Thèses sur le sujet « Photographie – Cambodge – 19e siècle »
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Saint-Ours, Édouard de. « Cοnjuring Empire : Ρhοtοgraphy and Ρlace During the Early Υears οf French Cοlοnialism in Ιndοchina (1845-1879) ». Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMLH32.
Texte intégralThis thesis analyses photography’s ties with the French colonial project in Mainland Southeast Asia from the earliest photographs of Vietnam (1845) to the end of naval rule in French Cochinchina (1879). In Indochina, as in most regions undergoing colonization, photography was increasingly mobilized in support of the French imperial project, to collect intelligence on the landscape and populations, inform decision makers on the progress of expansion and exploitation, contribute to the advancement of colonial sciences, promote prospective action, legitimize structures of domination or boost colonialist sentiment among the metropolitan public. Acknowledging the performative nature of photographic representation and the importance of historical and sociopolitical contexts, the thesis disentangles existing ties between photographs of Vietnamese and Cambodian lands and the colonial project in four case studies illustrating key moments in the pre- and early colonial periods: the creation and circulation of the first photographs of Việt Nam (1845–53), uses of photography during the Cochinchina Campaign (1858–60), the pivotal role of the Paris Universal Exposition for the dissemination of photographs of Angkor (1866–67) and uses of the camera in Cambodia during the final years of French naval rule (1870s). Throughout these four chapters, the thesis addresses how photography assisted concrete military, scientific and commercial efforts and examines the processes by which ideologies of power and otherness often infused these images. Considering that visual appropriation often facilitated more tangible forms of control, it proposes a reevaluation of photography’s contribution to French rule in Indochina before 1880
Gunthert, André. « La conquête de l'instantané : archéologie de l'imaginaire photographique en France (1841-1895) ». Paris, EHESS, 1999. http://www.theses.fr/1999EHES0001.
Texte intégralAbelé, Christine. « La photographie de paysage en France au XIXe siècle ». Paris 10, 1994. http://www.theses.fr/1994PA100163.
Texte intégralTachou, Frédéric. « Aux origines d'une industrie : photographie "obscène" et cinéma pornographique primitif ». Paris 1, 2010. http://www.theses.fr/2010PA010590.
Texte intégralCristini, Corinne. « Émergence et rôle de la photographie dans la littérature espagnole de 1839 au début des années 1870 ». Paris 4, 2004. http://www.theses.fr/2004PA040147.
Texte intégralThese thesis works deal with the links between the universe of photography and Spanish literature marked by costumbrismo, from 1839 to the beginning of the seventies. First, it was necessary to study how literature resorted to optical instruments before the advent of photography. In this literary context, we have selected collective works such as Los españoles pintados por sí mismos (1843-1844), others works from two authors regarded as really costumbristas : Mesonero Romanos and Antonio Flores. We have also studied less famous writings, some texts extracted from the Almanac of Eusebio Juliá, or articles taken from newspapers and magazines. This thesis aims at showing how the photographic representation system appeared into Spanish literature deeply imbued with pictorial model. It is interesting to see how the new literary images created by photography express the ambivalent vision of authors towards photography they find both fascinating and contemptible. The role of photography is also perceptible through a new literary theme symbolised by a new character : the photographer. Finally, we have confronted text and illustrations (lithographs and plates from photographic model) in two books : Crónica del viaje de Sus Majestades y Altezas Reales a las Islas Baleares, Cataluña y Aragón en 1860 by Antonio Flores and Diario de un testigo de la guerra de África by Alarcón
Corcy, Marie-Sophie. « Techniques photographiques de prise de vue, formes et applications scientifiques et industrielles de la photographie en noir et blanc en France (1839-1920) ». Paris 4, 1997. http://www.theses.fr/1997PA040233.
