Thèses sur le sujet « Littérature dans l'art »
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Rutily, Aline. « Tapis-jardin. Migration, mutation, transculturalité : entre Orient et Europe, arts visuels et littérature ». Paris 1, 2012. http://www.theses.fr/2012PA010654.
Texte intégralBuffet, Laurent. « Les pratiques intinérantes dans la littérature et l'art contemporains ». Paris 1, 2009. http://www.theses.fr/2009PA010597.
Texte intégralGuyon, Delphine. « La conception de la mort à travers la littérature et l'iconographie macabres médiévales ». Cergy-Pontoise, 2001. http://www.theses.fr/2001CERG0118.
Texte intégralPla, Soline. « L'art magique dans la littérature des années 50 à 70 ». Toulouse 2, 1999. http://www.theses.fr/1999TOU20109.
Texte intégralGabion, Denhez Caroline. « Les danses macabres et leurs métamorphoses (1830-1930) ». Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/gabion_c.
Texte intégralQuentel, Cécile. « Les pouvoirs de la souffrance féminine au Moyen Âge : l'utilisation politique et symbolique des femmes douloureuses dans les manuscrits français de littérature et d'histoire (1380-1500) ». Paris, EHESS, 1994. http://www.theses.fr/1994EHES0338.
Texte intégralThe development of the pictures of suffering during the xivth and xvth centuries concerns religious art, but also the texts and illustrations of books of history and literature. The study of dolorism shows us the major part taked by feminity in both writings and paintings. In the berry, orleans and bourgogne courts's libraries, fifty-four manuscripts of nine texts hab been selected. These are : boccacio's "des cas" and "des cleres femmes", histoire ancienne jusqu'a cesar, valere maxime's faits et dits memorables, roman de la rose and rene d'anjou's livre du cuer d'amours espris. With forty-two women from antiquity and eleven allegories of vices, three hundred and forty unpublished pictures formed the base of this study. This analysis is built in three parts : one about sources and their cultural inheritance; one about the scenography of female suffering and the grievous expressions of these figures; the last one is an analysis of the signification of suffering through female allegorical figures of pain. Princes use women as a way to express their own doubts about power. Through princely vizualisation, a link is established between political power and female power to give birth
Vidal, Éric. « Les rapports entre la peinture surréaliste et l'inconscient dans la littérature européenne ». Toulouse 2, 1995. http://www.theses.fr/1995TOU20027.
Texte intégralThe german romantic movement asserted itself as art as being mad sacred and vested with an ontological function. That process of regarding art as sacred was accompanied by the reduction of non verbal arts to the paradigm of poetry as being the essence of art, a common principle that allows to bring artistic fields nearer to each other. That theory of poetic creation focused the debate on language, a guenuine language that both freud and the surrealists situated in the inconscious, its mechanisms, its expression. Assimilating poetry (as the language of desire) to the mechanisms of the inconscious caused artistic modernity and particulary surrealism to wonder about the relations between subjectivity and creation, by means of automatism, the metaphor and the principle of analogy (wich is a constituent part of inconscious activit) the correlative liberation of the techniques, the materials, the signifiers and the subjhect clearly set the problem of the role of the individual and of the inconscious within creation. Thus, surrealistic painting, wich is tributary both of the romantic theory of art and of the pictorial revolutions of the early twentieh century, found itself torn between its representative function and the play on the plastic signifiers, the materials. The same situation can be found in automatic writing, with the coexistence of the narrative reasoning and the dynamism of shapes. That conflict makes up the surreality itself, and only the preconscious seems able to achieve the synthetis of those tendencies throughthe analogical principle, wich is the dey to modern art
Vienne-Guerrin, Nathalie. « L'art de l'injure dans le théâtre de Shakespeare ». Paris 4, 1998. http://www.theses.fr/1997PA040300.
Texte intégralWe intend to show how Shakespeare turns insults into an art which is both poetic and theatrical. To do so, we will examine insults from various angles and try throughout to consider each insult in its context. After having described the political, religious, historical, social and legal status of swearing in Elizabethan England, we will see how the Shakespearean stage stands out as a monument to insults in a world which tried to "tame the tongue" by all means. In the Elizabethan society, swearing is a sin, a tort, a crime, or a blow to one's honor. Shakespeare knows how ro rewrite the insults of his time, to make an art which is striking for its thematic diversity, its metaphorical richness and its rhetorical ambivalence. The insulter's rhetoric combines thrift and extravagance, measure and excess. But insults can also be expressed through wit and be based on verbal cannibalism, when the insulter uses his opponent's words as ammunition. Shakespeare also makes the most of the spectacular and dramatic potential of the insults, when he represents them in gestures and actions, when he explores the gaps between its emission and its reception, and when he uses flyting as a trigger for the action, as a ritual prelude to the action, as a game, or as a spectacle in itself. Shakespeare's art consists in knowing how to exploit the insulting potential of every word, action or gesture. At each stage of our study, swearing will appear in all its ambivalence. It will mean both freedom and control, convention and creation, violence and games. Grasping the beauty and richness of Shakespeare’s art through insults: such is the challenge we have attempted to take up
Bazile, Sandrine. « Le saltimbanque dans l'art et la littérature de 1850 à nos jours ». Bordeaux 3, 2000. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2000BOR30025.
Texte intégralLee, Sin-Ja. « L'art dans la poétique d'Yves Bonnefoy ». Paris 8, 2004. http://www.theses.fr/2004PA082413.
