice-versaThink about the pictures to think about the world. Between unity, slivers and nuances, Kumonekotabi is a research work balanced between visual shapes and articulated theory, both working like spaces where the idea of a photographic figure is having a simple and yet established relationship with Japan.Based on visual specificities like folds, frames, series, the pictures are building an homemade logic but also a performative one that display the captured body in its relationship with Japan, its dreams and anchors. The writing part then is an analysis of those very pictures, putting together the stories but also the strenghts and the interexts living in their territories.Thus, at the same time theoritical, poetic and artistic, Kumonekotabi is a dissertation to be considered like a fan, intertwining visual and literary experiences with the Japanese culture. It’s an opening, a creative interface, a space between slowness and speed, maturation and outbreaks. A phenomenon that, with its intricacy, gives us tools to understand the relevance of this archipelago created by the pictures and their simultaneity.In short, Kumonekotabi is a dissertation to contemplate with pictures and their interpretations a certain idea of limits and contrasts, contacts and distances. An atmospheric work placed in this dialog between the art of relation, relationship as a work of art in order to get to this idea that thinking about pictures allows to understand a certain part of our world, and vice-versa
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Cordier, Éric. « Le système de représentation des paysans normands : figures animales et surnaturelles, d'après le lexique patois et les traditions populaires du XIXe siècle ». Paris, EPHE, 2002. http://www.theses.fr/2002EPHE5029.
Texte intégralRésumé :
L’analyse du vocabulaire de patois normand a permis de dégager différents thèmes permettant de rendre compte du système de représentation des paysans normands. Dans un second temps, a été constitué un corpus de légendes et de traditions populaires recueillies par les folkloristes du XIXe siècle. Il en résulte que les animaux sauvages tels que l’abeille, le renard et le loup sont riches en représentations, parce qu’ils allient proximité (ils interfèrent avec le monde des paysans) et résistance face à l’homme. Les animaux domestiques n’apparaissent que dans des champs très restreints. Le cochon fait figure d’exception. Les revenants interrogent l’ordre social, les normes et leur transgression Le varou (loup-garou) constitue la métaphore de la rupture de l’ordre social tout en constituant un processus de pénitence terrestre visant à réintégrer un être dans la communauté par dilapidation énergétique. Les êtres surnaturels : fées, goubelins, lutins…sont conçus comme vivant dans une société semblable à celle des paysans et comme insérés dans un système d’échange avec ces derniers. Les fées permettent de penser l’organisation de l’espace familial en fonction des sexes, de la spécialisation des tâches, des oppositions sauvage / domestique, nature / culture. Le mal de saint concerne la partie thérapeutique du culte des saints. Il s’agit d’un syncrétisme entre le catholicisme et une construction populaire qui opère une distorsion du culte chrétien dans une arithmétique exacerbée des rituels, s’exerçant dans un rapport de force où les maladies sont renvoyées aux saintsThe analysis of the vocabulary of the dialect of the Normandy has brought out various themes helping us to understand the system of representation of the peasants in Normandy. In a second time, it has been added a new corpus based on fairy tales, customs and ethnographic data gathered by folklorists during the 19th century. It results that savage animals as bee honey, fox and wolf are lush in representations because they combine nearness (they interfere with the world of the peasant) and resistance to the human. Domestic animals are not good to think because of their submission to him. When they generate metaphors, these take place only in restricted fields. The pig can be seen as an exception. The ghosts inquire the social order, the norms and their transgressions. The werewolf (varou) is the metaphor of the break of social order simultaneously to be a terrestrial penance process where people are reintegrated to the community in wasting an excess of energy. The supernatural creatures: fairies, elves, goblins, imps…are conceived as living in a society alike the human one and integrated in an exchange system with the peasants. Fairies allow to the peasants to think the organisation of the familial space depending on the gender and specialization of the labour, the opposition between savage and domestic, nature and culture. The mal de saint is the therapeutic aspect of the cult of the saints. It result from the syncretism between Catholicism and a popular construction making the distortion of the Christian cult in an inflated arithmetic of the rituals, setting a power struggle where illness are send back to the saints
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Ben, Jmaa Imen. « Figures de l'animalité et de la bestialité dans "La Bête humaine" d'Émile Zola et "L'Homme qui tue" d'Hector France ». Thesis, Paris Est, 2010. http://www.theses.fr/2010PEST0006.
