Littérature scientifique sur le sujet « Jeux de Spectateurs »
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Articles de revues sur le sujet "Jeux de Spectateurs"
DA FONSECA, Thomas. « De Super Mario à Arcane : Une plongée dans l'évolution des adaptations de jeux vidéo en séries ». Transcr(é)ation 3, no 1 (15 septembre 2023) : 1–19. http://dx.doi.org/10.5206/tc.v3i1.16476.
Texte intégralChapitaux, Médéric. « La cérémonie d’ouverture des JO de Paris 2024 : une faille dans l’organisation ? » Hérodote N° 192, no 1 (1 janvier 2024) : 67–77. http://dx.doi.org/10.3917/her.192.0067.
Texte intégralChoquet, Elise, et Natalia Marcela Osorio Ruiz. « Proximisation discursive et co-construction de communauté sur Twitch ». SHS Web of Conferences 78 (2020) : 01012. http://dx.doi.org/10.1051/shsconf/20207801012.
Texte intégralChappelet, Jean-Loup. « La lutte pour la gouvernance du sport mondial ». Hérodote N° 192, no 1 (1 janvier 2024) : 11–29. http://dx.doi.org/10.3917/her.192.0011.
Texte intégralDebien, C., et G. Marcaggi. « Le Psylab : des psychiatres 2.0 ». European Psychiatry 30, S2 (novembre 2015) : S144. http://dx.doi.org/10.1016/j.eurpsy.2015.09.286.
Texte intégralDehouve, Danièle. « El cuerpo y lo virtual : Danzas y combates en Mesoamérica / Le corps et le virtuel : danses et combats en Mésoamérique ». Revista Trace, no 83 (31 janvier 2023) : 5. http://dx.doi.org/10.22134/trace.83.2023.867.
Texte intégralFraser, Marie. « Les jeux narratifs des remakes de Pierre Huyghe ». Jouer, no 9 (10 août 2011) : 45–58. http://dx.doi.org/10.7202/1005529ar.
Texte intégralTruchot, Pierre. « Quand la lumière se révèle (Charles Lapicque, Julio Le Parc, Garcia Rossi, James Turrell) ». Figures de l'Art. Revue d'études esthétiques 17, no 1 (2009) : 95–110. http://dx.doi.org/10.3406/fdart.2009.870.
Texte intégralCarrié, Jérôme. « Les métamorphoses au miroir de l’eau. De la projection à l’immersion ». Figures de l'Art. Revue d'études esthétiques 26, no 1 (2014) : 101–11. http://dx.doi.org/10.3406/fdart.2014.1627.
Texte intégralBabeux, Sébastien. « Le spectateur hors jeu : investigation ludique du réseau interférentiel ». Jouer, no 9 (10 août 2011) : 79–98. http://dx.doi.org/10.7202/1005531ar.
Texte intégralThèses sur le sujet "Jeux de Spectateurs"
Samson, Jacques. « SCULPTURE TOUTOUS Le rapport affectif entre l'oeuvre, son créateur et le spectateur ». Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/26984/26984.pdf.
Texte intégralHuang, Yuchen. « Meritocracy and Redistribution ». Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0022.
