Littérature scientifique sur le sujet « Parodie dans l'art »
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Thèses sur le sujet "Parodie dans l'art"
Bertron, Juliette. « De la parodie dans l'art des années 1960 à nos jours ». Thesis, Dijon, 2014. http://www.theses.fr/2014DIJOL028/document.
Texte intégralThe word parody has been coined during classical antiquity and has since been considered mostly as a literary genre or figure. Nevertheless, numerous plastic artists are making use of its forms, processes and connotations. During the 1960s decade, the advent of consumerism and its effects on the work of art duplicability gave a new rise to parody. Reproducibility allowed the transformation of history of arts into a vast repertoire in which one may draw to create from and thus, offered a fertile ground for parodic creation. This study focuses on understanding why and how such a wide range of artists are taking advantage of parody for personal or contextual ends from the 1960s to nowadays. The first part of this study is articulated around the precise definition of the term and a chronological view of the parodic art since the middle of the 19th century, from the Salons caricaturaux to postmodernism including historical avant- gardes. The notions of playfulness, comic and satiric will be discussed in the second part, in order to grasp the multiple shades of parody. The third and last part is devoted to the specular aspect of parody that leads to a questioning of the artistic institutions and aims to unveil the artistic practices themselves. Across these pages, parody appears as an ambivalent process, oscillating between mauvais genre and sophistication, childishness and elitism, barrenness and creative rebirth, destitution and admiration, outrage and tribute
Bluteau, 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
Eléouet, Cécile. « La grille comme intersigne : recouvrement des corps et d'une parole perdue à partir de pratiques picturales éphémères ». Paris 1, 1999. http://www.theses.fr/1999PA010579.
Texte intégralAudio-visual, legible, visible, even invisible, the reminiscence, as a plasticosonorous composition, is after all an invitation to a "seas/tears" voyage through ultra-marine (blue) waters to recover the lost word - taken away by ahes - by sprinkling some shadowy dust. So, this composition, from the infra towards the supra - after a passage in the margin -, becomes a psychoanalytical tour using chemistry, alchemy, socio-ethnology and poetry. As an intersign, the reminiscence spreads its deposits of bodies on the borders of one's native soil (penn-ar-bed) in order to re-create, through the link, the "instant-place" uniting the inner and outer worlds. From deluge to the baptism, the blue is a matter of leaving and returning. Tears, peacefully, humbly run down. Miscible recovery. . . Of an another world, a forsaken message on a map, both revealed and hidden through a gate, like an individual and/or collective memory. Between the delusion and the illusion, the reminiscence lays itself down then passes away. From the end of the our wandering attitude, we try to fill the void that the loneliness, as a nostalgia, has left somewhere on the edge of an undecided vague melancholy. But always the blue returns. . . Between separation and agregation, some prints, finally, will spring suddenly from the earth punctuated by our forefathers' voices. And so the blue frontier will be crossed over
Naessens, Ophélie. « Les portraits des histoires : la parole vivante dans les pratiques artistiques des années soixante-dix à nos jours ». Thesis, Rennes 2, 2013. http://www.theses.fr/2013REN20038.
Texte intégralThis PhD thesis examines the status of the living word in the video art practices. From the 1970s, the artists use the videographic media, look to those around them, or travel the world meeting others, focusing their camera on faces, listening to a speech. These videos take on such different pertain to various aesthetics but a number of characteristics emerge throughout the study weaving links between projects that seem at first glance quite different. It is thus a question of identifying their common stakes, and evaluating the contribution of the artistes to the renewal of representations of speech. First, the relationship that these works establish with conventional narrative structures of talk about self is considered through the analysis of narratives contained in the videos, and strategies adopted by artists to question the narrative construction in its structural and formal mechanisms. Then, based on a large corpus of pieces, is examined the specificities of investigation and interview protocols that become conditions of artistic practice. These videos are characterized by a form of representation that reveals a singular reinvestment of centuries of portraiture: a speaking portrait. Finally, the study of contemporary video installations allows to examine the relationships between speech, filmed and exhibition space / reception space of a word. The inserts scattered in the pages of the volume expose the artistic practice and the developments that have accompanied this research, in a continuous dialogue between theory and practice
Gresse, Adrien. « L'Art de la Voix : Caractériser l'information vocale dans un choix artistique ». Thesis, Avignon, 2020. http://www.theses.fr/2020AVIG0236.