Texte intégralRésumé :
Cette thèse de doctorat porte sur l’analyse du thème de l’animalité et de la bestialité dans L’Homme qui tue d’Hector France, roman écrit en 1878 et La Bête humaine d’Émile Zola, roman qui date de 1890. Ces œuvres constituent deux regards croisés sur la France, l’un sur un pays vu de l’intérieur et l’autre sur un pays diagnostiqué à la lumière de sa politique coloniale. L’enjeu est de mettre en relief jusqu’à quel point ces deux œuvres contemporaines l’une de l’autre, à la fois se répondent mutuellement et se séparent inéluctablement. Dans leurs parcours, dans leurs positions politiques et idéologiques, dans leurs rapports à la France, dans leurs modes d’intervention dans l’actualité brûlante de l’époque, tout sépare France et Zola. Mais à force de creuser dans les différences, des ressemblances peuvent surgir. Au-delà de la parenté thématique de leurs œuvres dans le récit qu’elles font de la condition humaine à l’aune de l’animalité et de la bestialité, des accointances qui se tissent, de près ou de loin, entre les figures auxquelles donne lieu la métaphore de la bête humaine, des destinées similaires sinon identiques de certains personnages, les écarts sont si importants pour oser les occulter par un simple recensement de motifs, de thèmes et de mythes communs aux deux auteurs. Ce sont ces écarts qui sont extrêmement précieux. Plus les disparités se distendent entre les deux écrivains, plus les motivations de ce rapprochement deviennent plus justifiées et plus fécondes. Lire Zola et France l’un par rapport à l’autre, et éventuellement l’un contre l’autre, c’est repenser une partie importante de la carte littéraire de la deuxième moitié du XIXe. Cette redéfinition passe par la nécessité de mettre face à face le centre et la périphérie, le blason et son ombre, le monument et son fantômeThe present doctoral thesis aims at the analysis of the theme of animality and bestiality in Hector France’s The Man who Kills (L’Homme qui tue), a novel written in 1878 and Emile Zola’s The Human Beast (La Bête Humaine) which dates around 1890. These two works represent two crossed visions on France, one on a country viewed from outside and the other on a state diagnosed in the light of its colonial politics. The purpose is to highlight the extent to which these two contemporaneous works at once mutually respond to and yet inescapably break off from each other. In their plots, in their political and ideological positions, their relationships to France, their modes of intervention in the blazing events of the time, everything separates France from Zola. However, digging deep into the differences, certain similarities can come up to the surface. Beyond the thematic link between their works that belies the narration they make of the human condition to either animality or bestiality, the more or less interwoven acquaintances, between the figures resulting from the metaphor of the human beast, or the similar if not identical destinies of certain characters, the gaps are too important to be overshadowed by a mere inventory of motifs, themes, and myths common to both writers. It is these very gaps which are extremely genuine. The more the disparities widen up between the writers, the more the motivations of this merging become more justified and fruitful. To read Zola and France in relation to each other, and eventually the one against the other, is to re-think over an important part of the literary map of the second half of the nineteenth century. This redefinition follows from the necessity of bringing face to face the centre and the periphery, the blazon and its shadow, the monument and its phantom
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Helsing, Sophie. « Doktor Moreau och jakten på den etiska figuren : Från misslyckat människoskapande till respektfulla relationer ». Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30245.
Texte intégralRésumé :
“Doctor Moreau and The Hunt for The Ethical Figure. From unsuccessful man-making to respectful relations with Jacques Derrida, Donna Haraway and H. G. Wells” In H. G. Wells’ science fiction novel, The Island of Doctor Moreau (1896), a scientist on a remote island in the Pacific Ocean attempts to create humans from animals. Wells draws on Charles Darwin’s theories on the origins of species and the descent of man to create a horror story in which the uniqueness of the human is called into question. This study uses the novel to investigate the re-emergent interest in human-animal relations, within the natural sciences as well as the arts and humanities, in the past twenty years. In what is often termed “the Animal Turn,” theorists such as Jacques Derrida and Donna Haraway, who are at the centre of this study, have dedicated a significant amount of their work to the animal question and in particular to the ethics of inter-species relationships. Furthermore this essay stages the interaction of fiction and theoretical discourse in an analysis that probes challenges inherent to the relations of humans to other species, such as the practice of eating meat, the killing of animals, and animal rights. Moreover, it considers how the figure of the animal has been used to define the human, as well as to dehumanize people in the justification of abuse and persecution. However, human-animal ethics also has positive connotations, discussed through the figures of positivity and possibility in play, sharing, contact and responsive responsibility. Taking its inspiration from Karen Barad’s method of diffraction, this study foregrounds new pattern-making while exploring how Derrida’s and Haraway’s strategies for formulating a new ethics are present in their use of tropes and figures.Science fiction-romanen The Island of Doctor Moreau skrevs 1896 och handlar om hur en vetenskapsman på en avlägsen ö i Stilla havet försöker skapa människor av djur. Författaren H. G. Wells inspirerades av Darwins teorier om arternas uppkomst till att skriva en skräckberättelse där mänsklighetens unikhet sätts ur spel. Den här studien använder Wells text i syfte att undersöka hur relationen mellan människor och andra arter har kommit att få ett nytt intresse inom en mängd olika vetenskapliga, praktiska och konstnärliga ämnen i slutet av 1900-talet och början av 2000-talet, något som har kommit att kallas ”The Animal Turn”. I centrum för studien återfinns teorier formulerade av filosofen Jacques Derrida och den feministiska vetenskapsteoretikern och biologen Donna Haraway. Båda två har ägnat stor del av sina respektive arbeten åt djurfrågan, framför allt med enträget intresse för hur ett etiskt förhållande mellan arter kan se ut. Studien låter romanen och de teoretiska texterna samverka i en analys som diskuterar utmaningar i människa-djur-relationer – som köttätande, dödande och rättigheter. Människan har till exempel använt sig av djuret för att definiera sig som människa, men också för att dehumanisera andra människor, och därmed kunnat utnyttja eller våldföra sig på dessa människor. Men människa-djur-etiken har också positiva aspekter: kontakt över språkgränser, att tillsammans utgöra världsmedborgare som alla består av och är beroende av varandra, att dela lek och arbete, att se och upptäcka den andre. Med inspiration från Karen Barads användning av metoden diffraktion vill den här uppsatsen utforska Derridas och Haraways strategier för att formulera en ny etik genom bruket av figurer och troper.
