Littérature scientifique sur le sujet « Patrimoine de création »
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Articles de revues sur le sujet "Patrimoine de création"
Menger, Pierre-Michel. « L’évaluation de l’oeuvre d’art dans son horizon temporel ». Articles, no 16 (19 avril 2011) : 75–87. http://dx.doi.org/10.7202/1002129ar.
Texte intégralCornu, Marie. « Notions juridiques du patrimoine et de la création : les entrelacs ». Revue générale de droit 38, no 2 (20 octobre 2014) : 281–302. http://dx.doi.org/10.7202/1027038ar.
Texte intégralNaccarato, Mario. « La fiducie : réflexion sur la réception judiciaire d’un nouveau code. » Note 48, no 3 (12 avril 2005) : 505–24. http://dx.doi.org/10.7202/043939ar.
Texte intégralLentz, François. « La Maison Gabrielle-Roy : patrimoine, création et résonances ». Cahiers franco-canadiens de l'Ouest 26, no 1-2 (2014) : 1. http://dx.doi.org/10.7202/1029447ar.
Texte intégralDu Tertre, Christian. « Création de valeur et accumulation ; capital et patrimoine ». Économie appliquée 60, no 3 (2007) : 157–76. http://dx.doi.org/10.3406/ecoap.2007.1852.
Texte intégralAubry, Anne. « Ethnographie d’un dispositif opérateur de l’interculturalité au Centre culturel oecuménique (CCO) de Villeurbanne : un processus de patrimonialisation original ? » Alterstice 5, no 2 (8 juin 2016) : 89–98. http://dx.doi.org/10.7202/1036694ar.
Texte intégralJennan, Dr Lahsen. « Quelle mobilisation du patrimoine dans le développ ement des terr itoires ? Cas l’espace oasien ». digitAR - Revista Digital de Arqueologia, Arquitectura e Artes, no 5 (20 février 2019) : 45–68. http://dx.doi.org/10.14195/2182-844x_5_2.
Texte intégralNaccarato, Mario. « La fiducie de protection d’actifs : un mirage ? » Les Cahiers de droit 60, no 1 (10 avril 2019) : 283–308. http://dx.doi.org/10.7202/1058572ar.
Texte intégralProvencher St-Pierre, Laurence. « Ethnologie en contexte muséal ». Ethnologies 40, no 2 (26 février 2019) : 51–73. http://dx.doi.org/10.7202/1056383ar.
Texte intégralBrochot, Aline. « Quelle place pour les populations locales dans les paysages culturels du Patrimoine mondial ? » Géo-Regards 8, no 1 (2015) : 55–68. http://dx.doi.org/10.33055/georegards.2015.008.01.55.
Texte intégralThèses sur le sujet "Patrimoine de création"
Colasson, Frédéric. « Le patrimoine professionnel ». Limoges, 2004. http://www.theses.fr/2004LIMO0498.
Texte intégralThe study of the professional patrimony is an awareness of the considerable weight of the very small, small, and medium-sized company in the French economy : more half of the companies are run under individual shape. By studying the professional patrimony under its legal aspect, we admit implicitly that two masses of possessions and debts can coexist among the possessions of the professional person: a mass of elements allocated to the professional activity, a mass of elements devolved to the private life. It means that law freed itself from classic unitarian patrimonial principles, and that it doesn't hesitate anymore to define the professional patrimony of the individual entrepreneur in order to protect it better. The professional patrimony, which is a more and more significant reality, concentrates the attention of the individual entrepreneur. This one must optimise the legal management of its working tool, by taking care of protecting the family wealth
Orcel, Stéphanie. « Création architecturale et patrimoines anthropologiques au Mexique ». Paris 1, 2004. http://www.theses.fr/2004PA010702.
Texte intégralArseneault, Catherine. « Des scrapbooks au Québec : la création d'un patrimoine familial pour passe-temps ». Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/26712/26712.pdf.
