Thèses sur le sujet « Maurice Deni »

Ce manuscrit de thèse présente un catalogue raisonné des photographies du peintre Maurice Denis (1870-1943). Cette étude regroupe la production photographique qui s’étend de 1896 à 1919, l’année du décès de son épouse Marthe. Le fonds photographique comprend 2689 tirages anciens et 1250 négatifs. Nous avons établi tout l’inventaire des archives photographiques de Maurice Denis, avec une datation rigoureuse des images et une identification poussée de leur sujet grâce au concours de Claire Denis, laquelle prépare le catalogue raisonné de toute l’œuvre de son grand-père. Grâce à l’invention de l’appareil Kodak par l’entreprise fondée par George Eastman en 1888, la photographie devient accessible à tous. Comme ses amis peintres, Maurice Denis utilise un appareil Kodak. Par leur familiarité avec l’estampe japonaise, Maurice Denis et ses amis se sont fait interprètes de l’esthétique de l’instantané. Les photographies de famille de Denis sont à ce titre mises en rapport avec celles des peintres Nabis (Vuillard, Bonnard), ou encore celles du hollandais Breitner et du belge Evenepoel. Au-delà des rapports entre la peinture et la photographie, le cas de Maurice Denis impose de considérer dans le prolongement des travaux récents sur la photographie, comme recherche sentimentale, la question de la pratique photographique comme catalyseur de remémoration
The doctoral thesis consists of compiling a catalogue raisonné of the photographs by the French symbolist Nabis painter Maurice Denis (1870-1943). We have reassembled, inventoried and analyzed 1250 negatives and 2689 silver prints. Denis’s photographs are an enormously rich resource that will help us to understand more thoroughly the role and characteristics of his art as well as its context. The scope of this study is the period from 1896 to 1919. Like his friends in the Nabis group, Denis mainly used a Kodak camera. The compact portable box camera made photography accessible not only to artists and professionals but also to amateur photographers. This dissertation analyzes his amateur photographs in relation to his paintings. The comparison with other post-Impressionist painters who also took family photos, such as Bonnard, Vuillard, Breitner enables us to situate Denis in the history of photography. We will examine in depth the aesthetics of his photographs and the fascinating and strong affinities they have with his paintings and drawings. His photos reflect the taste for symbols, simplified forms and harmonious lines that is characteristic of his paintings. He used the camera in a variety of ways: as an amusing toy and to create images as studies for final art works. His photos were not only a compositional aid to his paintings, however, and as we will argue they reflect many of his pictorial influences. Thanks to his familiarity with Japanese prints, he became one of the most gracious interpreters of the aesthetics of snapshot photography. This study of his photographs will contribute to the full comprehension of his art in the context of his time in a new and broader way

S'appuyant presque exclusivement sur des archives de première main, cette thèse présente les décors d'églises de Maurice Denis (1870-1943) entre les deux guerres, étudiées d'un point de vue iconographique, formel, technique, remis en situation dans la vie et l'oeuvre de l'artiste et examinées à la lumière du contexte artistique, architectural mais aussi historique et religieux de la période. Les Ateliers d'art sacré, qu'il crée en 1919 avec George Desvallières et qui apportent au maître nombre de commandes et une main d'oeuvre qualifiée, sont aussi évoqués. Ses théories sur l'art religieux sont également analysées et confrontées aux écrits de George Desvallières, d'Alexandre Cingria, de Jacques Maritain ou du Père Couturier. Un catalogue raisonné de ses décorations religieuses réalisées entre 1914 et 1943 ou restées à l'état de projet (peintures murales, vitraux et mosaïques), accompagné d'un corpus complet d'images des décors in situ, des travaux préparatoires et de documents inédits, permet un examen exhaustif et renseigné sur des décors encore mal connus. Cette thèse, qui entend porter un nouveau regard sur le Maurice Denis de la maturité, réhabilite ses ensembles décoratifs, longtemps décriés, en les replaçant dans le courant de renouveau de l'art sacré au XXe siècle
This thesis, based almost exclusively on firsthand records, introduces the church decorating from Maurice Denis (1870-1973) in the interwar period, studied from an iconographic, formal and technical point of view, set back in context with the life and the work of the artist and investigated in light of the artistic, architectural, historical and religious background of these days. The Ateliers d'art sacré, created with George Desvallières in 1919, which brings to the master numerous commissions and a skilled labor, are also provoked. His theories on religious art are analyzed too and compared with the texts from George Desvallières, Alexandre Cingria, Jacques Maritain or Père Couturier. A catalogue raisonné of his religious decorating, accomplished between 1914 and 1943 or still remaining in a project state (wall paintings, stained glass windows and mosaic) altogether with a complete corpus of the decorating pictures in situ, of the preparatory works and a some unpublished documents, allows an exhaustive and informed review on some still unknown decorating. This thesis, intending to look at the mature Maurice Denis from a different perspective, rehabilitates his decorative wooks, long-discretized, in replacing them in the course of the sacred art renewal of the 20st century

Ce travail étudie la réception du peintre Maurice Denis (1870-1943) en Belgique et plus particulièrement au sein du milieu catholique. A l'origine, c'est en tant que Nabi que Denis expose à Bruxelles et à Anvers ; même si elle préfigure à l'émergence de l'Art Nouveau, l'œuvre de Denis y est souvent mésestimée. Parallèlement, Denis s'approche aux cercles catholiques, et, jusqu'aux années 1920, il collaborera avec des intellectuels belges impliqués dans le renouveau de l'art religieux. Par la double identité de son art, à la fois catholique et moderne, Maurice Denis jouera un rôle important aux yeux des cercles catholiques qui voyaient dans sa peinture la concrétisation d'un idéal esthétique religieux adapté aux exigences de la modernité. Essentielle à la compréhension de son œuvre, et plus particulièrement de sa peinture religieuse, ce travail offre aussi l'opportunité d'étudier le renouveau de l'art religieux, pan méconnu de l'histoire de l'art belge des 19ème et 20ème siècles
The thesis-topic is the study of Maurice Denis' reception (1870-1943) in Belgium, particularly within the catholic circles. Denis first exhibited his works as a Nabi, in Brussels and in Antwerp. Even though it's a foreshadowing of the Modern Style's rise, Denis' work was often underestimated. But at the same time, Denis came closer to the catholic circles, and until the Twenties, he collaborated with Belgian intellectuals involved in the renewal of religious art. Thanks to the duality of his painting, catholic and modern as well, Denis played the major part in these circles which perceived in his art the embodiment of a religious aesthetic ideal in a modern context. Essential to the understanding of his work, and especially his religious painting, this study also gives the opportunity to investigate the renewal of the religious art, an unknown part of the Belgian art during the late 19th and the 20th centuries