Texte intégralTo reach an international audience, audiovisual productions (films, TVshows, video games) must be translated into other languages. Generally, theoriginal voice is replaced by a new voice in the target language. This processis referred as dubbing. The voice casting process aimed at choosing avoice (an actor) in accordance with the original voice and the character, isperformed manually by an artistic director (AD). Today, ADs are looking fornew "talents" (less expensive and more available than experienced dubbers),but they cannot perform large-scale auditions. Automatic tools capable ofmeasuring the adequacy between a voice in a source language with a voicein a target language/culture and a given context is of great interest for audiovisualcompanies. In addition, beyond voice casting, this voice selectionproblematic echoes the major scientific questions of voice similarity andperception mechanism.In this work, we use the voices of professional actors selected by ADs indifferent languages from already dubbed works. First, we set up a protocolwith state-of-the-art methods in automatic speaker recognition to highlightthe existence of character/role specific information in our data. Wealso identify the influence of linguistic bias on the performance of the system.Then, we build methodological framework to evaluate the ability ofan automatic system to discriminate pairs of voices playing the same character.The system we created is based on Siamese Neural Networks. In thisevaluation protocol, we apply strong constraints to avoid possible biases(linguistic content, gender, etc.) and we learn a similarity measure that reflectsthe AD’s choices with a significant difference that is not attributed tochance. Finally, we train a new representational space highlighting the characterspecific information, called p-vector. Thanks to our methodologicalframework, we show that this representation allows to better discriminatethe voices of new characters, in comparison to a representation oriented onthe speaker information. In addition, we show that it is possible to benefitfrom the generalized knowledge of a model learned on a similar dataset using knowledge distillation in neural networks.This thesis gives a initial answer for assisted voice casting and providesautomatic tools capable of preselecting the relevant voices from a large setof voices in a target language. Despite the fact that the information characteristicof an artistic choice can be extracted from a large volume of data,even if this choice is difficult to formalize, we still have to highlight the explanatoryfactors of the decision of the system.We would like to explain, inaddition to the selection of voices, the reasons of this choice. Furthermore,understanding the decision process of the system would help us define the"voice palette". In future work, we would like to explore the influence of thetarget language and culture by extending our work to more languages. Inthe longer term, this work could help to understand how voice perceptionhas evolved since the beginning of dubbing
Amoa, Koidio Urbain. « De la parole poétique traditionnelle à l'art des poètes dits de "la deuxième génération" : quelques exemples de poètes des Etats Ouest-africains d'expression française ». Bordeaux 3, 1987. http://www.theses.fr/1987BOR30055.
Texte intégralSanogo, Souleymane. « La parole tissée de la cosmogonie dogon à l'expérience du sacré ». Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0559.
Texte intégralThe purpose of this "thesis-creation" is to explore the possibility that certain elements and concepts may lead to the emergence of an experience of the sacred within artistic artistic work. This prompts to ask the question about the sustenance of the sacred today. In other words, it is necessary to see if the works of plastic arts have a potential for the experimentation of this so-called sacred. At first, this investigation in the quest for creation presents the notions of the sacred as a daily experience. Then, she looks at different types of visual visual arts connecting to some experience of the sacred remarkably visible in the exhibitions The Traces of the Sacred and The Masters of Disorder, and in our works to us.(...) And in an attempt to answer, our reflection has resorted to a heuristic approach of ethnographic and "autoethnographic" nature that underlies an analysis, a linking of different authors, artists and processes of artistic creation. From this reflection and from this observation, it appears that the experience of the sacred today manifests itself in different ways, without any common form. And that artistic creation, especially the visual arts, can interpret and apprehend some elements favoring the appearance of an experience of the sacred.In short, the experience of the sacred in today's world is a rather individual phenomenon, which is lived, and it requires a total presence of the individual himself
Paroutaud, Xavier. « Lumière de Rembrandt, Parole du Christ : enquête sur l'expression religieuse de l'oeuvre de Rembrandt ». Paris, EPHE, 2011. http://www.theses.fr/2011EPHE5024.
Texte intégralThe study of paintings, prints and drawings by Rembrandt shows that the light enters into an intimate and privileged relation with the Word of Christ, in the pictures inspired from the New Testament. This light-word phrase is based on a personal figure of Christ, human and vulnerable, but unfolds in all images by Rembrandt, self-portraits, portraits, landscapes and free subjects. The special status of the image compared to speech allows the representations to embody a theological specific aesthetic discourse, nurtured by many influences that can be identified by watching closely the images and the complex historical and theological context of the Netherlands in the seventeenth century. The work of Rembrandt is a gospel image that offers an original vision of the theological themes in debate among the multi-faith society of Amsterdam
Wajeman, Lise. « La parole d'Adam, le corps d'Eve : les "premiers parents" et le péché originel dans les textes et les images au XVIe siècle, en France, Allemagne et Italie ». Paris 4, 2003. http://www.theses.fr/2003PA040165.