Texte intégralRelating the development of photographic shooting techniques (photographic chamber, optics, closing system, frames but also sensitive processes) from 1839 (date of promulgation for the law concerning the photography) to 1920 (transition to another technical system based on the miniaturization and the integration of the elements making the camera up) and understand this development in accordance with the history of these techniques. We have emphasized the motor of this development (the research on the instantaneous illustrated by the progress made on the sensitivity of chemical processes). We have expanded this problematic by demonstrating the existence of periplural technical systems, that have progressively formed around the generic photographic technical system, and which are illustrated by the forms of photography but also by its scientific and industrial applications. We have on another hand, demonstrated the part of the amateur (confirmed or novice) in this evolutionary process. Finally, we have illustrated this intention by the analysis of a hundred “stereoscopic” pictures, an amateur's work at the end of the XIXth century
Mondenard, Anne de. « La colonie de Passy : un cercle d’amateurs aux origines de la photographie ». Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040038.
Texte intégralThe Passy Circle consisted of men and women photographers from the same family circle who worked alone or collectively from the early 1840s to the early 1860s: Léon de Laborde, Valentine de Laborde, Benjamin Delessert, Cécile Delessert, Edouard Delessert, and Edouard Bocher…. No fewer than six photographers, plus models, can be identified in this group of upper-middle class, wealthy bourgeoisie. Their oeuvre, unknown until this current research, reveals some of the earliest existing works in portrait photography. The free, casual nature of the poses contrasts sharply with previously known portraits of the period, which were much more stiff. Knowledge of this family-based production may lead historians to rewrite the history of portrait photography, as well as to reassess the notion of the “intimate portrait,” thought to be an invention of Felix Nadar. The Passy Circle, which owes its name to the city where its members lived along the Seine (Passy was then situated on the Paris outskirts), also played a central but previously undiscovered role in promoting photography: public commissions, society foundations, projects for distributing artworks, jury participation, etc. Finally, their images and family archives, which have never before been investigated, reveal that the characteristics of amateur photography, as it is currently perceived, were already in place soon after photography’s invention: its members regularly exchanged photographs, created albums chronicling family history, and in their practice were daring, playful, experimental and inventive
Miane, Florent. « Images d'architecture et imaginaires photographiques, l'oeuvre d'Alphonse Terpereau (1839-1897) dans le Midi de la France ». Bordeaux 3, 2009. http://www.theses.fr/2009BOR30029.
Texte intégralPetitjean, Joël. « Recherches sur la photographie et la Commune ». Paris 4, 1996. http://www.theses.fr/1995PA040075.
Texte intégralPhotographies on paris commune (1871) are very often reproduced for illustration purposes in historical publications. For many years, it is regularly question of theses pictures in works dedicated to photography. Nevertheless it odes not exist yet any reference book. The reading of contradictory commentaries justify an open analysis, of aesthetic, historical and sociological nautre, based on a methodical inventory of pictures. For fhe first time, this work direct in public collections (paris, bibliotheque nationale, etc. ) has been made. This report includes a study accordingy to three approaches : a typological and thematic analysis, a situation of the pictures in comparison with other means of representation (endgraving) or expression (writting), an analysis of the various photography appropriations created by the events. The stidy is followed up of a chronology, of an important catalogue of printings and albums, including biographical notes, of a bibiliography, and of a choice of reproductions. In an extreme historic situation, the photography takes a wider place and is revealing. Some of its uses are systematized (communication, propaganda, police identification). Antidote against spacio-temporal distance, photography is a vehicle for some aspects of reality. It searches its identity in its relation to the event, it registers the sites and the characters, in an increasing proximity report "historical photography" is syubstituating to history painting. Photography transmits symbols, contributes to conditioning. It is used, and censored by authorities
Forget, Zoé. « Le corps hors norme dans la photographie contemporaine ». Paris 8, 2013. http://www.theses.fr/2013PA083925.