Texte intégralIt is a question of the observation of the varied contexts in which Bonnefoy’s works were created. This author approximates, in his poems and in his recitals, the works of such artists as Nicolas Poussin and Piet Mondrian. In the texts that Bonnefoy wrote before and after his meetings with the artists and looking at their works, the subjects fix their itineraries. The language of these subjects is the tongue. This isn’t positive and it does not demonstrate anything learned by some facts. According to the modality of their rhythmic tongue and discourse, the works of art take on value. The interpretation of the subjects concerning the artistic works and these works interpreted by the subjects are therefore placed into relation. Bonnefoy’s literary works and the works of art are also able to have something in common. In the two domains, the world is characterized by two places : the « here » and the « back country ». Particularly, the more the subjects approach the « back country », the more the « back country » moves away from them. Namely, the frontier between the « here » and the « back country » is prolonged frequently. This aspect is the preparation for the union of the interior and of the exterior. The notion of space determines then this one of « threshold »
Chalard-Fillaudeau, Anne. « Rembrandt dans l'histoire de l'art, la littérature et la philosophie européennes depuis 1669 ». Paris, EPHE, 2002. http://www.theses.fr/2002EPHE4032.
Texte intégralThe existence of a Rembrandt-mythology and the importance of the meanings related to the name and work of the Netherlandish artist arouse a certain number of questions about his belonging to the European cultural landscape, and more specifically about his representations. Thus, studying the way Rembrandt is referred to in European art history, literature and philosophy enables us to understand why Rembrandt is a cultural symbol; but it also reveals the extent to which the phenomenon of the symbolical -valorization of the artists and works is determined by the different cultural fields and by the different cultural areas; and, last but not least, it enables us to grasp the acknowledgment and representation of genius through Rembrandt, a major concept as it expresses a European specificity, a universe of cultural representations that revolves around the ideas of creation, freedom, being and universality
Marinescu, Alina-Daniela. « Reflets : les fonctions de la représentation du miroir en peinture et en littérature ». Lyon 3, 2010. https://scd-resnum.univ-lyon3.fr/in/theses/2010_in_marinescu_a.pdf.
Texte intégralThis is a study of the anti-mimetic paradigm of art using the expressions of the distorted mirror and the specific cases of the non-mimetic reflection since Antiquity until the end of the 15th century. We have decided to place our research of the Antiquity in the Greek and Roman cultural spaces and of the Middle Ages and Early Renaissance in the Italian and French cultural spaces. In accordance with our multidisciplinary study, we have analysed the various occurrences of the distorted mirror in the areas of literature, philosophy, art theory, and painting, as well as in sciences, such as optics and catoptrics. By considering the distorted mirror as the symbol of the anti-mimetic paradigm of art, we have followed its expressions according to four perspectives. The first perspective considers the importance given by optics and catoptrics to the specular instrument and, in particular, to the study of the laws of reflection for the distorted mirrors. The second perspective, the symbolic one, is represented by the analysis of the occurrences of the distorted mirror and of the specific cases of the non-mimetic reflection in philosophy, literature and painting, and more specifically of some of the themes and motives related to the mirror. With the third perspective, the aesthetical one, we analysed the artistic theories, in particular the ones that consider the specular metaphor, by following the two paradigms of art: mimesis and anti-mimesis. The functions of the specular representation in paintings constitute the last level of our research where we have focused especially on the distortion of the reflected image and on its meta-pictorial role
Albert, Nicole G. « Saphisme et décadence dans l'art et la littérature en Europe à la fin du XIXe siècle ». Paris 4, 1998. http://www.theses.fr/1998PA040054.
Texte intégralThis dissertation is divided into six chapters. My first chapter is concerned with the mythical figure of Sappho as she was constructed and sexualized through philology and the new translations of her poetry at the end of 19th century. As Sappho is linked to the island on which he lived, my second chapter focuses on Lesbos and other doomed cities, which decadent artists used to elaborate a topography of vice. Sapphism was turned into not only a vice but also a malady. The pathologisation of the lesbian was then delineated through the medium of artistic expression or through the clinical categorization of sexual deviance, both explored in chapter three. Unsurprisingly, sapphism was also involved in the emerging third sex, which i deal with in chapter four, which covers transvestism and transsexualism. From this perspective, the lesbian, who not only looks and dresses like a man but also encroaches upon the male sexual role, can be seen as the epitome of the decadent androgyny. As she becomes the locus of fears of degeneration and worldwide sterility, the “damned woman”, as she is outlined in my fifth chapter, is punished for her sexual subversion to which satanic motives are attached. Therefore, in claiming virginity and sterility as the icons of her sexual freedom and independence from men, she not only challenges nature but decadence itself. Nevertheless, the lesbian was eventually poeticized by fin de siècle artists. Indeed my last chapter shows how the narcissistic Sapphic figure was linked to a poetic of the double that simultaneously enables and questions the voyeuristic attitude of the male artist towards her. But the lesbian also symbolizes an artificial quest for a beauty outside of nature that mimics the aesthetic and stylistic researches of decadence. Utilizing a wide variety of artistic and literary works as well as medical reports, this dissertation thus tries to demonstrate the recurrence of a character and a motif that shaped the decadent era
Violin-Savalle, Maryse. « Images croisées de la femme romantique à travers la littérature et la peinture, en France, de 1765 à 1833 : esquisse, genèse et développement d'une typologie imaginaire ». Paris 3, 1997. http://www.theses.fr/1997PA030065.
Texte intégralThe object of this research work is to study feminine characters in french literature and figures in history or genre painting between 1765 and 1833 ; it compares and links them together so that their common specific features are brought out in order to define a romantic woman type, its significance in artists' and writers' imagination of that period, as well as the originality of this dreamed woman if compared to feminine images in previous and following centuries
Geyssant, Aline. « Jardins d'Orient et d'Occident : étude d'un "topos" dans la littérature et l'iconographie médiévales : XIe-XVe siècles ». Paris 3, 1999. http://www.theses.fr/1999PA030007.