Texte intégralThe representation of Adam and Eve arouses particular interest during the sixteenth century. The renewal of Bible translations, the importance of the theological debate between the Reformation and the Roman Church lead to a plethora of entirely new readings of the Holy Book ; the story of the first genuine couple raises questions in a century fascinated by the problem of origins and makes it possible to represent naked figures in a religious context. Original sin, as recounted in Genesis 3, crystallises a series of fundamental oppositions. It induces the fall, i. E. The change from eternal life to a lifetime measured by death, but it also brings life to the body, as a source of pain and pleasure, marked by the differences of gender, and turns a world in which clear signs and language reign into a world of darkness, where the line between truth and falsehood blurs. The representation of original sin seems then to become a mirror in which a work of art can contemplate itself and reflect upon how to bring (christian) truth to the reader/ viewer. While the written word tends to restrict the reader's freedom and force a certain interpretation upon him, pictures tend to reenact the confusion brought about by original sin and make full use of their ambiguous seduction
Lafond, Nelly. « Recherche sur l'iconographie de saint Grégoire le Grand dans les manuscrits des IXe-XIIe siècles en Occident ». Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL022.
Texte intégralThe iconography of St. Gregory the Great (ca. 540 - March 12, 604) has so far been little studied, despite a resurgence of studies recognized for several decades. When we know the importance of this saint in medieval society, especially from the ninth century to the twelfth century, it seems therefore logical to study the iconographic aspects and issues emanating from it. A rich antique heritage and especially carolingian giving it authority, the Gregorian picture often inserted within an image tripartite hierarchy (God, man and the book), seems to be linked to several data: hagiographic, scenic, scriptural or geographic. It describes the relationship between oral and written records, reports changes depending on litteras and the importance of storage and research shows acute sense. Tending to move away from hagiographics bases, it emphasizes between the IXth and XIth centuries, the vocalization, and then, in the twelfth century, on the representation of the different phases of the life of a text (inspiration, transcription, writing, transmission), this that the image is linked to the production of the book focuses on the representation of the transmission of knowledge and teaching wherein the visualization of knowledge becomes important (genealogical and didactic research focus on the virtues of the saint). Gregory, endowed with imperial attributes raising him toward beyond, is integrated into an image representing the invisible because God remains hidden from the view of the man. These pictures to be inserted in the liturgical context and sensitive, are not only reflected the main concerns theological, moral or canonical time but mostly trying to legitimize them
Livres sur le sujet "Parodie dans l'art"
Université de Paris IV : Paris-Sorbonne, dir. L'art de la parodie dans les mélanges de Pierre Certon, 1570. Lille : A.N.R.T, Université de Lille III, 1993.
Trouver le texte intégralL'art parodic : Essai excentrique. Cadeilhan : Zulma, 2003.
Trouver le texte intégralChapitres de livres sur le sujet "Parodie dans l'art"
Rusconi, Roberto. « Le pouvoir de la parole. Représentation des prédicateurs dans l'art de la Renaissance en Italie ». Dans La parole du prédicateur (Ve-XVe siècle), 445–56. Turnhout : Brepols Publishers, 1997. http://dx.doi.org/10.1484/m.cem-eb.4.2017016.
Texte intégralEvdokimova, Ludmilla. « L'art de la parole et la gradation des styles dans les poèmes lyriques de Deschamps ». Dans Les Arts poétiques du XIIIe au XVIIe siècles, 219–42. Turnhout : Brepols Publishers, 2017. http://dx.doi.org/10.1484/m.latin-eb.4.2017013.
Texte intégralPIVA, Frank, et Marie-Bénédicte ROMOND. « Bifidobactéries : de la bactérie commensale aux probiotiques et métabiotiques/postbiotiques ». Dans Mise en oeuvre des procédés enzymatiques et des bactéries lactiques dans les industries agro-alimentaires, 189–225. ISTE Group, 2023. http://dx.doi.org/10.51926/iste.9137.ch8.
Texte intégralBompard, Vincent. « Que faire de la parole ? » Dans L'art d'inventer l'existence dans les pratiques médico-sociales, 173. ERES, 2010. http://dx.doi.org/10.3917/eres.pawlo.2010.01.0173.
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