Texte intégralThe challenges of the study of the representation of the “extraordinary” (or non-standard ; “hors norme” in french) body in contemporary photography unfold in the context of a reflexive space, built in relation to some iconographies born in the French institutional environment in the second half of the 19th century. Continuation of the apparatus, breaks and rearrangement of the photographic gaze facing the extraordinary body are the main movements. The demonstration of a different body is a first lieu of photographic representation and one of the possibilities of contemporary discourse, but it operates in a diversion, while retaining the original codes of demonstration, and build a positive version or a transcendence of the body and meanings. The ruptures with the first photographic language cause a shift of the body and look, leading the passage from the body object to body subject; they also need to question the place of the beholder, but also one that is looked at, questioning the possibility of a speech which is the extraordinary body's own. The contemporary era also saw the unconventional body, becoming an expression of plastic forms. The figure of the extraordinary body is elaborated by the digital photograph, but also by the emergence of practices of body modification, shattering the notion of non-standard. New iconographies appear where the authors are both creators of a body and a photographic image, and claiming an innovative space of speech and image, deeply upsetting the principle of demonstration
Parise, Maddalena. « Du portrait ressemblant à l'excès de détails : le daguerréotype, une technique à l'épreuve de l'art ». Paris 1, 2012. http://www.theses.fr/2012PA010591.
Texte intégralEstèbe, Claude. « Le premier âge d'or de la photographie au Japon (1848-1883 : constitution et analyse d'une base de données iconographique de la fin de la période Edo (période Bakumatsu) au milieu de la période Meiji ». Paris, INALCO, 2006. http://www.theses.fr/2006INAL0017.
Texte intégralEdwards, Paul. « Littérature et photographie : la tradition de l'imaginaire (1839-1939, Royaume-Uni et France) ». Université Paris-Est Créteil Val de Marne (UPEC), 1996. http://www.theses.fr/1996PA120051.
Texte intégralIt is possible to trace the history of relations between literature and photography in england and france (1839-1939) de received opinion grounded on a narrow definition of photography. The major encounters between writers and photographers reveal a photo-literary tradition where photography leads not to the real world objectively transcribed by the camera bu the imaginary, in accordance with idealist preoccupations (neoplatonism, christianity), and show the inadequacy of contemporary theory, centred on the supposed "ontology" of the photographic image that makes it a reminder of death. In england, literary photography (robinson,cameron,coburn) gives rise not to simple illustration but, when interpreted in the context of the whole work in which they are inserted - an interpretation till now unattempted -, to subjective readings, where the photographs create their own fictions or represent what the characters see. In france, marey's chronophotography led valery to use an objective, scientific photography to relinquish the immobile time of symbolism and approach subjective time ; whilst breton, using freudian psychoanalysis and, even more, the remains of christian idealism, invests ordinary photography with all the powers of dream. The popular photo-novel reveals, on the contrary,a misuse of photography's reality-effect. Rodenbach's undervalued work serves to demonstrate, in le regne du silence, through the use of photographic metaphors and situations, the suspect idealism of the "theory of spectres", and to suggest in bruges-la-morte, where text and photographs together constitute a totally new kind of novel - revealed by the first ever analysis of the negatives, vari and retouching -, the pathological nature of the association between photography on the one hand, and melancholy and the reminder of death on the other
Minervini, Fausto. « Photographie et peinture entre Italie et France dans la seconde moitié du XIXème siècle : production, édition et dynamiques de marché ». Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040065.
Texte intégralDuring the second half of Nineteenth century, as in the other visual arts, France, and particularly Paris, was a fundamental reference point for the reception of the innovations of the photographic domain in the Italian artistic circles. French photography and its protagonists offered to the Italian communities eminent models and vectors for the circulation and the reception of their production abroad, as well as functional medium in the dynamics which regulated the international market of their works. The aim of this research is to investigate the influence of French photography on Italian artists. However, in these deep and mutual exchanges between the two countries, Italian photography also played a decisive role for the development of several European artistic movements. These considerations emphasize the large photography’s circulation throughout the Nineteenth century that allowed it to become a common basis for some deeply different artistic schools
Brunet, François. « La Collecte des vues : explorateurs et photographes en mission dans l'Ouest américain : 1839-1879 ». Paris, EHESS, 1993. http://www.theses.fr/1993EHES0026.