Ce travail porte sur le spectacle “Les Aveugles”, de Maurice Maeterlinck, mis-en-scène par Denis Marleau, il se propose d’étudier l’effet de présence de l’acteur. Cet effet est produit par des masques vidéographiques. Sur scène les images de deux acteurs sont projetées sur douze masques en taille réelle et en trois dimensions, ce qui donne la sensation de présence aux corps physiquement absents des acteurs. Par ailleurs, la voix et les bruits étant mis en valeur, l’univers sonore contribue à l’effet de réalité. En outre, il s’agit de la concrétisation du rêve de l’auteur d’un théatre d’androïdes à travers les “fantasmagories technologiques” du metteur en scène. Ce mémoire met en évidence les potentialités des nouveaux moyens technologiques au service des arts scéniques.
A pesquisa analisa o espetáculo “Os Cegos”, de Maurice Maeterlinck, encenado por Denis Marleau, a fim de discutir o efeito de presença do ator gerado através das máscaras videográficas. Na peça, as imagens de dois atores projetadas em doze máscaras, de tamanho real e em três dimensões, dão a sensação de presença de seus corpos ausentes, uma vez que os atores não estão presentes fisicamente na cena. Além disso, como o ambiente sonoro potencializa a voz e os ruídos, a sonoridade do espetáculo contribui com este efeito de realidade. Outra questão é a concretização do sonho do autor por um teatro de androides através das “Fantasmagories Technologiques” do encenador. O trabalho evidencia as novas possibilidades surgidas nas artes cênicas em função dos novos recursos tecnológicos.

Présentée en cinq volumes, la thèse cherche à comprendre le rôle dela musique dans la vie, l'oeuvre et l'art de Maurice Denis (1870-1943), peintre français et mélomane. Le premier volume contient le texte principal et s'articule en quatre parties. La première est consacrée à la vie musicale et aux goûts musicaux du peintre ; la seconde montre l'importance de la musique dans son oeuvre aux niveaux figuratif et thématique ; la troisème partie rend sensible l'influence de la musique dans sa pensée théorique et créatrice ; la quatrième, prolongement des trois autres parties, met en lumière une musique de tableau et justifie le rapprochement avec l'art de quelques compositeurs. Les deux volumes d'annexe présentent le recensement chronologique et thématique des écrits de Maurice Denis en rapport direct avec la musique, des extraits de sa correspondance publiée et de nombreuses lettres inédites reçues par le peintre et sa famille, enfin, un catalogue inédit des oeuvres de Maurice Denis
Compiled in five volumes, this thesis aims to bring an understanding of the role which music played in the life, work and art of the music-lover French painter Maurice Denis (1870-1943). .

Denna kandidatuppsats i teater- och dansvetenskap vid Stockholms universitet (VT 2012) undersöker den sensoriska nivån inom scenkonsten, hur den kan se ut och hur ett publikt deltagande i den kan förstås. Mitt material består av ett urval teoretiska ingångar som jag dels diskuterar sinsemellan, dels provar användbarheten av genom ett förstapersonsperspektiv av koreografin Epic av Mårten Spångberg. Genom detta skapar jag en begreppsapparat som kan fungera som tillvägagångssätt för en större studie av den sensoriska nivån. Min infallsvinkel är fenomenologisk, där Maurice Merleau-Pontys Phenomenology of Perception (1945) utgör min huvudkälla. Vid sidan om denna preciserar jag mitt perspektiv inom ett teater- och dansvetenskapligt fält genom Stanton B. Garner, Bert O. States, Susan Foster och Jana Parviainen. Min undersökning visar hur en fenomenologisk förståelse av människan som kropp situerad i tid och rum bildar ett material för att komma i kontakt med den sensoriska nivån. Jag lyfter fram hur den sensoriska nivån inrättar oss i ett utvidgat åskådarperspektiv där vi ser föreställningen från flera punkter samtidigt och genom att avstå från tecknets värde skapar en materialitet som når oss som intensifierad verklighet. Hur denna kropp är förbunden med omvärlden genom ett gemensamt förbund förklarar vidare hur vi deltar i en sensorisk upplevelse. Empatibegreppet visar hur ett deltagande i den sensoriska nivån kan skapa en expanderad jagupplevelse som sträcker sig över både tid och rum. Samtidigt smälter en upplevelse av den sensoriska nivån samman med den symboliska och bildar en hyperverklighet, vilket ifrågasätter den reella skillnaden mellan sensationer och symboler.

A l'origine de cette étude, il y a la volonté de prendre le contre-pied des recherches traditionnelles portant sur la ségrégation dans les espaces urbains. L'idée est la suivante : aborder la lecture des villes pluriethniques à travers un angle d'attaque nouveau, celui des interactions interculturelles spatialisées. Pour cela, les terrains d'étude choisis sont deux espaces urbains culturellement complexes, deux villes " créoles " de l'Océan Indien : Port-Louis (île Maurice) et Saint-Denis (île de la Réunion). Parler de créolité autorise à mettre l'accent sur ce qui fait l'originalité constitutive de ces espaces en matière d'interculturalité, à savoir leur histoire : une histoire de rencontresDans ces deux villes, ce sont les dynamiques socio-spatiales du contact et des échanges qui sont analysées. Les processus d'émergence des lieux de contact mixte sont mis en évidence, des processus qui donnent la part belle au temps long ainsi qu'à l'expérience de la migration mais aussi aux institutionnels et enfin aux citadins, tout simplement. L'étude minutieuse des lieux, des acteurs et des enjeux de la rencontre y met à jour des réalités contrastées. Elle dévoile que si les modalités locales de la confrontation interculturelle paraissent bien différentes entre Port-Louis et Saint-Denis, elles le sont aussi au cœur de chacune de ces deux villes : les paradoxes intra-urbains créent en fin de compte des convergences inter-urbaines. Ces dernières révèlent l'existence de jeux territoriaux identiques dans les deux villes-sœurs liés à des recompositions identitaires permanentes aux expressions spatiales des plus diversifiées. Entre mise à distance, fusion ou rapprochements, les dynamiques y sont, dans tous les cas, riches d'enseignements et invitent à d'autres mises en parallèle concernant, d'une façon générale, le pluriculturel en espace urbain.