Texte intégralThis work is a study of the topos of the garden and of the open spaces which are reminiscent of it, in eastern and western countries, in medieval literature and iconography, from the end of the eleventh century to the fifteen century. We are dealing with the formation and evolution of this rhetorical and pictorical form, while focusing above all on the literature and pictorial representations, in medieval france and spain, as seen through relationsphip with the arabislamic forms of the topos. For that purpose we will first be considering the origin of that space. They are religious as well as secular. The topos comes into being by opposing itself to antithetical forms and by gradually refining its denominations. Besides, the topos of the garden is the place where the conflictual relationship between text and pictures are expressed in the course of the middle age. It is a social place where power is strenghened through focalisations. Though, the topos space is structured both within the enclosure of hortus conclusus and without, since the garden marks out the wild universe. Thus, it plays a part in the making of the narration. Lastly, as the poet's favorite place, it is a metaphoricla space, where the complexity of images in the middle age is expressed. It's precisely when a deconstruction of that image comes about in early renaissance, that the medieval form of the garden disappears
Soulillou, Jacques. « La représentation du crime dans l'art aux 19ème et 20ème siècles ». Paris 1, 1994. http://www.theses.fr/1994PA010631.
Texte intégralElisabeth, Cécile. « L'image de l'homme noir dans l'art de l'espagne et de ses vice-royautes du xve au xviiie siecle. Iconographie et references litteraires ». Paris 4, 1997. http://www.theses.fr/1997PA040177.
Texte intégralOur aim is to show how the black man has been depicted in the art of spain and its vice- royalties from the xvth century to the xviiith century, by confronting the various views of the black man supplied in iconography and litterature, views at times not quite concordant, to convey a much thorough picture. What we notice is an evolution in the way depicting the black man, due to the parsing of time and the + peninsularization-depeninsularization- americanization ; that ensued. In those time of counter-reformation, religious themes were prevailing and the black magus is an excellent example. He stands as a positive figure, in opposition to a long tradition considering black as synonym of malice as well as the reminder of the conflicting contacts with the moors. As an imaginary figure, he initiates a process of " negroization " reproduced later in other figure-types such as the executioner. In america, a quite different whitening or simply tanning phenomenon is recorded. After the white people had first come into contact with the indians and the blacks, thus making not only two, but three worlds to meet, fact duly highlighted in codices and chronicles, it will take almost a whole century for a genuine picture of the black man to emerge, thanks to biological and cultural crossbreeding. The black-white binary chromatic opposition in use through the iberian peninsular is no longer ad hoc for america. It is far too limited in comparison with the melting- pot of crossbreeding and its ethnological art. This typical theme so striking in hispanic art, wavering between attraction and rejection, pictures the route followed by the black man. At first exogenous, he manages to blend himself progressively into an indigenous being. The theme also provides us with matter related to the mediterranean development via the spanish way, at the door of the german empire
Conant, Chloé. « La littérature, la photographie, l'hétérogène : étude d'interactions contemporaines : C. Boltanski, W. Boyd, S. Calle, G. Davenport, J. Roubaud, W.G. Sebald ». Limoges, 2003. http://www.theses.fr/2003LIMO2008.
Texte intégralLe, Naour Sandrine. « Ulysse dans la littérature et les arts en France de la Renaissance à 1730 ». Rouen, 1995. http://www.theses.fr/1994ROUEL199.
Texte intégralMarchais, Bénédicte. « L'ombre et la lumière dans les arts à la jonction des XIXe et XXe siècles : éléments de réflexion pour associer les arts entre eux ». Paris 4, 1999. http://www.theses.fr/1999PA040143.
Texte intégralThe essential question of our research is to know how to associate works of art together on the basis of shadow and light. We will try to answer this question through a significant selection of examples made out from our sensibility, our faculty to feel what links the works together and by trying to draw constants. The comparison of artistical disciplines is a theme that has often been treated. Thus we have chosen a parallel study of shadow and light in music, painting, and literature, for these elements express contrats, shades, reflections, transparencie or opaqueness. The period studied will start from impressionism to focus on Symbolism between 1880 and 1930 approximately. Our references will be taken from France, Northern Europe, Eastern Europe, and in particular instances, from the USA. Our research will show the shadow and light thus constitute important properties, common to theses three disciplines which reveal an aesthetic convergence while leaving each of them their characteristics and freedom of expression
Padovani, Simona. « « Un sentiment inconnu » : L'art italien dans l'Arrière-pays et dans les écrits d'art d'Yves Bonnefoy ». Caen, 2014. http://www.theses.fr/2014CAEN1030.
Texte intégralIn his Dialogues on Poetry, Yves Bonnefoy refers to Italy as the country where the mirage of the « arrière-pays » (« the back country ») takes place and his aesthetic haunting is elicited. This study aims to elucidate the relevance of Italian art in the poet’s critical and fictional writings. Dealing with the topic, we chose a theoretical and phenomenological approach and focused our research on the semiotics of art. Yves Bonnefoy’s critical and poetical writings engage visual semiotics in the fine arts through a complex relationship: a dialectic second act in the thought process. Yves Bonnefoy provides a background for looking at art criticism by questioning the ontological distinction between being and desire theories. Our research project investigates a cognitive paradigm inasmuch as, in the poet’s terms, « the dream of the desire for being », « the ontological desire for meaning » is unquestionably assumed to be the metaphysical concern of great Italian art
Franceschi, Élisabeth de. « Pulsion de mort et sublimation : la création littéraire et artistique ». Paris 4, 1994. http://www.theses.fr/1994PA040085.