Texte intégralOur inquiry takes for its objet the photographic archives produced by the exploration of the american west in the xixth century. Our purpose is to study the genesis and different aspects of a collaboration between scientists and photographers. In the first place, we reconsider the status of photography as an ivnention, and the conditions of its acclimatisation in the u. S. Then we examine its progressive penetration into american exploration, distinguishing four stages. 1) the period of "humboldtean" exploration. 2) the geological survey of california. 3) the experience of photographic reporting during the civil war. 4) the era of the "great surveys", which included a massive photographic production. Finally, we put into question the goals of what appears to be a photographic policy. This policy largely escapes scientific rationality, and tends rather to consitute a picturesque and ethnographical archive, open to many exploitations. Thus, rather than following the currently dominant perspective of art history, we situate our corpus in the field of american studies, and in a yet to be founded history of practices of visual media
Masanès, Fabrice. « Portrait et travestissement entre peinture et photographie de Gustave Courbet à Cindy Sherman ». Paris 1, 1999. http://www.theses.fr/1999PA010601.
Texte intégralBocard, Hélène. « Les expositions de photographie à Paris sous le Second Empire et leur réception par la critique ». Paris 4, 2004. http://www.theses.fr/2004PA040010.
Texte intégralThe first part of our study deals with exhibitions which showed photographs : " street museums " (print dealers, photographers' studios), world fairs and exhibitions of industrial products; those organized from 1855 by the Société française de photographie (French Photographic Society) reflect the importance for the new medium of being viewed in non-commercial and non-industrial contexts; after slowly establishing itself, photography was finally accepted alongside the Salon des beaux-arts (Fine Arts Exhibition) (1859). The second part of this study addresses the photographers who took part in those exhibitions and the work they showed, the relationship between their presence at the exhibitions and their career development, and that between the overall production and the pieces exhibited. The last part analyses critical discourse as it appears in 85 contemporary reviews ; it shows how difficult it was for critics, when confronted with a new type of image, to find an appropriate language - distinct from that used for painting - and to bring photography into the realm of art
Séguy, François. « Le sens et l'origine du vocabulaire technique en photographie dans les ouvrages techniques de langue française traitant de photographie, publiés entre 1840 et 1922 ». Toulouse 2, 1998. http://www.theses.fr/1998TOU20034.
Texte intégralThe aim of this thesis is to compile the first French semantic dictionary of the technical vocabulary of photography, based on the most significant works published during that period. The first part of the thesis is a recapitulation of all information necessary to assess the position of photography at the time: its history, its evolution up to 1922, its function in the graphic and photomechanical industry, its contribution to science, art and communication. A section is devoted to the 19th-century knowledge of physics, optics and chromatics. The analysis examines how this vocabulary borrowed from and contributed to the grammar and language of other techniques and professions. The second part, comprising 5,992 entries, is the actual dictionary, in which are defined all expressions, words and terms used in the publications. Our aim has been to characterize in detail all words and expressions beginning to assume a specific meaning in an evolving professional vocabulary. As the entries are essentially studied in their context, the complete quotes and their dated sources are included. In each case, the word in the references, given in the alphabetical order, was used in the common language or in a specifically photographic sense. The entries have been composed with the objective of observing, defining or establishing - the words or groups of words in the technical vocabulary and the newly created terminology which have assumed a specific meaning, sometimes in an originally polysemic situation; - the technical or cultural origin of the words or groups of words in the technical vocabulary, the way they were invented or devised through a twisting of the sense; - the use of new roots and the formation of new terminological groups; - the emergence, evolution, establishing or disappearance of words or groups of words in the terminology of photography
Pallas, Basile. « De la vue au regard : littérature et photographies au XIXe siècle ». Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30055.