La thèse propose d'étudier sur cinquante ans de cinéma français l'évolution du concept du premier film de la Nouvelle Vague aux années 2000 sous un angle historique, esthétique et économique, analyser le début de carrière de six cinéastes français singuliers emblématiques d'une époque et d'une génération, comprendre et s'intéresser à leurs parcours avant leur premiers film, leurs influences, les aides qu'ils ont pu obtenir, leur lien avec la critique et la présence de leur film de jeunesse dans leur œuvre à venir
This thesis proposes to study the evolution of French cinema threw the concept of ''the first movie'' from the New Wave to the beginning of 21st century on a historic, esthetic and economic point of view. This research tries to analyse the beginning of the career if six French singulars directors whitch are iconic of a period or a generation, tries to understand and be interested on their course before their first movie, their youth, their influences, the financial and humain helps they found, their connections with the French critique and the presence of their first movie in all their future work

Thèse sc. techniques Lausanne EPFL, 2000 ; no 2305.
Thèse no 2305(2001) présentée au Département d' Architecture, Ecole Polytechnique Fédérale de Lausanne, pour l'obtention du grade de Docteur ès sciences. Bibliogr.: p. 385-388.

Le déploiement de la monstruosité chez Devi dénonce le fantasme du « Lien Primordial » sur lequel reposent les communautés mauriciennes. Ce lien est ancré dans un redoublement statique, une défense du sang soi-disant pur, une peur de la déformation. Devi critique la société mauricienne qui interprète le mélange – monstruosité sociale – comme une menace de souillure. Cette société, violente, a atteint un point de non-retour et doit passer du modèle du même clôturé à celui du métissage et de la créolisation. Devi renverse le paradigme de l’identité pure et étanche et propose un nouveau Lien Primordial unissant tous les êtres vivants. Son écriture, surgie de la nécessité de mettre en garde contre la déchirure, tisse une œuvre liante qui redéfinit le Lien Primordial tant du point de vue théorique qu’esthétique. En recherchant le mélange, elle refuse un fonctionnement social et une idéologie délétères ; elle s’oppose à la figure stérile du double et poursuit celle féconde de l’hybride. Le dynamisme de la poussière de vivant crée un courant qui relie les continents, une « carnalité » qui révèle la Communauté, terme restauré dans son sens non communaliste. L’identité ne peut plus être conçue comme identique au fil des générations, comme une chaîne qui emprisonne l’individu dans un groupe et un passé idéalisés. Au contraire, la poussière fécondante conçoit l’identité comme un échange et un mélange qui caractérisent l’écriture de Devi elle-même. Cette poétique novatrice de la parcellisation, de la dissémination et de l’hybridation célèbre le travail des particules de vivant en quête d’une nouvelle forme de visage et de corps au fil d’un travail des mots en quête d’un style engagé
Monstrousness in Devi’s university and literary work denounces the illusion of the Primordial Link on which the Mauritian communities rely. This link is based on a repeating fixity, defends a so-called purity of descent and deeply fears any kind of change and merging. Devi criticises the Mauritian society which considers mixing as a social pollution and monstrousness. This violent society, having reached a point of no-return, must shift from a pattern promoting an isolated, identical self to a model of creolisation. Devi replaces the obsolete paradigm of a pure and endogamic identity by another kind of Primordial Link that unites every living being. Devi’s urge to write stems from the duty to warn against the on-coming wrench of humanness, to weave a linking work that can repair, at least on an imaginary level, our torn relationships. The Primordial Link is thus redefined, both theoretically and aesthetically. Devi refuses a morbid social system and a dangerous ideology; she rejects the sterile image of the double to pursue a dynamic hybridity. The fertile life-dust she imagines reveals the Commonness that binds all living creatures. Identity can no longer be understood as an identical, static concept, as a chain that imprisons an individual in an immutable group and in the myth of an idealised past. Identity is described by Devi as an exchange, a mixing stream that seems to define her very own literary creation. This new poetics tries to achieve dissemination and hybridisation. As a writer engaged in the society, Devi praises the quest for a diffusion and a new layout of the particles, a new configuration of the human body, in a quest for a tolerant, inventive identity

Les littératures émergentes franco-créolophones comme la littérature mauricienne sont en évolution permanente. Nous avons décidé de travailler sur la problématique langues/identités/littératures car elle constitue le socle commun de la production littéraire contemporaine et sur quatre auteurs mauriciens : Ananda Devi Anenden (français), Lindsey Collen (anglais/créole), Abhimanyu Unnuth (hindi/bhojpouri) et Dev Virahsawmy (créole/anglais). L'objet de cette recherche n'est pas de faire un inventaire des littératures francophones du bassin océan Indien. Nous voulons montrer qu'à travers la multi-langue, la multi-écriture et la multi-culture, les littératures mauriciennes émergent comme des contre-pouvoirs reposant sur la force des discours, des paroles et des mots. Quelle(s) langue(s)? Qu'elle(s) identité(s)? Qu'elle(s) littérature(s)? Peut-on construire une mauricianité sans recourir à l'espace littéraire qui serait l'unique lieu de réconciliation et de création d'une patrie imaginaire?
Emerging literatures using French or Creole as in the case of Mauritian literature undergo continuous change. We have chosen to study the interactions between languages/identities and literatures as they seem to constitute the common denominator of contemporary literary production in relation with work of four Mauritian writers : Ananda Devi Anenden (French), Lindsey Collen (English/ Mauritian Creole), Abhimanyu Unnuth (Hindi/Bhojpuri) and Dev Virahsawmy (Mauritian Creole/English). The aim of the study is not to undertake an inventory of literatures using French as a medium of creation in the Indian Ocean. Our objective is to show that the multilingual and multicultural Mauritian literatures emerge as counter forces using words, discourses and letters as their major creative energy. How does a writer chose a literary language? Of what identities and literatures are we talking about? Is it possible to build a Mauritian identity or entity by transcending the literary sphere which seems to be the unique space where one can manage differences and build an imaginary homeland?