Texte intégralThe aim of this research is to study the impact of death instinct on sublimation, particularly its influence on the act of artistic creation ; the fields of exploration are literature, music, plastic arts ; the method of investigation is psychoanalytical. The first part is focalized on the concept of death instinct in psychoanalytical theory, referring to sublimation (symbolized by osiris) and creation (symbolized by orpheus) ; then the "passion" suffered by the subject (the creator) during his proper act is examined : death or absence of the ego, metamorphosis, transfiguration of the creator ; one chapter in devoted to psychosis and the root of sublimation. The vanishing, the desire of nothing, can be considered as the end (termination or aim) of the creation and of the creator. Finally occurs the study of the passion inflicted by the creator to the object (the original object, the modification or the metamorphosis of products the created object - the work of art) and of its consequences : the various kinds of relief (aufhebung) after the "murder" or the normal corrosion of the object - resurrection, fictitious incarnation, transfiguration and vanishing in the nothing or in the abstraction. The example were chosen as well in ancient times (the bible, plato, the myth of helen) as in nowadays (pierre jean jouve, abstract painters)
Journeau, Alexandre Véronique. « La pensée du geste dans les arts du lettré ». Paris 7, 2005. http://www.theses.fr/2005PA070017.
Texte intégralIn China, between poetry, calligraphy-painting and music, there is a close relationship: they are compared. From the points of view of artistic gesture, aesthetic thought and sensitive receptivity of which this study reveals a common aesthetic order based on Nature as a source as well as an ending. A double approach, practical then theoretical, aims to focus on the similarity points between musical and pictorial arts: some poetical metaphors are helpful to accomplish appropriate gestures, at the centre of the literati apprenticeship, and their contribution to the practice by the way of mental imagery is the subject of the first chapter; some broad principles in aesthetics, set up during the fifth century, have been perpetuated since the ancient times and are enlightened by mutual comparisons in the second chapter after a preliminary study of basic precepts in each art. As a metaphorical expression prior to the gesture and echoes of a sensitive perception posterior to the gesture, poetry is an ideal factor for the transmission between gesture and thought: the analysis of some tri-facet art-works - poetical, musical, pictorial - shows in the third chapter that Nature is in the heart of this double representation-communication (thought-interiority and gesture-exteriority)
Joly, Jehanne. « Le Graal, réécriture et représentation : étude des variations d'un motif littéraire (fin du XIIe siècle-XIIIe siècle) et iconographique ». Paris 4, 1995. http://www.theses.fr/1995PA040073.
Texte intégralMargossian, Cecile. « Mode et littérature au vingtième siècle : une éthique de l'esthétique ». Paris 4, 2003. http://www.theses.fr/2003PA040220.
Texte intégralPeople have always been prejudiced regarding fashion, considering it as a shallow activity, whereas its consequences on human fates are quite obvious. Moreother, clothes trigger social behaviours, fashion shares this role with many others creative activities such as literature, art and cinema. This thesis will try to enlighten the relationship between fashion and art, and mostly literature. If we think fashion in terms of style and language, we will attempt to explain the proximity between fashion and art, and furthermore identify the demarche of the fashion designer and the one of the artist or the writer. For that sake, we will first see fashion through the twentieth century literature and chronicles. Then we will notice the links between fashion and art whether it is inspiration or collaboration. Eventually, after having adopted an historical point of view regarding dandyism and aestheticism, and rich of some psychological, sociological, linguistic and philosophical analysis, we will attempt to think an ethic of aestheticism
Rey, Mimoso-Ruiz Bernadette. « Le mythe du merveilleux barbare : aspects mythocritiques de Pasolini à Lounguine ». Paris 4, 1998. http://www.theses.fr/1998PA040092.
Texte intégralThe expression of the “marvelous barbarian” according to Pasolini opens to a reflection about the concept of barbarity. The novels and films of our corpus are examined in a comparative prospect. The mythic definition of the barbarian and its representation in literature and cinema is analyzed from the mythocritic essays of our days. The barbaric figure imposes itself in time and space. We quoted the antic conceptions, particularly in Greece where divergences appear between the civilized and the barbarians. The space of the novels (le Clezio's Procès-verbal, Aa clockwork orange by A. Burgess, Quignard's La frontière) are examined (part i) we study the particular characteristics of the filmic narration and the space of the barbarian in the films quoted (Accattone,Mamma Roma,Luna Park) through a shooting script presented shot by shot. We considered particularly the special problems of the adaptation from the novel of a. Burgess to the homonymous film of Kubrick. (part ii). Basing our analysis on the mythical irradiations of Orpheus according to his transgressive components towards the city, we correlated the characters of the novels and of the films to the myth which we demonstrated the modelisations and variations (part iii). We analyzed the peculiar perceptions of masculine and feminine linked to an iconoclast and transgressive network and a new poetic approach to Rimbaud (part iv). At last we examine the contemporary extensions of the marvelous barbarian and we ask the necessity of his existence which appears like a telltale proceeding of the destructive ideologies. We conclude with a links between the myth of the marvelous barbarian and the figure of the artist's enlightened vocation
Dupas, Pierrard Solenn. « L'art du déconcertement dans l’œuvre poétique du second Verlaine (1880-1896) ». Rennes 2, 2009. http://ezproxy.normandie-univ.fr/login?url=http://www.classiques-garnier.com/numerique-bases/garnier?filename=sdsMS01.