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Palmas, Jauze Daisy de. « La figure du dragon : des origines mythiques à la Fantasy et à la Dragon Fantasy anglo-saxonnes contemporaines ». Thesis, La Réunion, 2010. http://www.theses.fr/2010LARE0025/document.
Texte intégralRésumé :
À la fois mythique constructeur ou destructeur de Mondes, incarnation du Malin pour l'Église au Moyen-âge, monstre lové sur un trésor au fond d'une grotte, qu'un héros doit tuer pour prouver sa bravoure dans les légendes et les contes, le dragon revient périodiquement exprimer les peurs et les fantasmes les plus profonds. Au XXème siècle, la Fantasy a ramené le dragon en littérature et la Dragon Fantasy récente (DragonLance de M. Weis et T. Hickman comme point de départ en 1984) a fait évoluer son image en lui offrant le rôle de personnage principal ou de héros, contribuant à l'amplification de la figure mythique du dragon et à son renouveau. Le dragon vole, crache du feu, pense, parle, raisonne, se métamorphose, possède des pouvoirs magiques, aime et se bat. Il existe également au féminin. Si le dragon ancien était représenté aux pieds de l'homme, en position d'infériorité d'animal dompté, le dragon de Fantasy se situe dans le ciel, libre et supérieur à l'homme. Il ouvre la voie d'une sagesse ancestrale au dragonnier qu'il se choisit. Les combats des dragons symbolisent les éternelles luttes du Bien et du Mal présentes dans toutes les sociétés humaines et en l'homme lui-même, les forces qui s'affrontent pour le rétablissement de l'ordre et de l'équilibre universel en dangerA mythic builder or destroyer of Worlds, the embodiment of Evil for the Roman Catholic Church in the Middle Agesd, a monster to kill in order to take its treasure in legends or tales, the dragon periodically comes back expressing one's fears or diseases. Fantasy has brought the dragon back to twentieth century literature and Dragon Fantasy offers him the leading role in fights to keep order and and hold the world balanced. The new dragon, male or female, thinks, speaks, loves, fights, has magical powers, can fly, breathe fire, transform himself/herself. He shows human beings the way to ancestral wisdom
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Conde, Aldana Juan Alberto. « L'audiovision dans le cinéma d'animation : contribution à la sémiotique ». Thesis, Limoges, 2016. http://www.theses.fr/2016LIMO0094/document.
Texte intégralRésumé :
Le sujet de ce travail est le rôle du son dans le cinéma d’animation, à partir du concept d’audio-vision. Ce concept, provenant du théoricien Michel Chion, exprime une activité ou une modalité de la perception qui s’active –est qui est la face subjective– des produits audiovisuels qui dans le cas de l’animation donnent lieu à des expériences singulières. Le lieu de rencontre entre ces instances est la scène sémiotique d’une expérience de sens où une forme de textualité (résultat d’une écriture sonore et visuelle) inscrite dans un support matériel s’active et rencontre un corps vivant, qui la transforme en un récit audiovisuel, ou bien aussi en une pure expérience corporelle, rythmique ou vibratoire, qui est aussi une forme de sens. Cette scène pratique est comprise d’après le concept de dispositif, provenant de la théorie filmique, mais ici liée à la théorie de l’énonciation. Pour aborder cette scène si complexe, j’ai choisi de mettre l’accent sur un aspect particulier : le son, l’écoute, et les approches sémiotiques que se sont occupées de cette dimension de l’expérience perceptive, notamment la sémiotique du son. Pour tester cette approche, dans cette thèse on fait des analyses pratiques d’un type de productions animées que, selon le critère, on peut appeler « indépendantes », « expérimentales », ou même « abstraites » : les courts métrages animés de Norman McLaren et de Mirai Mizue. Néanmoins, pour éloignées que semblent ces productions de l’animation traditionnelle on va proposer qu’à la base de toutes ces productions il y a un même dispositif et un même type de pratique (dans le sens sémiotique du terme), un « faire technique » sur lequel on projettera des contenus divers (narratifs, dynamiques, musicaux, énergétiques)The subject of this work is the role of sound in animation, from the concept of audio-vision. This concept, from theorist Michel Chion, expresses an activity or mode of perception that is activated –and that is is the subjective side- of audiovisual productions. In the case of animation this activity gives rise to unique experiences. The meeting point between these aspects is the semiotic scene of a meaningful experience, where a form of textuality (the result of an aural and a visual writing) registered in a physical medium, is activated by a living body. This experience is interpreted as an audio-visual narrative, or as a pure physical experience of rhythm and vibration, which is also a form of sense. This practical scene is understood from the concept of ‘apparatus’, coined in the field of the film theory, but connected here with enunciation theory. To address this complex scene, I chose to focus on a particular aspect: sound and listening, from a semiotic perspective. To test this approach, in this work I propose practical analysis of a type of animated productions that according to the criteria, can be called
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Soler, Catherine. « Parfum de figues : approche évolutive de la communication entre une plante, ses insectes pollinisateurs et ses vertébrés disperseurs ». Thesis, Montpellier 2, 2010. http://www.theses.fr/2010MON20229/document.