Texte intégralThe activity of album personalisation – most often called scrapbooking – results from the customary practice of personal or familial archive creation. Today – in Quebec and elsewhere – this practice is perpetuated and renewed in an art consisting of piecing together various materials into a collage in which family photographs hold a predominant place. As the lines between entertainments, traditional practices and culture blur, it is necessary to question how ethnology approaches these recent and increasingly popular leisure activities. This essay documents the main facets of the scrapbooking practice as it exists in Quebec (Canada). It examines how various aspects of today’s leisure activities influence the creation and transmission of familial heritage. How are today’s personal albums involved in the process of familial heritage creation? This study is based on an ethnological research conducted in the Quebec City region. The oral investigation conducted with scrapbooking lovers made possible the acquirement of knowledge regarding this production and the study of their views on the subject. More specifically, the study is focused on the following aspects: the activity’s logistics and how it relates to creativity and identity, the resulting scrapbooking, the performance context and its influence on the scrapbook’s creation process. Finally, we outlined the role scrapbooking plays in the familial heritage of scrapbookers. As an amateur practice, today’s scrapbooking activity is outside of traditional artistic endeavours due to its renewed form of expression. It is at the heart of several issues related, amongst other things, to mass consumption products and the new information technologies.
Chadli, Mohammed. « Musée et médiations du patrimoine : la création du Musée Nejjarine à Fès ». Nice, 2007. http://www.theses.fr/2007NICE2012.
Texte intégralThe object of this research-action is the studies of functions a museum which can fill in Fès, classified city Worldwide Heritage by the UNESCO. The questions raised here are based on three facts :the general development of mass tourism and mass culture, the importance of publics in new museology, the influence of colonialism on creation and evolution of museums in Morocco. Supporting the hypothesis of the actual repetition of a missed encounter between local populations and museums during the period of the Protectorate, researches and actions were led during near twenty-five years in three museums of Fès : Batha, Borj and the Museum Nejjarine. The aims of these researches were to operate and to estimate which could be the means for engaging museums to be in connection with its material and human environment. From the approach followed, resulted an analysis of the importance of communication and mediation systems and settings, cultural and intercultural, in each museum. In this respect, the Nejjarine Museum, its unique situation inside the Medina, offered a long duration frame of research. The results show in which conditions and regarding which communication and mediation settings, the opening of the museum on its environment and the reconciliation of the local populations with the institution are made possible. These works open new perspectives of research and action on a new approach of the museum adapted to such traditional contexts as the city of Fès : the « musée éclaté », a network of thematic museums focused on the various « savoir-faire » and the professional corporations of Fès
Bannour, Hakima Sondos. « Les représentations numériques du patrimoine archéologique tunisien : simulation, substitution et création artistique ». Paris 8, 2007. http://www.theses.fr/2007PA082822.
Texte intégralBy the analysis of the image of the archaeological inheritance presented in the electronic plays, the educational CD-Roms and the cyberspaces we underlined the difficulty and the complexity of the interpretation of the emotional load and symbolic system of the archaeological inheritance. Thus we highlighted the positive contribution of the digital image in the study, the valorisation and the diffusion of the archaeological inheritance but also the limits and the degradations caused on the direction and the significances of the inheritance. These acculturations can and must be analyzed then reinvested. We chose Tunisia like field of our analyses and proposals. Many Tunisian creations numerical in favour of the inheritance were analyzed according to criteria's well defined what enabled us to have a precise idea on the way in which the image of the Tunisian archaeological inheritance is emphasized or not by the digital images
Taupin, Louise. « Condition du passage à l'échelle d'une startup deeptech : gérer la conception du patrimoine de création ». Electronic Thesis or Diss., Université Paris sciences et lettres, 2023. http://www.theses.fr/2023UPSLM074.
Texte intégralFaced with contemporary social and environmental challenges, supporting the emergence of technological innovations is a path worth exploring. The new technologies developed by deep tech start-up carry the ambition to address these issues, on a large scale. However, the conditions for their deployment and the mechanisms for managing design efforts in the scale-up phase are still not well understood. By approaching the scaling-up of deep tech start-up through the theories and methods developed in the field of design, this thesishighlights that deep tech start-up shape their creative heritage during this scale-up phase. Based on three intervention-research projects implemented within deep tech start-up, this research provides a new condition for scaling-up management and offers recommendations to public authorities so as to best deploy the potential impact of these start-up
Solère-Sangla, Marie-Hélène. « L’invention d’une Méditerranée : patrimoine, création et identité en Roussillon : fin du XVIIIe siècle – Entre-deux-guerres ». Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20050.