Communication between the youngest preschool children is the focus of this essay, primarily on how the children communicate with each other, what they are communicating about and what meaning the communication holds for the children. The aim is to describe and understand communication that takes place in the regional life-world of the preschool between the youngest children in a Swedish preschool. Video recordings of six preschool children between the ages of 14 and 24 months were made both inside and outside the preschool, at times when the children were able to choose for themselves who to communicate with, in which room to be in and which toy to play with. The focus during the video recordings was naturally occurring situations where these six children communicated with each other. 51 relevant situations were selected for more thorough investigation. These specific situations were chosen because the children’s bodies were directed towards each other and the children were communicating in an intercorporeal way with each other. In order to describe and understand communication between lived bodies in the regional world of the preschool, a phenomenological study was carried out. In order to deepen the understandings of the empirical data theoretical concepts like life-world, the lived body, the concept of horizons and intercorporeality were used. The findings indicate five different aspects of what type of meaning communication holds, divided into five themes. These themes are represented by communication as: creation of a shared phenomenon, acknowledging someone, coordination of access to play, coordination of access to place or object, and sharing an already experienced event with someone who was not present. The findings of the study show the children’s usage of an advanced coordination between the lived bodies of the children, the lived space, the lived time, and the lived relationships. Together the children create, coordinate, and maintain a creation of meaning in which the children structure their participation in the life-world.
Uppsatsen handlar om kommunikation mellan de yngsta förskolebarnen ur ett fenomenologiskt perspektiv. Mer specifikt handlar uppsatsen om hur barnen gör när de kommunicerar med varandra, om vad de kommunicerar och vilket meningsskapande som manifesteras i kommunikationen. Genom en rad olika empiriska exempel synliggörs barnens kommunikation där kroppen och rörelsen är central. Resultatet visar på de yngsta förskolebarnens kommunikation som ett skapande av en gemensam handling, som ett uppmärksammande av någon annan, som ett samordnande av tillträde till lek, som ett samordnande av tillträde till plats och/eller föremål och som ett delande av någon annans erfarenhet. Detta åstadkommer barnen genom att upprepa varandras gester och koordinera sina handlingar. Resultatet visar att barnen är sensitiva inför varandra och anpassar sin kommunikation utifrån en rad olika förutsättningar. Uppsatsen riktar sig till förskollärare, forskare och andra som är intresserade av de yngsta förskolebarnens kommunikation. Uppsatsen har finansierats inom ramen för Nationella forskarskolan för förskollärare: Barndom, lärande och ämnesdidaktik (FöFoBa), diarienummer 729-2010-200.

Le tableau et son spectateur : duo ou duel? qui se fait "machine de vision" : l'oeil ou le tableau?. . . Une rencontre authentique (vision, perception, reception) entre l'oeuvre picturale "a-topique" (cependant mise en spectacle) et le regardant soumis a de multiples conditionnements ou influences exterieurs et inherents a sa personne, ne releve-t-elle pas del'utopie? ou se joue la liberte de celui qui contemple, si la peinture s'empare de la visibilite, impose des circuits au regard, attire, seduit, fascine et dupe, etant par essence illusionniste ou trompe-l'oeil? l'intentionnalite duregard etant remise en cause, qu'en est-il de la place, du role du spectateur (peintre ou simple contemplateur) s'il est tenu a distance et connait une "mise a nu" qui frole la "mise a mort" ? sera-t-il spectre ou acteur?. . . De l'espace entoile a l'ecran de l'ordinateur, l'oeuvre dite "ouverte" lui permettra-t-elle d'entrebailler les trappes interieures du visible pour voyager dans l'epaisseur des choses?
The painting and the admirer : duo or duel? is it the eye or the painting that becomes the "motor of vision"?. . . A first authentic contact (vision, perception, reception) between the pictoral a-topical masterpiece (nonetheless displayed) and the admirer submitted to multiple self conditionings or exterior influences inherent to his person, is this not already utopic? where in fact is the liberty of the person who is contemplating, if the painting controls the admirer's attention, imposes visual circuits, attracts, seduces, fascinates, and dupes, being essentially illusionist or an eye-teaser? the intentions of the on-looker are being put into question, in as much as the position or the role of the spectator (painter or simoly meditator) if he is held at a distance and experiences a "nakedness" which brushes "past death"? is he spectre or actor?. . . From the canvased space to the computer screen, the masterpiece considered "open" will it allow him, the admirer, to slip through the interior windows of the visible in order to journey into the thickness of things?