Texte intégralRésumé :
Pour l'ensemble des organismes vivants, la communication (intra ou interspécifique) est le véhicule de l'information, un élément central dans l'interaction entre individus. Elle a ainsi des impacts primordiaux sur les traits d'histoire de vie des espèces, et est donc façonnée par la sélection naturelle. Au cours de cette thèse, nous nous sommes intéressés à l'évolution de la médiation chimique, c'est-à-dire à la transmission d'informations par voie chimique entredeux individus, dans les interactions plantes/animaux. Nous avons choisi le modèle figuier et ses partenaires mutualistes, de la guêpe pollinisatrice aux vertébrés disperseurs de graines. La médiation chimique (ici émission de bouquets volatils constitués de terpènes et de dérivés benzéniques et d'acides gras) permet aux figuiers d'assurer leur reproduction, par attraction des pollinisateurs et des disperseurs de graines. Il existe environ 800 espèces de figuiers à travers le monde, à distribution principalement tropicale. Les figuiers, fructifiant toute l'année,sont souvent qualifiés d'espèce clef de voute des écosystèmes tropicaux, car ils assurent ainsi le maintien des populations de frugivores dans les forêts tropicales dans les périodes où très peu d'espèces d'arbres fructifient. L'interaction figuier/disperseur est plutôt généraliste, alors que le mutualisme figuier/pollinisateur, un exemple de nursery pollination, est hautement spécifique et obligatoire. Au cours de cette thèse, nous avons mis en évidence que les contraintes phylogénétiques et géographiques exercées sur la médiation chimique étaient négligeables, alors que les pressions de sélection que représentent les mutualistes sont nettement plus importantes dans l'évolution de cette médiation. Ainsi, sexe et stade phénologique du figuier et identité du partenaire mutualiste sont des informations qui peuvent être portées par la médiation chimique. Notre approche, globale et multidisciplinaire, des interactions entre les figuiers et leurs partenaires mutualistes aux deux phases de dispersions des gènes de la plante, permet une meilleure compréhension de l'évolution de la communication, et montre que les pressions façonnant ce message façonnent l'interaction elle-mêmeFor all living organisms, communication (intra-or interspecific) is the vehicle of information, anelement central to interactions among individuals. It thus has fundamental impacts on lifehistory traits of species, and is shaped by natural selection. This thesis is concerned with thechemical mediation of communication, i.e., the transmission of information by chemical signals,in the context of animal-plant interactions. We chose as a model system the interactionsbetween figs and their mutualist partners, including both pollinating fig wasps and vertebrateseed dispersers. Chemical mediation (in this case the emission of bouquets of volatilecompounds comprising terpenes, benzenoids and fatty acid derivatives) enables figs to ensuretheir reproduction by attracting pollinators and seed dispersers. There exist about 800 species ofFicus worldwide, principally in tropical regions. Figs, which fruit throughout the year, are oftenconsidered keystone species of tropical ecosystems, because their year-round fruiting maintainspopulations of seed-dispersing frugivores during fruit-poor lean seasons'. Interactions betweenfig species and seed-dispersing animals are generalist' (i.e., broad food species ranges), whilefig/pollinator mutualisms, examples of nursery pollination' systems, are highly species-specificand obligatory. In this thesis, we showed that phylogenetic and geographic constraints actingon chemical mediation are negligible, whereas selection pressures grounded in pollination andseed-dispersal mutualisms play a strong role in shaping the evolution of chemical mediation.Thus, chemical mediation carries information such as the sex and developmental stage of thefig tree, as well as the identity of the mutualistic partner. Our comprehensive, multidisciplinaryapproach to interactions between figs and their mutualist partners in the two phases ofdispersal of the plant's genes leads to an improved understanding of the evolution ofcommunication, and showed that the selective pressures shaping the message are also thoseshaping the interaction itself
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Andreasson, Christine. « De medeltida djurfigurernas idévärld : med kyrkomålaren Johannes Rosenrods exemplifiering ». Thesis, Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1917.