Texte intégralIn the nineteenth century, photographs are first seen as true images. Produced mechanically, they would be the faithful copy of reality. This justified the belief in the truth of photographic images. From the earliest speeches made about it, photographs appeared as transparent images, giving nothing more to see than reality. This explains the postures of rejection generally adopted by writers and artists in the face of the photographic image, seen as the antithesis of art. Our work tries to show how, on the contrary, photography has been rendered in literary texts, to its visibility, that is, to its nature as a true image. To do this, we determine how the optical phenomenon of aberration, which is a deformation of the image, accounts for a line of thought which tries to conceive of photography as a vector of disturbances in its representation of reality. We then examine different manifestations of this phenomenon in literature. They are linked to a growing awareness of the materiality of the images and their particular mode of manufacture, but also of the defects opacifying what they represent. The attention given by certain writers to what we call the “photographic dimension” of photographs opens up multiple avenues to the poetics of texts and situates the photographic model beyond realism. The inquiry on photography in texts also makes it possible to measure the consequences of a belief in the truth of images, a belief that reveals itself, at different levels, as aberrant. Indeed, the fantasy of perfect visibility has not been apprehended only as a means of rational measurement of the world. The increased and excessive visibility of photography reveals, on the contrary, what is strangest and most disturbing in reality. The photographic model illuminates a fantastical representation of the world’s fantasies and hallucinations. The different phenomena studied then appear as the principal agents of derealization of the photographic image
Jarjat, Philippe René. « Les fresques de Michel-Ange à l'épreuve de la photographie : production et diffusion de nouveaux clichés (1839-1944) ». Paris, EHESS, 2008. http://www.theses.fr/2008EHES0074.
Texte intégralTo write the history of the different ways that (1615 caractères) Michelangelo's frescos have been represented through photography and illustration, one must first study the images that they competed with until the end ofthe 19th century which were interpretative prints (Ch. L) and engravings depicted in iHustrated books (Ch. 2). Certain models ofrepresentation from earlier techniques were used while others were abandoned. It is thanks to these images that the frescoes ofthe Sistine Chapel and the Pauline Chapel are better known and have been studied by a larger audience. Without knowing the advantages and disadvantages involved in the use ofcertain photographic and -substitution ofthese processes and the generalization of their use that prevailed during the creation ofthe new models of representation giving them a new legitimacy, linked to the technical image. These models are marked by an evolution. Two enterprises, one founded by Adolphe Braun (Ch. 5) and one founded by James Anderson (Ch. 6), played a fundamental role in the invention of these "new ways of seeing", between 1869 and 1911. Under the influence of the competition of other players (Ch. 7) and thanks to the shift to illustrated printed matter, the enterprises had to contribute to the development of a standard of representation, valid until the end of the time considered in our research (Ch. 8). These collections of frescoes hence have a specifically photographic and photomechanical "image"
Paschou, Io. « Vers une archéologie des images : la représentation de l'homme dans la photographie en Grèce du XIXème au XXème siècle ». Paris 1, 2006. http://www.theses.fr/2006PA010639.
Texte intégralFatet, Jérôme. « Les recherches d'Edmond Becquerel sur la nature de la lumière entre 1839 et 1843 : histoire d'une interaction réussie entre science et photographie ». Lyon 1, 2005. http://www.theses.fr/2005LYO10237.
Texte intégralSarreau, Jérôme. « Le sublime et la représentation photographique de l'ouest américain au XIXè siècle [(1840-1912)] ». Pau, 2008. http://www.theses.fr/2008PAUU1013.