Nell’ottobre del 1921 a Milano nacque la Scuola Superiore di Arte Cristiana Beato Angelico. Responsabili dell’iniziativa: don Giuseppe Polvara, l’architetto Angelo Banfi, il pittore Vanni Rossi, affiancati dallo scultore Franco Lombardi, dai sacerdoti Adriano e Domenico Bernareggi, dall’ingegner Giovanni Dedè, dal professor Giovanni Mamone e dall’avvocato Carlo Antonio Vianello. Gli allievi del primo anno scolastico furono nove, due dei quali (gli architetti don Giacomo Bettoli e Fortunato De Angeli) destinati a restare per lunghi anni nella Scuola come docenti: così avvenne anche col pittore Ernesto Bergagna, iscrittosi l’anno seguente. A partire da quell’avvenimento il contesto italiano dell’arte sacra poté contare su un elemento di indiscutibile novità, destinato nel giro di pochi anni a una rapida, diffusa e pervicace affermazione nella Penisola. La fondazione della Scuola Beato Angelico mise un punto fermo nell’annoso dibattito sul generale declino dell’arte sacra che andava in scena da lungo tempo in Italia così come nei principali Paesi europei. La formula ideata da don Polvara metteva a sistema le proprie esperienze personali, artistiche e professionali con la conoscenza del contesto internazionale, di alcuni modelli esemplari e il confronto con gruppi e singole figure (artisti, critici, uomini di Chiesa) animate dal comune desiderio di contribuire alla rinascita dell’arte sacra. A cento anni dalla sua nascita – e a settanta dalla scomparsa del suo fondatore – la Scuola Beato Angelico (coi laboratori di Architettura, Cesello, Ricamo, Pittura e Restauro) prosegue tuttora nel compito di servire la Chiesa attraverso la realizzazione di arredi e paramenti sacri contraddistinti da una particolare cura dell’aspetto artistico e liturgico, oggetto di ripetute attestazioni di merito e riconoscimenti in ambito ecclesiastico. Ciò che invece finora manca all’appello è un organico tentativo di ricostruzione delle vicende storiche che hanno segnato la genesi e gli sviluppi di questa singolare realtà artistica e religiosa. Scopo di questa tesi è quindi la restituzione di un profilo il più possibile dettagliato e ragionato della storia della Scuola Beato Angelico, tale da riportare questa vicenda al centro di una situazione storica e di un contesto culturale complesso, attraverso una prospettiva di lavoro originale condotta sul filo delle puntualizzazioni e delle riscoperte. Stante il carattere “pionieristico” di questa ricerca, la vastità dei materiali e delle fonti a disposizione e la conseguente necessità di assegnare un taglio cronologico riconoscibile al lavoro si è optato per circoscrivere l’indagine ai decenni compresi tra il 1921 e il 1950, ovvero tra la fondazione della Beato Angelico e la scomparsa di Giuseppe Polvara. Come si vedrà, il termine iniziale viene in un certo senso anticipato dall’esigenza di tratteggiare al meglio gli antefatti e il contesto da cui trae origine la Scuola (tra la fine del XIX e i primi decenni del XX secolo). L’anno assunto a conclusione della ricerca, invece, è parso una scelta quasi obbligata, coincidente col primo avvicendamento alla direzione della Beato Angelico oltre che dalla volontà di escludere dal discorso quanto andò avviandosi negli anni Cinquanta e Sessanta, ossia una nuova e diversa stagione nel campo dell’arte sacra (destinata, tra l’altro, a passare attraverso lo snodo rappresentato dal Concilio Vaticano II e dall’azione di S. Paolo VI), peraltro assai indagata dagli studi storico-artistici. Ciò che ha reso possibile la stesura di questa tesi è il fatto che essa si appoggi, in buona parte, su materiali archivistici inediti o, quantomeno, mai esaminati prima d’ora in modo strutturato. L’accesso ai materiali d’archivio più storicizzati e la loro consultazione (grazie alla disponibilità dimostrata dalla direzione della Scuola Beato Angelico) hanno condizionato in modo determinante la trattazione degli argomenti, la ricostruzione dei quali , in alcuni casi, è sostenuta esclusivamente dai documenti rinvenuti. La nascita della Scuola Beato Angelico non fu un accadimento isolato nel panorama della produzione artistica europea del tempo né un episodio estraneo a quanto, contemporaneamente, si andava dibattendo nel mondo ecclesiastico. La Scuola di Polvara nacque in un’epoca contrassegnata da grande fermento ecclesiale: si pensi agli Ateliers d’Art Sacré fondati da Maurice Denis e George Desvallières a Parigi nel 1919, solo due anni prima della Scuola milanese, i cui aderenti – tutti laici – professavano una religiosità intensa e devota. Ma, soprattutto, il modello determinante e più conosciuto da Polvara fu la Scuola di Beuron (Beuroner Kunstschule), nata nell’omonima abazia benedettina tedesca nell’ultimo quarto del XIX secolo a opera di padre Desiderius Lenz e sul cui esempio ben presto sorsero atelier specializzati nella produzione di arte sacra (arredi e paramenti a uso liturgico) in molte comunità benedettine dell’Europa centrale. L’affinità di Polvara con la spiritualità benedettina è un elemento-chiave della Scuola da lui fondata: dalla regola dell’ora et labora derivò infatti il concetto (analogo) di “preghiera rappresentata” (orando labora). L’organizzazione stessa della Scuola, impostata come in un’ideale bottega medievale dove maestri, apprendisti e allievi collaborano e convivono, riprende lo stile di vita monastico dei cenobi benedettini. Proprio al fine di conservare il più possibile il carattere della bottega medievale, il numero degli allievi ammessi alla Scuola non fu mai troppo elevato, così da mantenere un adeguato ed efficace rapporto numerico tra i discepoli e i maestri. Ancora, da Beuron la Beato Angelico trasse la particolare e inconfondibile forma grafica della lettera “e”, riconoscibile nelle numerose e lunghe epigrafi presenti in tante sue opere. Ultimo elemento in comune tra la Scuola milanese e quella tedesca – ma che si può imputare alla più generale fascinazione per l’epoca medievale – è l’unità di intenti che deve animare tutte le maestranze impegnate a creare un’opera collettiva e anonima ad maiorem Dei gloriam, dove il contributo del singolo autore rimane volutamente nascosto in favore del nome della Scuola. Ciò che differenzia, tuttora, la Scuola da analoghi centri di produzione di arte sacra è il fatto che essa poggi le fondamenta su una congregazione religiosa, la Famiglia Beato Angelico, un’idea a lungo coltivata da Polvara e approvata ufficialmente dall’autorità diocesana fra gli anni Trenta e Quaranta. Dalla comune vocazione alla creazione artistica sacra (“missione sacerdotale” dell’artista) discendono la pratica della vita comunitaria, la partecipazione ai sacramenti e ai diversi momenti quotidiani di preghiera da parte di maestri sacerdoti, confratelli e consorelle artisti, apprendisti, allievi e allieve. L’indirizzo spirituale tracciato dal fondatore per la sua Famiglia agisce ancora oggi a garanzia di una strenua fedeltà nella continuità di un progetto artistico e liturgico unico, messo in pratica da una comunità di uomini e donne legate fra loro dai canonici voti di povertà, castità e obbedienza ma soprattutto da un comune e più alto intento. Appunto per assicurare una prospettiva di sopravvivenza e futuro sviluppo della sua creatura, Polvara ebbe sempre chiara la necessità di mantenere unito l’aspetto della formazione (e quindi la didattica nei confronti degli allievi, adolescenti e giovani) con quello della produzione (spettante all’opera di collaborazione fra maestri, apprendisti e allievi). Dal punto di vista operativo le discipline artistiche, praticate nei vari laboratori in cui si articola la Scuola, concorrono, senza alcuna eccezione e nella citata forma anonima e collettiva, a creare un prodotto artistico organico e unitario, una “opera d’arte totale” che deve rispondere all’indirizzo dato dal maestro architetto (lo stesso Polvara), cui spettano devozione, rispetto e obbedienza. Alla progettazione architettonica viene dunque assegnata grande importanza e ciò comporta che le opere meglio rappresentative della Scuola Beato Angelico siano quegli edifici sacri interamente realizzati con l’intervento dei suoi laboratori per tutte o quasi le decorazioni, gli arredi, le suppellettili e i paramenti (come le chiese milanesi di S. Maria Beltrade, S. Vito al Giambellino, SS. MM. Nabore e Felice, o la chiesa di S. Eusebio ad Agrate Brianza e la cappella dell’Istituto religioso delle figlie di S. Eusebio a Vercelli). Quanto ai linguaggi espressivi impiegati dalla Scuola (il cosiddetto “stile”) si evidenziano la preferenza per il moderno razionalismo architettonico – un tema di stringente attualità, cui Polvara non mancò di dare il suo personale contributo teorico e pratico – e quella per il divisionismo in pittura, debitrice dell’antica ammirazione per l’opera di Gaetano Previati. Dall’interazione di queste due forme si origina un riconoscibile linguaggio, moderno e spirituale al tempo stesso, verificabile negli edifici come nelle singole opere, frutto di una profonda sensibilità che combina il ponderato recupero di alcune forme del passato (ad esempio l’iconografia paleocristiana reimpiegata nei motivi decorativi dei paramenti o nella foggia di alcuni manufatti, dal calice al tabernacolo, alla pianeta-casula) con lo slancio per uno stile moderno e funzionale adeguato ai tempi ma rispettoso della tradizione.