Texte intégralRésumé :
In the medieval ruling catholic time the church walls was swarmed with programs of pictures with religious motives there the animal figures rich symbolics was significant first and foremost for the illiterate. Principally the inspiration comes from the antiquitys pagan world of fables and bestiary Christian world of symbols with the bible as the essential source. The essay describes six of the most common animal symbols who occur; dragon, the sneak in the Paradise, mouth of hell, lion, the fox as a preacher and the devil. To attain to a discussion about why just animals are used as symbols for human characteristics in the medieval church art instead for human beings as it's actually be about, I have studied bestiary and other literature about medieval churchpainting to get an understanding about the history of ideas about the thoughts of the time and about symbolics of animals, worth and how the Christianity have had an influence on the pictures. I have used Johannes Rosenrods church pictures from Tensta church in Uppland from 1437 as an exemplification but also mentioned other unknown painters who used similar animal codes and motives. It's plausible that the purpose of the animal figures was both religious and political, which was used by both the spiritual and the worldly authority so they could keep their dominance over the peasant. The figures was simple to read and remember and they made a deep impression on the people together with the sermon. The churchgoer get so to speak a sound- and image experience, a medieval reality who impress their world of ideas. When it's about the artistic formation of religious expression and characteristics it was undoubtedly a great advantage for the artists to use an animal code like a schemata. The medieval unchangeable animal symboles was ready to be used for anyone who wished.
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Cabrera, M. Tamara A. « Vínculos, imagen de sí mismo e imagen de mundo en niños y niñas de 6 a 10 años víctimas de agresión sexual, a través del Test de Apercepción Temática Infantil con Figuras Animales (CAT-A) ». Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/139503.
Texte intégralRésumé :
PsicólogaUtilizando como instrumento de recolección de datos el Test de Apercepción Temática Infantil con Figuras Animales (CAT-A) se analizan a través de metodología cualitativa 10 narrativas de niños y niñas víctimas de agresión sexual de 6 a 10 años, buscando explorar y describir dimensiones del desarrollo: vínculos, imagen de sí mismo e imagen de mundo, dando cuenta de la afectación por la victimización. Analizando el contenido de las historias se obtiene como resultados: en la categoría Vínculos predomina una figura materna que satisface necesidades físicas y emocionales y la presencia de figuras negativas que pueden y hacen daño. La Imagen de sí mismo se configuraría como predominantemente negativa, construyéndose en la relación con otro y desde la afectividad. La Imagen de mundo es principalmente negativa, amenaza la integridad de sí mismo y otros. Además el CAT-A logrará dar cuenta de posibles consecuencias en la corporalidad y un posible reconocimiento de la figura del agresor
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Lukešová, Eva. « Atributy tělesnosti ». Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2018. http://www.nusl.cz/ntk/nusl-377166.
Texte intégralRésumé :
My thesis titled Attributes of corporeality is a continuation of my thinking on the topic of identity. Now I approach identity as a category, not as an identity that belongs to a particular person. I consider the question of how is identity shaped in a postmodern, globalized world and how is it related to corporeality. My answer is based on the reality I know, on the current state of society. However, the intention of my work is above all to express my idea, which is rather a utopian scenario than anything else.
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Tavakoli, Aram. « L' image de la femme dans les nouvelles de Paul Morand ». Paris 3, 2001. http://www.theses.fr/2001PA030022.
Texte intégralRésumé :
L'examen de l'image de la femme chez Morand nous paraît un moyen efficace pour apprécier la lucidité du regard que le narrateur-auteur porte sur la société à laquelle il appartient, afin de préciser la nature et le sens de l'ironie voilée et pour appréhender enfin comment l'auteur est parvenu à transformer la nouvelle image de la femme. Une lecture paradigmatique, permet d'analyser l'opinion ambiguë du narrateur en tant que sujet regardant masculin, sur l'objet regardé féminin. Paradoxalement, l'image de la femme n'est pas toujpurs valorisée et ne paraît moderne qu'en apparence !
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Jacobsson, Madeleine. « Dr. Eleine Mad ». Thesis, Kungl. Konsthögskolan, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-587.
Texte intégralRésumé :
Dr. Eleine Mad är Madeleine Jacobsssons talesperson för dom vetenskapliga och paranormala upptäckter som uppstår i hennes världar. Hon beskriver innehåll, teknik och estetik utifrån ett kategoriseringssytem där konsten delas upp som olika typer av komponenter och därefter avkodas dessa allteftersom. För att förstå intuitionens inblandning i arbetsprocessen omförvandlas den till tre separata roller av en Sökare, Samlare och Myntare. Med rollerna försöker jag beskriva på vilka sätt som intuitionen är till gagn eller av förödelse för det konstnärliga arbetet. Sagan om M handlar om en grodlik karaktär, Delop, som lämnar sin hemplanet för att uppsöka andra världar. I sitt sökande hittar Delop ett folkslag vars syn och levnadssätt skiljer sig från hennes erfarenheter av “verkligheten” såsom hon lärt sig att överleva i den.Dr. Eleine Mad is Madeleine Jacobsson's spokesperson for the scientific and paranormal discoveries that arise in her worlds. She describes content, tecniques and aesthetics based on a categorization system where art is divided into different types of components and then decoded as they go. To understand the intuition's involvement in the work process, it is transformed into three separate roles by a Seeker, Collector and a Myntare(In swedish language the one who is a "myntare" -is verbally declaring a concept or term). With these roles I try to describe in what ways intuition is beneficial or devastating to the artistic work. The story of M is about a frog-like character, Delop, who leaves the home planet to seek out other worlds. In her search, Delop finds a world whose views and lifestyles differ from her experiences of "reality" as she learned to survive in it.