Texte intégralBetween 1810 and 1930 the artistic and cultural circles of the “Pyrénées-Orientales” have been involved in the different policies concerning the local heritage while expressing their will to belong to the French nation. From this cultural movement was born a strong sense of identity. The first part of this study is about the conditions in which this conscience developed as well as the first actions concerning the local heritage. Between 1810 and 1860 the French official policies tried to erase the local sense of identity and to preserve national unity after the trauma of the French Revolution. Our purpose was to study the different ways in which the local heritage as well artistic creation and local historical studies have been institutionalized. The second part studies the years between 1880 and 1930 when the political evolution concerning the local heritage was no longer ruled by national institutions but by the regionalist movement and the way the “Roussillonnais” considered their region as a heritage both to be preserved and enlarged. We have tried to show the influence of French regionalism that associates federalism and a national conscience, the influence of catalan separatism in the creation of a new material culture and an artistic identity strongly marked by a historical and unbroken link with the Mediterrannean world as well as return to antiquity
Weiss, Gaëlle. « Création africaine et mondialisation : la collection Lebaudy-Griaule : quel rapport à la création ? » Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAG063.
Texte intégralThrough the example of Lebaudy-Griaule’s collection of the University of Strasbourg, this research tries to answer, according to an interdisciplinary approach, to interrogations related to the evolution of African creation, in our globalized context, and, particularly, in Burkina Faso, cultural area determined by the origin of the masks a-dunε koromba of our corpus. The first part consists of a historical exploitation of the collection to understand the conditions of collecting artifacts and the new values which they were invested by "decontextualization". The second part is the opportunity to document the artifacts of our corpus and analyze the evolution of traditional creation in situ. The third part focuses on the relationship between contemporary art and traditional African creation in the era of globalization
Carvajal, perez Daniel. « Gérer le patrimoine de création Dom Pérignon : Modéliser et organiser la transmission de connaissances pour la générativité ». Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEM058.
Texte intégralHow can knowledge transmission help designers in the luxury industries to reinvent the brand's objects and experiences while remaining rooted in its heritage? This open question in the management and design sciences is of interest to the luxury sector, and especially to Dom Pérignon, in constant quest of renewal. Indeed, to innovate without betraying tradition is at the origin of several tensions. In this thesis, we show how the transmission of a "creative heritage" can help designers in the luxury industry to overcome these tensions. By studying the creative heritage of Dom Pérignon and those contained in various haute cuisine books, we highlight three characteristics of this creative heritage that constitute as many lines of research: First, we describe the positive effects on the originality and the operational efficiency that the transmission of a creative heritage can have on the collectives of designers leading innovation projects. Secondly, by using design theories, we construct a formal model linking the knowledge structures and the types of generativity that a creative heritage can promote. We show that a same domain can contain several generativities, that a same creative heritage can favor several types of generativity that might seem incompatible in principle, and that these different types of generativity can evolve over time. Finally, we show that the design of a creative heritage requires interactions between experienced and recipient designers to formalize, reorganize and share a language of the known and a language of the unknown. The latter is composed of the elements of the former. We also highlight that the formal structure of a creative heritage can reflect the structure of the design organization
Martin, Eléonore. « Les dynamiques de création contemporaine du Yuju à Taiwan : de la sauvegarde du patrimoine à l’expérimentation esthétique ». Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080113.
Texte intégralThe Yuju 豫劇 (improperly translated as "Henan Opera") is a comprehensive performing art from Henan, a province located in the central part of China. It blends stylized action, singing, dialogue and mime, to represent a story or depict different characters. It is often considered as a “traditional performing art”. Its presence and its preservation for more than sixty years in the southern Taiwan are quite surprising. The Yuju arrived in Taiwan in 1949 with the government and the Nationalist army retreating from the communist’s expansion in the mainland. Since then, the Yuju is always played by a unique Taiwanese company named Henan bangzi: Taiwan Yuju company 河南 梆子: 台灣 豫劇. Since 1949, internal politics of the island is largely determined by relations with Mainland China. An indigenization of both, the regime and the refugee population, comes up following a strong policy of bringing Taiwan under Chinese rule and culture. At that time, Chinese classical arts were favoured far beyond local culture. Nowadays, the multicultural aspect of the Taiwan society is encouraged in order to develop a specific Taiwanese identity. Such political context in Taiwan should be significantly hostile to the development of Yuju on the island. Thus, the survival of the Henan bangzi: Taiwan Yuju Company is fundamental and the company have to look for new audiences. Hence, we shall analyse what strategies the company implemented from its arrival in Taiwan in1953 till today, ensuring its sustainability while attracting new audiences. In this specific context, we shall analyse the different aesthetic directions chosen by the company from the promotion of traditional arts to aesthetic experimentation
Livres sur le sujet "Patrimoine de création"
Marchal, David. Grand-Hornu : Patrimoine industriel, création contemporaine. Paris : Archibooks + Sautereau, 2010.