In October 1921, the Beato Angelico Higher School of Christian Art was born in Milan. Responsible for the initiative: Don Giuseppe Polvara, the architect Angelo Banfi, the painter Vanni Rossi, flanked by the sculptor Franco Lombardi, by the priests Adriano and Domenico Bernareggi, by the engineer Giovanni Dedè, by professor Giovanni Mamone and by the lawyer Carlo Antonio Vianello . There were nine pupils in the first school year, two of whom (the architects Don Giacomo Bettoli and Fortunato De Angeli) destined to remain in the School for many years as teachers: this also happened with the painter Ernesto Bergagna, who enrolled the following year. Starting from that event, the Italian context of sacred art was able to count on an element of indisputable novelty, destined within a few years to a rapid, widespread and stubborn affirmation in the Peninsula. The foundation of the Beato Angelico School put a stop to the age-old debate on the general decline of sacred art that had been staged for a long time in Italy as well as in major European countries. The formula conceived by Don Polvara put his personal, artistic and professional experiences into a system with the knowledge of the international context, some exemplary models and the comparison with groups and individual figures (artists, critics, men of the Church) animated by the common desire to contribute to the rebirth of sacred art. One hundred years after its birth - and seventy after the death of its founder - the Beato Angelico School (with the workshops of Architecture, Cesello, Embroidery, Painting and Restoration) still continues in the task of serving the Church through the creation of distinctive sacred furnishings and vestments. from a particular care of the artistic and liturgical aspect, object of repeated attestations of merit and acknowledgments in the ecclesiastical sphere. What is missing from the appeal so far is an organic attempt to reconstruct the historical events that marked the genesis and developments of this singular artistic and religious reality. The purpose of this thesis is therefore the return of a profile as detailed and reasoned as possible of the history of the Beato Angelico School, such as to bring this story back to the center of a historical situation and a complex cultural context, through an original work perspective conducted on thread of clarifications and rediscoveries. Given the "pioneering" nature of this research, the vastness of the materials and sources available and the consequent need to assign a recognizable chronological cut to the work, it was decided to limit the survey to the decades between 1921 and 1950, or between the foundation of Beato Angelico and the death of Giuseppe Polvara. As will be seen, the initial term is in a certain sense anticipated by the need to better outline the background and context from which the School originates (between the end of the 19th and the first decades of the 20th century). The year assumed at the end of the research, on the other hand, seemed an almost obligatory choice, coinciding with the first change in the direction of Beato Angelico as well as the desire to exclude from the discussion what started in the 1950s and 1960s, that is a new and different season in the field of sacred art (destined, among other things, to pass through the junction represented by the Second Vatican Council and by the action of St. Paul VI), which is however much investigated by historical-artistic studies. What made the drafting of this thesis possible is the fact that it relies, in large part, on unpublished archival materials or, at least, never examined before in a structured way. Access to the most historicized archive materials and their consultation (thanks to the availability shown by the direction of the Beato Angelico School) have decisively conditioned the discussion of the topics, the reconstruction of which, in some cases, is supported exclusively by documents found. The birth of the Beato Angelico School was not an isolated event in the panorama of European artistic production of the time nor an episode unrelated to what was being debated in the ecclesiastical world at the same time. The Polvara School was born in an era marked by great ecclesial ferment: think of the Ateliers d'Art Sacré founded by Maurice Denis and George Desvallières in Paris in 1919, only two years before the Milanese School, whose adherents - all lay people - they professed an intense and devoted religiosity. But, above all, the decisive and best known model by Polvara was the Beuron School (Beuroner Kunstschule), born in the homonymous German Benedictine abbey in the last quarter of the nineteenth century by father Desiderius Lenz and on whose example workshops specialized in the production of sacred art (furnishings and vestments for liturgical use) in many Benedictine communities in central Europe. Polvara's affinity with Benedictine spirituality is a key element of the School he founded: in fact, the (analogous) concept of "represented prayer" (orando labora) derived from the rule of the ora et labora. The very organization of the School, set up as in an ideal medieval workshop where teachers, apprentices and pupils collaborate and coexist, takes up the monastic lifestyle of the Benedictine monasteries. Precisely in order to preserve the character of the medieval workshop as much as possible, the number of students admitted to the School was never too high, so as to maintain an adequate and effective numerical ratio between disciples and masters. Again, from Beuron Fra Angelico drew the particular and unmistakable graphic form of the letter "e", recognizable in the numerous and long epigraphs present in many of his works. The last element in common between the Milanese and the German schools - but which can be attributed to the more general fascination for the medieval era - is the unity of purpose that must animate all the workers involved in creating a collective and anonymous work ad maiorem. Dei gloriam, where the contribution of the single author remains deliberately hidden in favor of the name of the School. What still differentiates the School from similar centers of production of sacred art is the fact that it rests its foundations on a religious congregation, the Beato Angelico Family, an idea long cultivated by Polvara and officially approved by the diocesan authority between the thirties and forties. From the common vocation to sacred artistic creation (the artist's "priestly mission") descend the practice of community life, the participation in the sacraments and the various daily moments of prayer by master priests, brothers and sisters artists, apprentices, pupils and pupils . The spiritual direction traced by the founder for his family still acts today as a guarantee of a strenuous fidelity in the continuity of a unique artistic and liturgical project, put into practice by a community of men and women linked together by the canonical vows of poverty, chastity. and obedience but above all from a common and higher intent. Precisely to ensure a prospect of survival and future development of his creature, Polvara always had a clear need to keep the training aspect (and therefore the teaching for students, adolescents and young people) united with that of production (due to the work of collaboration between teachers, apprentices and students). From an operational point of view, the artistic disciplines, practiced in the various laboratories in which the School is divided, contribute, without any exception and in the aforementioned anonymous and collective form, to create an organic and unitary artistic product, a "total work of art" which must respond to the address given by the master architect (Polvara himself), to whom devotion, respect and obedience are due. The architectural design is therefore assigned great importance and this means that the best representative works of the Beato Angelico School are those sacred buildings entirely made with the intervention of its laboratories for all or almost all the decorations, furnishings, furnishings and Milanese churches of S. Maria Beltrade, S. Vito al Giambellino, S. MM. Nabore and Felice, or the church of S. Eusebio in Agrate Brianza and the chapel of the religious institute of the daughters of S. Eusebio in Vercelli). As for the expressive languages used by the School (the so-called "style"), the preference for modern architectural rationalism is highlighted - a topic of stringent topicality, to which Polvara did not fail to give his personal theoretical and practical contribution - and that for Divisionism in painting, indebted to the ancient admiration for the work of Gaetano Previati. The interaction of these two forms gives rise to a recognizable language, modern and spiritual at the same time, verifiable in the buildings as in the individual works, the result of a profound sensitivity that combines the thoughtful recovery of some forms of the past (for example early Christian iconography reused in the decorative motifs of the vestments or in the shape of some artifacts, from the chalice to the tabernacle, to the chasuble-chasuble) with the impetus for a modern and functional style appropriate to the times but respectful of tradition.