Texte intégralThis PhD dissertation studies the relationship between belief in meritocracy and demand for redistribution with survey and experimental data and with a particular focus on China. Specifically, the dissertation revisits a commonly used assumption in the literature which equates the differences in results due to effort or personal responsibility with fairness and un-redistributability, and those due to circumstances or luck with unfairness and demand for redistribution.In the first chapter I use cross-national survey data to explore whether the assumption of meritocratic preference hold across the world. I found that that such preferences these preferences are mainly, if not only, found in Western, Educated, Industrialised, Rich, and Democratic (WEIRD) countries, especially Anglo-Saxon and Protestant European natiions. A positive correlation between belief in the role of effort in success and demand for redistribution is widespread in countries outside of the western developed world, where the more one believes that effort pays off, the more he or she desires redistribution.The second chapter, co-authored with Yuqian Nora Chen and Zhexun Mo, is a survey experiment with a representative sample of China citizens which shows that the respondents significantly reduces their demand for redistribution when they see examples of people getting rich via non-meritocratic ways that are representative of the market transition period. A subsidiary survey further confirms that the respondents do not understand these examples as signs of personal ability or governmental inefficiency. We conclude that those examples representing the lucky few in the transition process enjoy a high legitimacy among the Chinese respondents for two potential reasons: relative fairness compared to pre-reform politically manufactured inequality and a self-interest motivation for the whole population to justify the gain in the transition process.The third chapter, co-authored with Margot Belguise and Zhexun Mo, discusses one of the potential reasons of such preference, at least in the case of China: a strong status quo conformity. We revisit a recent experimental result by Almås et al. (2021) where the Chinese people appear to not differentiate between merit- and luck-based inequalities. We propose that this phenomenon might be due to the Chinese public’s greater adherence towards the status quo which lead to a seemingly low preference for redistribution both when inequality is due to effort and due to luck. In order to test this hypothesis, we run an incentivized redistribution experiment with elite university students in China and France, by varying the initial split of payoffs between two real-life workers to redistribute from. We show that Chinese respondents consistently and significantly choose more non- redistribution (playing the status quo) across both highly unequal and relatively equal status quo scenarios than our French respondents; and that the Chinese respondents who move away from status quo do differentiate between merit- and luck-based inequalities. Notably, our findings show that Chinese individuals’ conformity to the status quo is particularly pronounced among those from families of working-class and farming backgrounds, while it is conspicuously absent among individuals whose families have closer ties to the private sector
Caron, Elsa. « L'école du spectateur en français langue étrangère. Pratiques créatives du langage dans le rapport à la théâtralité ». Thesis, Lyon, 2020. http://www.theses.fr/2020LYSEN022.
Texte intégralConsidered as a tool to understand living performance, the school of the spectator encourages participants to apprehend drama as a living artistic practice through representation. This work considers the spectator in his or her relation to the foreign language through the experiment of theatricality. The targeted language of learners builds up through the confrontation with the languages of the stage. First, we define the school of the spectator as a practice of theatricality considered as the specificity of theater enunciation, the issues are then considered within the context of French as a foreign language acquisition. Our methodology confronts interactionist perspectives in the collective reception of plays, discourses and gestures analysis, in particular in dramatic play. The study demonstrates how the learners take ownership of the performance by co-rebuilding it through interactions and by leaning on a form of collective memory. We then examine the role of emotions and perceptions in the reception and construction of several languages, underlining the aesthetic relationship built between participants and the performances. We analyze how the subjectivity of learners grows, especially through the identification process. Finally, the school of the spectator is considered as a place for the exploration and experimentation of languages through the creative re-working of the scenic language. This practice allows a third voice to emerge in the crossing of various forms of enunciation, creating interdiscursivity processes produced by the always active reception of performances by spectators
Velasquez, Angel Ana Milena. « Le jeu du clown dans la Colombie contemporaine : la renaissance du clown, un acteur social et politique et le rire du spectateur de résistance et de liberté ». Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030005/document.