Trouver le texte intégralAssociation des conservateurs des antiquités et objets d'art de France. Colloque. Regards sur le patrimoine de demain : Création et innovation. Paris : Errance, 2018.
Trouver le texte intégralBogdan, Cristina, et J. Walter. Patrimoine, création, culture : À l'intersection des dispositifs et des publics. Paris : L'Harmattan, 2015.
Trouver le texte intégralAuduc, Arlette. Patrimoine et création : Journée d'étude, 19 octobre 2010, Région Île-de-France. Paris : Somogy, 2011.
Trouver le texte intégral(Oullins, France) Cité de la création. La Fresque des lyonnais : Un patrimoine mis en scène. Oullins : Cité de la création, 2005.
Trouver le texte intégralFlinz, Carolina, Elena Carpi et Annick Farina, dir. Le guide touristique : lieu de rencontre entre lexique et images du patrimoine culturel. Vol. I. Florence : Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-693-4.
Texte intégralRijn, Rembrandt Harmenszoon van. Rembrandt graveur : La comédie humaine. Grenoble : Glénat, 2019.
Trouver le texte intégralMARIE-HÉLÈNE, SANGLA. L'INVENTION D'UNE MÉDITERRANÉE, PATRIMOINE, CRÉATION, IDENTITÉ EN ROUSSILLON DE : HISTOIRE DE L'ART 10. PU PERPIGNAN, 2017.
Trouver le texte intégralChapitres de livres sur le sujet "Patrimoine de création"
« La création de la Convention du patrimoine mondial ». Dans La Convention du patrimoine mondial, 17–48. Les Presses de l’Université de Montréal, 2017. http://dx.doi.org/10.1515/9782760637634-004.
Texte intégral« Rencontre de deux univers : la création dans l’existant ». Dans Actualiser le patrimoine par l'architecture contemporaine, 1–17. Presses de l'Université du Québec, 2014. http://dx.doi.org/10.1515/9782760541504-002.
Texte intégralIstasse, Manon. « La participation dans la création d’un dispositif numérique relatif au patrimoine culturel ». Dans Scénographies numériques du patrimoine, 193–223. Éditions Universitaires d’Avignon, 2020. http://dx.doi.org/10.4000/books.eua.4580.
Texte intégralde Champs, Emmanuelle. « Des bénévoles au service du patrimoine écrit ». Dans Le Crowdsourcing, 47–58. Editions des archives contemporaines, 2021. http://dx.doi.org/10.17184/eac.3911.
Texte intégralCugno, Federica, Federica Cusan, Giulia Fassio, Valentina Porcel-lana et Matteo Rivoira. « Le projet Cultures et Langues des Alpes du Piémont (CLAPie) : principes, méthodes et premiers résultats ». Dans Patrimoine et Humanités numériques, 115–26. Editions des archives contemporaines, 2020. http://dx.doi.org/10.17184/eac.3596.
Texte intégralDJIGO, Adama. « Histoire du patrimoine culturel du Sénégal ». Dans Revue Internationale des Sciences Économiques et Sociales (RISES) No. 4, 83–100. Editions des archives contemporaines, 2024. http://dx.doi.org/10.17184/eac.8161.
Texte intégralReynaud, Aurore. « Le label Patrimoine du XXe siècle : création, évolutions et limites ». Dans Les labels dans le domaine du patrimoine culturel et naturel, 267–75. Presses universitaires de Rennes, 2020. http://dx.doi.org/10.3917/pur.priet.2020.01.0267.
Texte intégralKurzac-Souali, Anne-Claire. « Les arts décoratifs architecturaux : traditions, réinvention et création d’un patrimoine marocain ». Dans Architectures au Maghreb (XIXe-XXe siècles), 193–207. Presses universitaires François-Rabelais, 2011. http://dx.doi.org/10.4000/books.pufr.242.
Texte intégralGraezer Bideau, Florence. « Le rôle des experts dans la création de l’inventaire du patrimoine culturel immatériel en Suisse ». Dans Le patrimoine culturel immatériel au seuil des sciences sociales. Éditions de la Maison des sciences de l’homme, 2020. http://dx.doi.org/10.4000/books.editionsmsh.16072.
Texte intégralGENEIX-RABAULT, Stéphanie. « A travers chants ». Dans Langues chantées / Cultures mises en musique, 43–56. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.5431.
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