La thèse s'appesantit sur le style littéraire de plusieurs auteurs mauriciens, dans une tentative de mettre en exergue les différents courants littéraires, dans un souci de révéler la modernité de ces auteurs phares du paysage littéraire mauricien. Le post-colonialisme a -t-il apporté un renouvellement des genres dans la littérature mauricienne ? Les oeuvres étudiées sont-elles restées dans un certain cloisonnement ou alors y-a-t-il eu une tentative de secouer les jougs « imposés » par l'Occident ?
The thesis is an attempt to study the different authors of Mauritius, their literary techniques and the varions writing skills developed by some of the post-colonial writers? Has there been a change in the way of writing or have the authors been unable to emancipate from the occidental literature?

Des années 1620-1630 au début du XXe siècle,on assiste en France à un élargissement progressif du théâtre. Avant Diderot,la scène française,concentrée sur le seul dialogue,rejette le silence. Rare,celui-ci est toujours problématique,comme chez Racine et Marivaux. Avec Diderot,la parole perd son statut d'absolu et le dialogue se voit contraint d'admettre en son sein le silence comme une part authentique de l'expression théâtrale. Mais l'équilibre qui s'établit entre silence et discours,dont le "tableau" diderotien pourrait être l'emblème,reste fragile,car le silence est toujours susceptible d'être récupéré par le dialogue. Le mélodrame en est une preuve. Il faut attendre le dernier quart du XIXe siècle pour que le silence trouve sa vraie place et subventionne définitivement le drame ancien pour faire naître le drame nouveau,dont Beckett et Duras seront les héritiers. Ainsi Zola tend d'abord à protéger le silence en l'arrachant au dialogue. Maeterlinck de son côté n'hésite pas à le faire triompher en détruisant le dialogue et ses fondements. L'équation quasi théogonique qui unissait le drame à la parole se trouve alors définitivement remise en question. Le silence devient un projet dramatique,la pierre angulaire d'un nouveau théâtre
From 1620-1630 to the beginning of the XXth century,in France,the concept of 'theatre' was enlarged. Before Diderot,french drama was based upon dialogue alone and rejected silence,which seldom happened. .