Texte intégralGenerally considered to be the result of poetic decline, or even creative renunciation, the later poetry of Verlaine tends to be forgotten by publishers and critics. This corpus, albeit heterogeneous, offers a constant reflection on literary expression and reception. From the publication of Sagesse in 1880, the poet emphasizes the art of disconcerting the reader created in his earlier poems. He writes outside of his time, against the standards and conventions of public opinion, but also uses explicit and implicit self-contradictions. This thesis proposes to show how Verlaine elaborated unstable, contradictory and polyphonic poetry, to surprise readers and confront them with their freedom and their responsibility with regard to the interpretation of texts
Minami, Asuka. « La figure de l'artiste et la question de l'art dans la littérature du Japon moderne ». Paris, INALCO, 2003. http://www.theses.fr/2003INAL0020.
Texte intégralWestern art, introduced in Japan after the country opened in 1853, changed the prevailing conceptions about art in the country. New aesthetics and new visions of art and of the artist exerted a very strong influence upon literati who sought in Western art modern subjects and original ways of describing things. This study is a reappraisal of the evolutions in ways of perceiving art and in conceptions about the artist's image of the modern period of Japan. Our research is divided into five parts in which about ten representative writers are studies. The first part deals with the question of the nude in the Meiji era: the way art critics and literati accepted or rejected the nude as new art form imported from the West. The second part is about the various difficulties Japanese painters were confronted to when they had to readapt themselves to their native soil after a deep and prolonged period of assimilation of Western art. Places described in an original way acted as a device to soothe the protagonists' anguishes. In the third part, we deal with the various problems of perception engendered by Western art. Problems such as the way of translating notions and concepts inherited from the Western tradition of the plastic arts or of putting into practice such notions in literary works. In the fourth part, we focus upon new attempts among painters to create fantastic scenery. We observe the emergence of mature conceptions concerning the art and its modes of representation. This evolution towards maturity comes from images as well as from texts, both Japanese and Western. The last part is a survey of various discourses advocating a resistance to Western art in its morals and in its techniques of description. This part focuses around two Japanese writers who had an intimate knowledge of the community of Japanese painters living in Paris. This study belongs at the same time to art history (the way writers envisioned art and artists) and to studies in Japanese literature (techniques of depiction in narrative texts based on the notions inherited from the visual arts)
Cavazza, Francesca <1983>. « Salomé et Jean Baptiste. Réinvestissements symboliques et récritures d'un mythe dans la littérature et dans l'art (1870-1914) ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6609/1/Cavazza_Francesca_Tesi.pdf.
Texte intégralThe publication, between 1870 and 1914, of numerous literary and pictorial works inspired by the Biblical story of the murder of John the Baptist by Salomé reflects a wider crisis that affected both the subject and the concept of representation at that time in Europe. The myth of Salomé permits us to pursue a literary, historical and aesthetic reflection concerning the progressive autonomy of art. From Biblical and ancient sources, in which Salome and John the Baptist respectively embodied the pagan world and its conflicting relationship with the Christian world, these two characters gradually entered the world of fiction. They are indeed at the heart of a transition from a transcendent reading – especially related to the Catholic tradition – to an immanent reading of the tragic episode that unites them, which turns them into two purely aesthetic objects. The dancer and the last of the prophets thus emerge in Western literature and art as two symbolic extremes, which can be linked to each other by different kinds of relationships, which can have new changeable meanings, and which are far away from all convention. If, in the first part of the nineteenth century, Salome and John the Baptist are still bound to their orthodox interpretation, at the turn of the century they eventually gain independence from the Scriptures, and this gives rise to multiple rewritings and unexpected adaptations. These adaptations, however, prove less blasphemous, as they symbolically provide the proof of the very transformation of the relationship between the artist and their work. The artist, who identifies himself with the prophet, is measured with his artwork, represented by Salome. The relationship between Salome and John the Baptist, throughout the various representations, thus expresses and reflects the very moment when art and literature began to think themselves as fiction.
Cavazza, Francesca <1983>. « Salomé et Jean Baptiste. Réinvestissements symboliques et récritures d'un mythe dans la littérature et dans l'art (1870-1914) ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6609/.
Texte intégralThe publication, between 1870 and 1914, of numerous literary and pictorial works inspired by the Biblical story of the murder of John the Baptist by Salomé reflects a wider crisis that affected both the subject and the concept of representation at that time in Europe. The myth of Salomé permits us to pursue a literary, historical and aesthetic reflection concerning the progressive autonomy of art. From Biblical and ancient sources, in which Salome and John the Baptist respectively embodied the pagan world and its conflicting relationship with the Christian world, these two characters gradually entered the world of fiction. They are indeed at the heart of a transition from a transcendent reading – especially related to the Catholic tradition – to an immanent reading of the tragic episode that unites them, which turns them into two purely aesthetic objects. The dancer and the last of the prophets thus emerge in Western literature and art as two symbolic extremes, which can be linked to each other by different kinds of relationships, which can have new changeable meanings, and which are far away from all convention. If, in the first part of the nineteenth century, Salome and John the Baptist are still bound to their orthodox interpretation, at the turn of the century they eventually gain independence from the Scriptures, and this gives rise to multiple rewritings and unexpected adaptations. These adaptations, however, prove less blasphemous, as they symbolically provide the proof of the very transformation of the relationship between the artist and their work. The artist, who identifies himself with the prophet, is measured with his artwork, represented by Salome. The relationship between Salome and John the Baptist, throughout the various representations, thus expresses and reflects the very moment when art and literature began to think themselves as fiction.
Rouillot, Marchandise Martine. « Figures de la monstruosité ». Université Louis Pasteur (Strasbourg) (1971-2008), 1998. http://www.theses.fr/1998STR1PS04.