Recorded sound and image material of the presentation is available for private use.
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CAPRILI, GIAN LUCA. « Gli uccelli come figure liminari nella concezione poetica di Jacob Grimm - Die Voegel als Grenzfiguren in der Poesieauffassung Jacob Grimms ». Doctoral thesis, 2015. http://hdl.handle.net/2158/1002273.
Texte intégralRésumé :
Il lavoro si propone di indagare la funzione peculiare riconosciuta agli uccelli nella concezione poetica di Jacob Grimm, le eventuali connessioni con i miti che connotano sin dall'antichità questi animali come creature liminari vicine al numinoso e il suo riscontro nelle numerose "Vogelfiguren" delle raccolte dei "Kinder- und Hausmaerchen" (è stata considerata la prima edizione del 1812/15, in cui è ancora fortemente presente l'impronta di Jacob rispetto al fratello) e delle "Deutschen Sagen". Il primo capitolo approfondisce il rapporto di Jacob Grimm con gli altri rappresentanti delle prime due fasi del romanticismo tedesco, focalizzandosi soprattutto sul tema della relazione tra uomo e natura, e degli aspetti più reconditi di quest'ultima, così come messi in luce dalla sensibilità romantica dell'epoca. Nel secondo capitolo è analizzato il ruolo privilegiato che Jacob Grimm assegna alla "Tierfabel" nella storia della poesia, nel cui ambito si colgono affermazioni singolari sugli uccelli, concepiti quali figure portatrici di sinistra inquietudine, staccate dal resto del regno animale. Altri riscontri in merito sono presenti in opere di tipo diverso e pubblicate in periodi anche lontani fra loro: la "Deutsche Mythologie", la "Geschichte der deutschen Sprache", il saggio di tipo naturalistico "Ueber den Schlaf der Voegel". I capitoli terzo e quarto approfondiscono il ruolo dei "Voegel" nelle due sopracitate raccolte grimmiane, attraverso l'analisi e il confronto degli episodi - fiaba o saga - in cui essi compaiono. SYNOPSIS IN ENGLISH: The research investigates on the peculiar role of birds in the poetic conception of Jacob Grimm and its possible connections to the ancient myths, that portray these animals as liminary creatures in frequent contact with the "Numinous", and to the numerous bird-characters of the two well-known Grimm Brothers' collections: "Children's and Household Tales" - the first edition (1812 / 15), to which the contibution of Jacob was still relevant, has been considered - and the "German Sagas" (1816 / 18).
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Pieterse, Tamaryn Lee. « The animal dimension : an investigation into the signification of animals in Homer and archaic Attic black figure vase painting ». Thesis, 2000. http://hdl.handle.net/10413/5799.
Texte intégralRésumé :
The aim of this dissertation was to investigate the representation of specific types of
animals as they occurred in Homer and archaic Attic black figure vase painting with a
view to understanding bow they were most likely perceived in antiquity. This
involved determining the underlying concepts around which each animal was
constructed by comparing and contrasting the imagery presented in the Homeric
works and archaic Attic black figure vase painting. The primary objective was to
suspend modern and westernized conceptions and to attempt to approach the animal
as from an ancient perspective. The Homeric works were chosen as representative of
the literary evidence since these poems offer the most complete, oldest extant
literature and are the result of a dynamic and continuous oral tradition. Similarly,
archaic Attic black figure vase painting was considered the most suitable corpus of
artistic evidence since the 6th century BC was a time when the artists actively engaged
with and manipulated their themes and subject matter within an established tradition;
this artistic fabric presents a parallel with the Homeric evidence. As a result of this
investigation, clear and discrete concepts and images were determined for each
animal.Thesis (M.A.)-University of Natal, Durban, 2000.
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Castilho, Hugo Jordão de Jesus Manita. « A figura animal e a fantasia na pintura ». Master's thesis, 2021. http://hdl.handle.net/10451/48865.
Texte intégralRésumé :
This artistic research project addresses some of the possibilities and ways of representing the animal figure in painting using aspects and mechanisms of fantasy – one of the recurrent human faculties of artistic creation - through the study of my artistic work and the works of artists who also reflect on the same. The investigation begins with the analysis of the mimetic representation of the animal figure, with an approach to the works of the painters Frans Snyders, Henri Rousseau and Franz Marc. Then, the presence of the animal figure in the elaboration of forms or in the fusion of the bodies of creatures (such as hybrids, monsters or fantastic creatures) is identified through the analysis of the first panel of the pictorial triptych The Garden of Earthly Delights, by Hieronymus Bosch, and the animated film Princess Mononoke by Hayao Miyazaki. Then, it is intended to define what fantasy is - with the help of the book Fantasia by Bruno Munari - and highlight its qualities as a human faculty of creation, using some of the works of the artists under study and, above all, my artistic work presented in this research project. This artistic work consists of a series of paintings with prominent volumes, composed with thick mass and enamel paint on canvas, in production since 2019. Finally, a counterpoint is established between the concept of fable and my artistic work, from the cinematographic screen to the pictorial screen, in which the similarities and dissimilarities are highlighted. Since the animal figure and fantasy are the basic themes of this research project, as well as of my practical work, a framework and reflection on themes such as anthropomorphism and animal ethics, and their pertinence in the current context, is presupposed.