Texte intégralClown acting in contemporary Colombia is developing. Even though the figure of clowns has always being present in society, regardless of its forms through history, we are now witnessing the rebirth of the art of clowning in Colombia in the last decade. The art of clowning becomes an enhancement possibility of comic and poetic language of the artist in the current Colombian society, conferring the clown actor a social and political role, and allowing the spectator to live a form of resistance and freedom from their daily violent reality.The historical perspective of the circus as modern artistic language allows understanding how the clown is built up and developed through the XIX and XX centuries until the point of becoming an independent art with its foray into theater and theater schools. This perspective aims to provide the theoretical foundations of the birth and evolution of the circus and the clown in the circus since the time of pre-Hispanic America until contemporary Colombia. The historical perspective points out that the existence of comic and clownesque characters in the Pre-Columbian culture and during the colonization era can be recorded even before the clowns’ arrival to the modern circus after the XVIII century. The history of Latin America popular celebrations and the itinerant and comic characters are developed at the same time as the spectacular religious forms of the Spanish ideology. The European and American circuses arrived amid an atmosphere of resistance and, later, of independence. The history of the circus in Latin America begins to be written.The Latin American economic model, the recent cultural industry and the lack of schools for circus training mark the circus evolution as a social institution which, through its discipline and techniques, looks to form young people and children that are in violence situations. On the other hand, the theater is subjected to divisions between tradition and the emergence of modern ideologies on actor’s training until the consolidation of the artistic method of collective creation. The traditional circus clown becomes a kind of stereotype with the clownesque duos on T.V., the clowns in the streets and restaurants, and the beggars dressed up as clowns.This study approaches the semiotic elements of the new clowns’ figure as an independent art encouraged by French Jacques Lecoq’s pedagogy, spread all around the world with an important impact in Latin America, where this pedagogy meets the collective creation based on improvisation. It arrives through international theater festivals, where artists and spectators have access to the panorama of the clown art around the world, by means of courses and shows renewing the clown’s marginalization phenomenon through an artistic and social status change. The established practice of collective creation, the collective work and the involvement of theater in social and political transformation of the country, meet the language of the new clowns to give shape to absolutely strong and original collective clownesque creations.We will focus on the function performed by the contemporary clowns in the current Colombian society resulting from a large period of crisis marked by confrontations and successive waves of violence. Humor, as a particular feature of the culture and becoming an unquestionable way of facing a painful reality, meets the clown, who makes possible to recover the sacred value of the shaman, bobo, buffoons and mad characters of history. Thus, recognizing the foray of clown language into different fields (the hospital, the humanitarian and the social ones) in Colombia, it is possible to accept that the spectator lives a form of freedom through the communication established with the clown in the laughing
Livres sur le sujet "Jeux de Spectateurs"
Forichon, Sylvain. Les spectateurs des jeux du cirque à Rome (du Ier siècle a.C. au VIe siècle p.C.) : Passion, émotions et manifestations. Bordeaux : Ausonius éditions, 2020.
Trouver le texte intégralDort, Bernard. Le spectateur en dialogue : Jeu du théâtre. Paris : P.O.L., 1995.
Trouver le texte intégralCapponi, Matteo. Parole et geste dans la tragédie grecque. À la lumière des trois « Électre ». Éditions Alphil-Presses universitaires suisses, 2020. http://dx.doi.org/10.33055/alphil.03145.
Texte intégralChapitres de livres sur le sujet "Jeux de Spectateurs"
Forichon, Sylvain. « Violence et jeux publics dans la Rome impériale : étude comparative des heurts entre spectateurs lors des pantomimes et des courses de chars ». Dans Violence et jeu de l’Antiquité à nos jours, 193–209. Presses universitaires de Caen, 2023. http://dx.doi.org/10.4000/books.puc.27286.
Texte intégralSERVIAN, Claudie. « Les performances dansées d’Yvonne Rainer ». Dans Performance dans les Amériques, 31–42. Editions des archives contemporaines, 2024. http://dx.doi.org/10.17184/eac.8113.
Texte intégralMolinier, Pascale. « Jack le masochiste ». Dans 24 heures chrono, naissance du genre sécuritaire ? Librairie Philosophique J. Vrin, 2022. http://dx.doi.org/10.53984/philoseries06439.
Texte intégralActes de conférences sur le sujet "Jeux de Spectateurs"
Corbí-Sáez, María Isabel. « Le symbolisme de la mer dans Les Plages d’Agnès Varda au miroir de la littérature ». Dans XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia : Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3069.
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