Texte intégralBluteau, Olga. « L'art de la parodie dans les Meslanges de Pierre Certon (1570) ». Paris 4, 1994. http://www.theses.fr/1993PA040245.
Texte intégralLes Meslanges are the last known work of Pierre Certon, one of the main French composers of the sixteenth century. This book was published in six volumes. Today only one incomplete exemplary remains. It contains ninety-six pieces from five to thirteen voices. Eighty-seven of them are secular chansons and seven others are psalms or prayers foe the protestant worship. Most works are parodies, that is musical adaptations whose destination - and words if need be - has been changed (translated from Jacques Chailley's definition). Transcriptions and musical analysis show that Certon used all composing technics of his time and adapted them to parody. He also assembled the main styles of the renaissance: Parisian chanson, Franco-Flemish counterpoint and Italian music. All these characteristics make of Pierre Certon's Meslanges a treatise explaining the art of parody through examples and an essential work of the end of the French sixteenth century
Kim, Hyōn-Suk. « L'art de la description dans Les Thibault de Roger Martin du Gard ». Nice, 1991. http://www.theses.fr/1991NICE2008.
Texte intégralFürdös, David. « Priape dans la littérature et l'iconographie du monde gréco-romain ». Lille 3, 2011. http://www.theses.fr/2011LIL30009.
Texte intégralPriapus is one of the most popular god of antiquity, but he is also the most unknown, scoffed and scorned of all greek and roman gods. Indeed, how is it possible to think, in our so religiously shared times, that the people of Antiquity could have believed in such an obscene, bawdy and sometimes ridiculous god ? The goal of our study is to clear Priapus' reputation showing how complex his representation was, according to the place, and the will of the sponsor of the representation. The particularly rich and various clothing he wears goes against the reputation of aggressive nudity, characteristic of this god whose various body movements, full of symbols, is in contradiction with another strong prejudice : his unvarying exhibitionist behaviour. Coming from Minor Asia, Priapus arrived in Rome with a cultural background, that he constitued going across all the countries and the regions where his cult settled down to such an extent that he managed to reach all the layers of the population, becoming therefore one of the most represented divinity of antiquity. A literary genre is even dedicated to Priapus, giving his footprint in the legends that are built around his character. The making of a considerable iconographical study allows to our study the establishment of comparisons, constants and differences in the representations of the god and to make a confrontation with greek and latin texts about Priapus. Through the three appendices that have never been gathered and that enrich this work, we hope to help restoring the character of this god who should be better known
Vial, Hélène. « La métamorphose dans les Métamorphoses d'Ovide : étude sur l'art de la variation ». Paris 4, 2003. http://www.theses.fr/2003PA040176.
Texte intégralThis study bears as an inscription lines 13-14, Book II, from Metamorphoses, where Ovid describes the Nereids as facies non omnibus una, / Non diuersa tamen, qualem decet esse sororum ("although they do not all have the same face, they are not so different either, as befits sisters"). Those lines can be read as a metaphorical definition of passages devoted to metamorphosis in Metamorphoses - passages which are closely related, due to their very subject (the miracle of mutata forma), and yet quite different from one another. This study concerns the subtle balance between similarities and dissimilarities in Ovid's treatment of metamorphosis; and more precisely, attempts to demonstrate a close connection between this balance, the occurrence of metamorphosis (seen as a tension between identity ad otherness), and the emergence of writing. In order to do so, the study reflects on the frontiers of ovidian metamorphosis, then proceeds to an individual analysis of eighty-one stories of metamorphoses, before exploring, in the last part, the complex relationship between uariatio, metamorphosis, and Ovid's vocation as a poet
Loechel, André. « Le mythe de Venise : texte et image à Venise aux XVe et XVIèmes siècles ». Grenoble 2, 1992. http://www.theses.fr/1992GRE29062.
Texte intégralThe major objective of this dissertation has been the analysis of the figurative mechanisms of the pictural representations of venice, as well as the cultural background which produced such a mythical elaboration. The global approach of the venetian myth is carried through three fundamental themes. The primary level taken into consideration is that of religious imagery, including more specifically the whole rhetoric of the city's virginity : the dogma of the immaculate conception makes up one of its major foundations, as well as the image of the sedes sapientiae inspiring some pictures representating venice directly partaking of the theological mechanisms of salvation. The venice jerusalem metaphor belongs to a similar context, one of the chief sources being of course the writings of foreign observers and travellers. The political imagery constitutes the second tier of our analysis : the representation of justicia is one of the great models of venice self-representation, along with the major parallel with constantinople. Time and its semantic variations are the third aspect of our dissertation : nothing can be properly understood without stressing the venitian notion of "circular" time. A comparison with rome is in this respect of paramount importance, along with the use of vocabulary of ancient rome : image of sea-born venus is one of its
Milliot, Vincent. « Le peuple travesti : les représentations des petits métiers parisiens du XVIe au XVIIIe siècle ». Paris 1, 1991. http://www.theses.fr/1991PA010506.
Texte intégralDuring more than three centuries, representatives of the urban masses have been a source of inspiration for many a "common" - as well as "erudite"- literary, musical and pictural work. The persistent fashion raised up by the street-cries of Paris, the various ways that subject has been developed - through writing or picturing ptinting or ceramic - cannot only be explained by the omnipresence of a non-settled population in the city of the old regime. Those pamphlets and objects have been per- ceived and usedin many ways socially speaking. The uses can be detected through a great variety of presentation and through the reconstitution of the conditions of making and diffusion of the street crise of paris. Far from being a faithful image of everyday life in paris, the street cries of Paris rather reflect the evolution of the social imaginary representations raised by the masses and the city. From renaissance to the end of enlightment, several ways of setting the small street-trades have followed one another, each of them reflecting the growing impor- tance of stereotypes linked to the comportments and social representations from the elite. The rising idealisation of the image of the masses is a direct consequence of the social prejudice and contempt in which are held the lower classes of the urban society
Tufano, Antonella. « Les paysages volcaniques : les mythes, la science, l'art ». Paris, EHESS, 2000. http://www.theses.fr/2000EHES0097.