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HUANG, YU-HAN, et 黃語涵. « Research of Taiwan Traditional Culture of 12 Zodiac Animals Rituals Applying to the Ambiguous Figure ». Thesis, 2017. http://ndltd.ncl.edu.tw/handle/ugu5qp.
Texte intégralRésumé :
碩士國立臺灣藝術大學
視覺傳達設計學系
105
Many changes occurred in the 21th century. Through recent advances in economy, the culture and the creativeness were integrated into new trends of different industries. The significance of each product becomes the core value through the constructing of the ideas, technologies and the sense of aesthetic. The 12 zodiac animals’ rituals of Taiwan traditional culture linked up the eastern customs with the art of bando. Taiwan traditional rituals contained the etiquette, customs, taboos and cuisine from time immemorial. In addition, it recorded the culture of Taiwan’s traditional food. However, Taiwan traditional culture was displaced by the western civilized culture with the development of technological progress. Therefore, for tracking down and spreading the spirit of Taiwan history, the researcher transferred the abstract customs to the visual language through the ambiguous figure. The first part of the creation was applying symmetry of the formal principle of beauty in creating six kinds of common bando feast to images. The second part of the creation was regarding ambiguous figure that different from the existing bando culture creation. By using multiple meanings, I would like to express the origin of the custom has its own symbolic meaning. The research included five stages. First stage was framing the research motive, purpose and methods. Second and third stage was inducing, organizing and analyzing the reference and cases of Taiwan traditional culture of bando as the background of the creations. The fourth stage was doing creations that were noted down the process of visualization of the bando culture and the thread of thought. The final stage was organizing the work, and making conclusions and follow-up recommendations. The research is expected to the reference material for the further relevant studies and creations.
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WU, HONG-RU, et 吳泓儒. « Ambiguous Figure applies to People For The Ethical Treatment Of Animals-A Case Study Based on the Poster Design ». Thesis, 2017. http://ndltd.ncl.edu.tw/handle/5fs5dc.
Texte intégralRésumé :
碩士亞洲大學
視覺傳達設計學系
105
In recent years the society enhanced day by day regarding the care animal and maintenance animal rights and interests consciousness, the Legislative also passed the trials “The Animal Protection Method” the partial article revision draft in July 7th, 2016, aggravation maltreatment animal's penal regulations. Although legislates regarding the animal rights and interests promotion is a good deed, but it is not enough reported from the news media, found that there are still many animals encountered by the dilemma is even more heinous, also was not known by the common populace! Therefore, by writing to this research ,voice for these in order to benefit the human suffering or even lose their precious lives Animals. The‘’Ambiguous Figure’’since have had the literature to record,Always full of interesting .Seemingly simple form but is a creator of the Inspired, and takes to the reader the infinite imagination space.As Leonardo di ser Piero da Vinci in his"Trattato della pittura" referred to say “You should have a look certain moist pollution the wall, or color motley stone…Can see the mysterious scenery from these things the image…Trees, hills, mountain valley…Also can see the fight the scene, the character, each kind of face expression, are putting on the form…Innumerable strange things….This kind of thing is same with the ding, can you the imagine word, which you want all to be possible to hear in the ding.” Poster design creation like speech art, as saying similarly a speech, be sonorous and forceful or gentle and graceful, one sputters one's words or persuasion and contrivance, all by the creators pinch, so that the creative process has unlimited inspiration and fun. Therefore this research hopes ,because of Ambiguous Figure’s interesting adds on the poster’s unique convincing ,voice for these because ours better life to suffering or even lose their precious lives Animals.
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Ying-Ju, Hsu, et 許盈茹. « A Creation study of the Character Design of Designer Toys-an example of the Personification as the Animal Figure ». Thesis, 2009. http://ndltd.ncl.edu.tw/handle/35197871550549053263.
Texte intégralRésumé :
碩士輔仁大學
應用美術學系碩士班
97
The growth of toy figure has its own background. People who eager for returning to the pure youth always dwell the imagination on toy figure.According to the composition of stories and the projection of local affection, every toy figure’s modeling image reflects its own content. With the investigation of toys’ history, this research integrates two specialities in contemporary society: 1.The reappearance of fashionable elements 2.The recognition of reminiscent emotions. The two specialities which represent contemporary development of toy put emphasis on the modeling of situations and the continuity of recollection. This research integrates every toy designer’s conception of their works from different countries into four points as below: 1.The originality by creators’ conception 2.The representation of completed structures 3.To combine all contradictory elements 4.A deeply pleasant sensation. Through the target of design, this conception of study generalize the creation of designer toys to communicate human and animals’ psyche in the course of evolution by linking the relationship between human and animals. The setting of mainly creation is to create the personification as the animal figure which reflects the human beings in “the jungle city”. All above this study, designer toys’ specialities and applications have three points to conclude: 1.Designer toys play an important role to reflect contemporary culture 2. Designer toys cause a phenomenon of consonant affections 3. Designer toys start modeling aesthetics trend. For these reasons, it is expected to carry out the specialities of contemporary toys by this study.