Cette réflexion se propose de cerner, les diverses modalités par lesquelles la quête de l’identité s’impose comme matière privilégiée de la structure du récit des quatre romans. Parti de l’interrogation : qu’est-ce que la littérature ?, nous entendons démontrer que la quête de l’identité se signale comme le motif central dans la composition du roman francophone postcolonial. Le choix pour ces quatre écrivains repose sur la volonté de montrer le fonctionnement romanesque du thème de la quête de l’identité. En effet, appliqué à la dynamique interne des récits qui structure les récits, la quête de l’identité surgit comme la problématique qui traverse l’écriture du roman francophone postcolonial, notamment dans l’écriture d’Alain Mabanckou, Tahar Ben Jelloun, Ananda Dévi et Suzanne Dracius. Par exigence scientifique, cette étude est divisée en trois axes. D’abord l’axe historiographique. Il s’attache à faire une compréhension assez simple des notions de cette étude et à illustrer les différentes facettes dans l’histoire littéraire. Ensuite l’axe poétique où analytique. Il a pour titre les « figures de la quête de l’identité ». Il s’attèle à montrer comment le motif de la quête de l’identité se déploie dans le corpus. Enfin, le troisième axe herméneutique ou d’interprétation qui entreprend de poursuivre l’analyse et de porter un certain nombre d’interrogation sur les notions abordées lors de la séquence analytique
This study addresses the titled "The Quest for identity in the francophone postcolonial novel : Comparative approach of African literatures, island, north African and Caribbean. Broken glass case Alain Mabanckou, Ananda Devi Sigh, The Other Dancing Dracius Suzanne and The Sacred Night Tahar Ben Jelloun". It proposes to identify the various ways in which the quest for identity itself as privileged material of the structure of the four novels narrative. Party of the question: what does theliterature, we intend to demonstrate that the quest for identity is distinguished as the central motif in the composition of francophone postcolonial novel?. The choice for these four writers based on the desire to show the romantic theme of the operation of the search for identity. Indeed, applied to the internal dynamics of stories that structure the stories, the quest for identity emerges as the issue that crosses the writing of francophone postcolonial novel, especially in the writing of Alain Mabanckou, Tahar Ben Jelloun, Ananda Devi and Suzanne Dracius. By scientific standards, this study is divided into three areas. First historiographical axis. It attaches to a fairly simple understanding of the concepts of this study and illustrate the different facets in literary history. Then poetic axis where analytical. He has the title of "figures of the search for identity." It is striving to show how the pattern of the search for identity unfolds in the corpus. The third axis hermeneutic or interpretation undertaking further analysis and carry a number of interrogation on the concepts covered in the analytical sequence

碩士
國立臺灣師範大學
藝術史研究所
101
Hommage à Cézanne painted by French artist Maurice Denis (1870-1943) in 1900 is a painting that combines a self-portrait, a group portrait and a gallery depiction. The dominant tendency amongst scholars has viewed Hommage à Cézanne as a document of Cézanne’s rising reputation rather than as a painting with its own formal tensions and interests. Cézanne’s significance for the early twentieth-century modernism has led scholars to extract this painting out of its complicated context in which it was appreciated. In my study, I analyse Maurice Denis’ renewed strategy on group portraiture and homage painting, pointing out that he not only adopts the tradition of group portrait to pay homage to Cézanne, but also transforms its composition into an ideology of reconciliation. Denis’ personal intention for staging significant personalities reveals a deeper intention than his title “Homage to Cézanne” might announce. By positioning the figures of the Nabis, Cézanne, Redon, Gauguin, Renoir, and Vollard, Denis constitutes interpersonal relations on his painting. He wove a social connection between his companions and advisors in artistic association. This thesis is divided into three chapters, each centering on a single topic about Denis’ strategy. Chapter one examines the development of group portraiture and homage painting during the nineteenth-century in France. By examining previous important group portraits and homage paintings, such as by Louis-Léopold Boilly, Gustave Courbet, Henri Fantin-Latour, and Félix Vallotton, I analyse the formal tradition of group portraiture and renewed strategy Denis has taken in Hommage à Cézanne. Chapter two investigates the relations and pictorial dialogue in the Nabi group which mainly focus on Cézanne’s still life Compotier, verre et pommes. Positioned in the center of Denis’ work, Cézanne’s still life Compotier, verre et pommes actually plays an important role in the Nabi circle, since it was approprited by one after another. By making several examples in contrast with the prototype of Cézanne, including the still life of Denis, Gauguin, Sérusier, and Bernard, it is obvious to find that the Nabi circle and their artistic allegiances overlapped a similiar cast of characters for Cézanne’s still life. These connections demonstrate an interest in collective painting that was itself formed collectively, shaped and reshaped in a network of artists and writers, colleagues and friends. Chapter three explores the relationship between artists, writers, dealers and others; they are directly involved in the group and their portraits in Hommage à Cézanne. The representative figures in Hommage à Cézanne such as Gauguin, Redon, Vollard and the Nabis group weaved a complicated relationship in their circle at the end of the nineteenth-century. Examining their relationship and attitude toward Hommage à Cézanne helps to interpret another dimension of the painting. My research argues Hommage à Cézanne is not only a painting that pays homage to Cézanne, but it also pays homage to Redon. This painting also celebrates a moment that the Nabi members were getting together after their generation was reaching an end. It is a pictorial statement of a group of artists as well as a group portrait that memorializes the Nabi group, their guides, and the prospect of avant-garde. Denis even attempted to reconcile his devout Catholicism with the practice of this painting. By forging Symbolism into a new synthesis between sensation and imagination, the individual and the collectivity, as well as between modernity and tradition, Denis presented Hommage à Cézanne as a model reconciliation of intellectual and the Nabi collective aspects.

碩士
國立臺灣師範大學
美術學系
98
Maurice Denis, one of the excellent painters in 19th century, was somehow misplaced in the history of art because of being seen as a theorist of Nabis. He was also seen as a pioneer in modern art because of his definition on paintings. However, his thinking in classic painting was once again being ignored. In order to understand his thinking on painting thoroughly and objectively. This thesis would try to collect and analyze the first-hand materials, and also compare with other studies. At the end, we would also discuss the interaction between his paintings and thinking on art. 　　In this thesis, first chapter starts as an introduction. In addition, his view on catholic religion, family, and nation would be discussed in chapter two. In chapter three, we would continue to discuss how Maurice Denis symbolized his art and what he hid within. In chapter four, we would see how he interacted with classicism by seeing his interpretation on Cezanne. In addition, we would analyze the form and theme of Denis's painting in the frame of Cezanne's style. Therefore, we will be able to clarify the true meanings of the combination of Denis's modern art and classicism. By reconstructing his thinkings, the significant of his religion in his art of life could be found, and we could not only define him as a painter, but also see the french spirit in the end of 19th century.