Texte intégralCalle, Calle Francisco Vicente. « Les representations du diable et des etres diaboliques dans la litterature et l'art en france au xiie siecle ». Caen, 1997. http://www.theses.fr/1997CAEN1221.
Texte intégralThis thesis in intended to study ideas and images related to the devil which existed in the 12th century. The term "representation(s)" has to be understood in a broad sense : this term refers not only to ideas about devil existing in the mentality of men that time, ideas which are reflected especially in some treatises on theology, but to specific descriptions of devil an diabolical beings which appear in the literary works and the iconography of that time. In our title, apart from devil, there is a mention to "diabolical beings". We use this expression in senso lato. According to our opinion "diabolical beings" are some characters as varied as pagans, jews, traitors, giants or some animals related to the diabolical world, as snakes and even monsters. Representations of devil and diabolical beings are studied through "genres" - that is to say in the differents forms of writing because each form of writing has different characteristics according to the "genres" and the audience
Zeitz, Anne. « (Contre-)observations : les relations d'observation et de surveillance dans l'art contemporain, la littérature et le cinéma ». Electronic Thesis or Diss., Paris 8, 2014. http://www.theses.fr/2014PA080051.
Texte intégralHe matter of surveillance has never been as present in political discourse and the international press as much as since the divulgence of the American surveillance programs by Edward Snowden in the summer of 2013. Nonetheless, more then 10 years earlier, the exhibition CTRL [SPACE] at the ZKM in Karlsruhe had widely shown how the mechanisms of surveillance and mass media and the convergence of their functioning had, for a long time, been reflected in contemporary art. Since the 1960s, Peter Weibel had already pointed to the contradictory modes of behaviour that develop in a society of surveillance in his installations and writings. From the society of surveillance to the society of control, the spectacular society, and then post-Spectacular society, to the current society of “sousveillance”, that is of cyber-Surveillance and dataveillance, the influence of these mechanisms has always been discussed with controversy. While one artistic approach focuses mainly on the manipulation, or even disappearance of the individual and their reality, another approach concentrates on the possibilities of creativity and inventiveness that present themselves to the individual in a society characterized by surveillance and mass media.The present doctoral thesis situates itself in the tension that emerges between these two positions. The point of departure is the term to observe that signifies a perceptual act as well as an act of adaptation. At the same time, every act of observation necessarily takes part in an observational “relationship”. Therefore, the potential reversibility of the relationship has to be taken into account. Effectively, contemporary art reveals tactics of counter-Surveillance and counter-Observation. The latter give insight into the way we deal with socio-Political changes – especially since the 11th of September 2001. A theory and a practice of (counter-)observation are necessary to analyze the aesthetics that have appeared in this regard
Zeitz, Anne. « (Contre-)observations : les relations d'observation et de surveillance dans l'art contemporain, la littérature et le cinéma ». Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080051.
Texte intégralHe matter of surveillance has never been as present in political discourse and the international press as much as since the divulgence of the American surveillance programs by Edward Snowden in the summer of 2013. Nonetheless, more then 10 years earlier, the exhibition CTRL [SPACE] at the ZKM in Karlsruhe had widely shown how the mechanisms of surveillance and mass media and the convergence of their functioning had, for a long time, been reflected in contemporary art. Since the 1960s, Peter Weibel had already pointed to the contradictory modes of behaviour that develop in a society of surveillance in his installations and writings. From the society of surveillance to the society of control, the spectacular society, and then post-Spectacular society, to the current society of “sousveillance”, that is of cyber-Surveillance and dataveillance, the influence of these mechanisms has always been discussed with controversy. While one artistic approach focuses mainly on the manipulation, or even disappearance of the individual and their reality, another approach concentrates on the possibilities of creativity and inventiveness that present themselves to the individual in a society characterized by surveillance and mass media.The present doctoral thesis situates itself in the tension that emerges between these two positions. The point of departure is the term to observe that signifies a perceptual act as well as an act of adaptation. At the same time, every act of observation necessarily takes part in an observational “relationship”. Therefore, the potential reversibility of the relationship has to be taken into account. Effectively, contemporary art reveals tactics of counter-Surveillance and counter-Observation. The latter give insight into the way we deal with socio-Political changes – especially since the 11th of September 2001. A theory and a practice of (counter-)observation are necessary to analyze the aesthetics that have appeared in this regard
Florea, Vladimir. « L'art littéraire de Guy de Maupassant dans ses Contes, ou la mimesis et sa. . . TVA ». Paris 4, 1996. http://www.theses.fr/1996PA040103.
Texte intégralThe first part of the thesis draws some main outlines of Maupassant’s theoretical thought as a writer: we know that it is the incoming of a literary inheritage (from Flaubert and Tourgueniev); his thought attaches a great importance to the replication of the real-life situation of speaking. Maupassant throws out the term of realistic, he prefers being called illusionist. The second part lists some means of making illusion: the shifters, the self-effacement of the narrator beyond the dramatis personnae who are promoted to talk (direct speeches, discours indirect libre, and a few reported speeches); by using some forms of repetition (phonetical, metrical or lexical), he obtains a seductive effect in the reader. The third part studies how questions work - the characters feel alone and distraught and the narrator shares their distress and ignorance. The thesis lastly shows that in addition to the use of "normal" proper names, there are much distortion that allows other mays of meaning Maupassant’s short stories
Venayre, Sylvain. « L'avènement de l'aventure : les figures de l'aventure lointaine dans la France des années 1850-1940 ». Paris 1, 2000. http://www.theses.fr/2000PA010643.