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Oliveira, Pedro Miguel Domingos Jorge de. « Desenho das figuras iconográficas do Portal Sul do Mosteiro dos Jerónimos ». Master's thesis, 2013. http://hdl.handle.net/10451/8965.
Texte intégralRésumé :
Tese de mestrado, Desenho, Universidade de Lisboa, Faculdade de Belas Artes, 2013The main purpose of this work is, identifying and cataloguing the major iconographic figures carved on the South Entrance of the Jerónimos Monastery, highlighting the best figures of the animals represented, and with fantastic character. The choice of the elements to draw, whether animals or figures, was made according to the importance of each element in the context of the portals. This criterion takes particularly into account the symbolism of the figures represented in the gothic/manueline movement. All this work is mainly focused on the drawing based on the material gathered from the research carried out over recent months, seeking a new approach to a subject less explored, and helping to identify and clarify many of the sculptures, some of them already quite worn due to the passage of time over five centuries. Being a work of artistic design, using the aid of the conventions, methodologies and drawing techniques applied within the schientific design. This was added by archaelogical design. Therefore we can obtain a better understanding and interpretation of some elements of difficult recognition, or even unrecognizable ate first look. This will help to disclose any doubts regarding the shape/design of some elements. This work has a pratical application as a component essentially informative and communicational about the real dimension and importance of the South Entrance, with the possibility of its orientation for tourism
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Oswald, David G. D. « Of dogs and idiots : tropological confusion in twentieth-century US fiction ». Thesis, 2018. https://dspace.library.uvic.ca//handle/1828/10110.
Texte intégralRésumé :
This dissertation examines dog and idiot tropes—and, specifically, the conflation thereof—in William Faulkner’s The Sound and the Fury (1929), John Steinbeck’s Of Mice and Men (1937), and Cormac McCarthy’s Blood Meridian, Or The Evening Redness in the West (1985). In addition to illustrating the key roles the idiot/dog figure plays in canonical works of twentieth-century U.S. fiction, it argues that this conflation is too often presumed to signify denigration (i.e. a social, political, and ethical exclusion) and degeneration (i.e. a biological threat). Around the turn of the century, the idiot/dog emerges as an aesthetic figure in conjunction with contemporaneous practices of dog breeding and eugenics, as well as co-extensive discourses of national progress and racial purity. In this context, literary idiot/dogs can be read as enciphering a violent historical subtext. Yet, rather than simply condemn this figure as a dehumanizing stereotype, this dissertation challenges such a reductive approach on the grounds that it risks reproducing a hermeneutic that is both ableist and speciesist. A new approach is proposed: reading for the tropological confusion of idiocy and caninity and the destabilizing affective and epistemological effects this poses for liberal subjectivity. Reading for tropological confusion in the fictions of Faulkner, Steinbeck, and McCarthy not only develops new interpretations of three canonical works; it unlocks the idiot/dog figure as a site of textual excess. In so doing, this dissertation makes original contributions to twentieth-century U.S. fiction scholarship, Disability Studies, Animal Studies, and biopolitical theory. The idiot/dog figure’s in/determination—a paradoxical embodiment of humanized canine animality and animalized human mental disability—catalyzes hermeneutic and affective uncertainties. Ultimately, both impinge upon questions of readers’ own abilities to: (i) fully parse the fictions idiot/dogs appear in, and (ii) self-reflexively understand themselves as autonomous, human(e) subjects. Each chapter carefully elaborates this figure’s centrality to the textual operations of, respectively, The Sound and the Fury, Of Mice and Men, and Blood Meridian in terms of their narrative and meta-narrative dimensions; this reveals under-examined continuities. By arguing for idiot/dogs’ disruptive potentials (i.e. affective, epistemological, and ethical), this dissertation bridges and extends previous Disability Studies and Animal Studies interventions that link literary representations to social and material contexts. Also, it further intervenes in these subfields by elaborating the biopolitical reasons for and ramifications of the idiot/dog figure’s emergence in twentieth-century Anglo-American fiction. Each chapter outlines how and why idiot/dog figures constitute a means for harmonizing readers’ experiences, thoughts, desires, and feelings with the normative U.S. social and symbolic order—a national order that hinges on recognitions and denials of human subjectivity, as well as on the production of subjectivity in which fiction is implicated. Ultimately, by closely analyzing literary idiot/dog figures, this dissertation contributes a biopolitical critique of the ontological production and governability of readerly subjects themselves.Graduate
2021-09-05
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Dušková, Andrea. « Vybraná problematika paremiologie etnika Viet ». Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-321510.
Texte intégralRésumé :
This thesis examines selected aspects of the Việt Ethnic group paremiology based on field research which was carried out from January to June 2012 in Ho Chi Minh City. First, the thesis focuses on facts about paremiology and the Việt Ethnic group's language in general. Then, field research based on a quantitative survey regarding usage and knowledge about proverbs in Vietnam is included. Thesis deals in detail with the basic contextual symbolic nature of proverbs. Finally, chronological examination of some proverbs and their approximate age is incorporated.