Texte intégralDesbals, Marie-Anne. « La Thrace et les thraces dans l'imaginaire grec aux époques archaïque et classique : littérature et iconographie ». Paris 10, 1997. http://www.theses.fr/1997PA100157.
Texte intégralPineau, Guylaine. « Des secrets de l'art au silence éloquent : les statégies discursives dans les Oeuvres d'Ambroise Paré ». Paris 4, 2005. http://www.theses.fr/2005PA040183.
Texte intégralAmbroise Paré's Oeuvres (1585) call for an investigation into the conditions in which a new ideology emerges, privileging experience and calling for the promulgation of knowledge in French. The reorganization within the text of the topoi fundamental to medical and religious thought allows a reevaluation of the status of the body in the discourse on the miseria hominis. His Oeuvres open a reflection bearing upon the value of authorities and the rhetorical functioning of quotations, comparisons and synecdoches. To state certain daring conclusions, Paré is forced to apply the "prudence method" theorised by Ramus and to elaborate enunciatory strategies mobilizing different figures involving allusion and ambiguity (ironie, litote, enthymeme, reticence. . . ). The ambition to produce a work which will last, despite the fact that its scientific content will inevitably become obsolete, accentuates the egotistical and literary temptations within his writing, giving Paré a genuine authorial status
Dingremont, François. « La mètis dans l'Odyssée, ou l'art d'être efficace ». Paris, EHESS, 2010. http://www.theses.fr/2010EHES0035.
Texte intégralThis study is an extension of Marcel Detienne and Jean-Pierre Vernant's reflexion on métis in poetic's field. As a narrative of contests, Odyssey is the ideal setting for a poetic expression of métis. Odysseus and Penelope are crafty, they share a homophrosuné, an egality and a compliticity of cunning. They are also, polukerdeièsin, they have a penchant, a tropism, for the tricks. They are one when it cornes to making a profit. The term that we thought most appropriate to account for Odysseus and Penelope's intelligence is kerdosuné, the clever efficiency, the profit (kerdos) motive. The challenge of epic contests is the restoration of the recognition, the charis. Odysseus tricks to find his place in the oikos, to be acknowledged by his relatives. The epic song participates in this project of charis protection and preservation. Il is an expedient, a pharmakon epistrophon wich « turns » (translation of epistréphein) the hearts toward the euphrôn, the cheer. The study of métis in the Odyssey reveals the importance of the poetic function of the game in the Ancient Greece
Abraham, Bénédicte. « L'ironie ou l'art de la transgression : étude de l'oeuvre narrative d'Arthur Schnitzler ». Aix-Marseille 1, 1999. http://www.theses.fr/1999AIX10027.
Texte intégralDauchot, Jean-Luc. « L'art et les plantes : plantes et remèdes du temps de Pline l'ancien ». Paris 5, 1994. http://www.theses.fr/1994PA05P088.
Texte intégralVieillard-Baron, Elsa. « La jungle entre nature et culture : un imaginaire socio-spatial de l'antimonde ». Paris 7, 2011. http://www.theses.fr/2011PA070029.
Texte intégralThe aim of this thesis is to reconsider the concept that the word jungle gives rise to, a concept that has been criticised by geographers, while, at the same time, it has aroused the attention of the public at large. The aim is to show that the jungle should not be approached solely as an ill-defined natural entity, but that it should be seen more as the Western idea of an otherworldly landscape. This thesis will be drawing on a large collection of artistic representations - pictures, films or books - and on the answers given to a number of questionnaires. It will build a geographical approach to the jungle. 1. Looking at it from a biogeographical angle, the jungle appears to be a natural tropical environment, the borders of which are not easy to specify, be it in India, or more generally under the tropics. 2. Under cover of a reference to something natural, it is in fact a Western cultural idea of a tropical otherworld that emerged at the end of the 20th century on the back of the British colonisation of India. 3. As an idea that sprang in the West, the jungle can be seen as an illusory tropical landscape,that is more imaginary than real and that expresses feelings that would be deemed shameful in the West. 4. As a reversed and primitive reflection of the West, the jungle reaches the rank of another geomythic worid and plays the part of the wild origins of the world. 5. The jungle myth induces some real effects and makes the rainforest an area subject to influence - its environmental management featuring Western postcolonial interference with a dimension. 6. Finally, the urban jungles of the West give credence to the jungle as a counter-world, whatever its scale and location
Vladova, Tania. « De Pouchkine à Pirandello : vers une poétique de l'improvisation ». Paris, EHESS, 2004. http://www.theses.fr/2004EHES0139.
Texte intégralImprovisation in art : that's the general topic of this invesitgation. What are we doing when we improvise? What do we improvise - a work of art? -our thoughts?- our gestures? - a specific utterance? Can it be considered a creative act? of wich interest can a theory of improvisational activity be? These are relevant questions in any kind of creative activity. Improvisation offers a unique possibility : by looking at someone improvising, we have the chance to see the process of artistic creation itself. Tjis creation takes place at the most banal and fascinating site : the human body. Improvisation transforms the artist's body into a part of the artistic activity and it should thus be conceived as a part of the creation of a work of art. But, can the product of improvisational activity be called a work of art? From Poushkin to Pirandello, from Bach to the beginnings of Jazz, this thesis proposes a theory of spontaneous artistic creation. It considers it as a mode of thinking, analysing the way in which the question is discussed in both theory and fiction