Texte intégralDuring the 19th century, the territory occupied by the United States was significantly enlarged. The Western part of the American continent was progressively populated and industrialized. While towns and factories were built, the place of nature inexorably decreased. At that time, some photographers left for the West in order to represent the landscapes which were still in their pristine condition but also the technological wonders which were invading this area. Their undertaking shows the ambivalent attitude of 19th century Americans, who were both dazed by the beauty of the wilderness and lured by technical progress. It is thus significant that they considered as sublime not only the wild landscapes created by God but also the works of the engineers. We can really speak about a transfer of values during the century. Nature, which had been a pillar in the building of a genuine national identity, was associated with the sublime straightaway, but later, its characteristics were transferred to Man and the idea of sublime was then associated with the machines. A new form of sublime appeared in America : the technological sublime. This study analyzes the part played by photographers in this evolution, which could be seen as a popularization of the sublime, thus put within the reach of every American citizen. The corpus consists mainly of photographs taken by William Henry Jackson and Carleton E. Watkins. The analysis of these pictures emphasizes the typical characteristics of the sublime. These photographs represent all the aspects of the American West in the second half of the 19th century : the wilderness as well as the Indian tribes and the industrialization of the region
Makino, Kanako. « Louis Figuier et la vulgarisation de la photographie ». Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20042/document.
Texte intégralLouis Figuier (1819-1894) is a French scientist and scientific popularizer who published many works for the general public in nineteenth-century France. Since the late 1840s, one invention in particular with which Figuier involved himself was photography. The main corpus of our research covers Figuier’s works printed between the 1840s and 1880s, along with publications on photography by contemporary writers. First, our research aims to analyze how Figuier envisioned the relationship between art and photography. Second, it examines Figuier’s opinions and their influence on society’s views of photography, and how his analyses concerning the artistic value of photography influenced him in his own efforts to revitalize the notion of science.The first section examines Figuier’s works and journal articles written by his contemporaries, starting from the invention of photography and leading up to the 1850s. It also considers the social impact of photography at the time, and Figuier’s early works in which he remarks about the process.The second section explains the controversy surrounding the artistic value of photography during the 1850s, and the works Figuier contributes to this discussion. The third section explores Figuier’s works published since the 1870s, and explains how Figuier aimed to exceed the traditional definition of science and offer a new interpretation
Yelles, Anissa. « Reproduire les ruines au XIXe siècle : pour une approche comparative de la représentation photographique des sites archéologiques en Méditerranée : l'exemple de l'Algérie et de l'Italie ». Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H108.
Texte intégralOur thesis wishes to determine the components of the photography of ruins in the 19th century and to try to define this model of representation of the archaeological trace. This study aims to understand how the archaeological sites of the Mediterranean sites have been reproduced through a photograph of archeology whose scientific rules are not yet predefined in the nineteenth century. In order to produce this research, we propose to apply a comparative method, analyzing the production produced by photographers in two different geographical and geopolitical contexts, in the context of excavations, persona) travels or archaeological explorations. Taking into account relevant historical and socio-cultural criteria, we selected two countries on the two Mediterranean shores, Italy and Algeria. Two scientific but also tourist destinations conducive for the physical discovery of the archaeological experience for photographers of the period studied, simply because of richness and diversity of their archaeological heritage. Two destinations that also experienced a history of archeology, and a history of their separate excavations on many aspects. Based on a relatively large corpus, the comparative approach we have chosen to apply has enabled us to observe, describe and understand the way in which photographers have contributed to the structuring and circulation of the imaginary Archaeological sites between Europe (especially Italy) and North Africa (Algeria) in the nineteenth century. Thus, by means of an established protocol and a selection of corpus (mainly centered on the production of French photographers), we have been able to highlight a set of systems of representations of the ruin linked to a common imaginary of the countries Mediterranean countries
Meizel, Laureline. « Inventer le livre illustré par la photographie en France : 1867-1897 ». Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H045.
Texte intégralThis thesis is about the relationship between books and photography in France during the last three decades of the 19th century. It reveals what was at stake in this specific association for the diverse actors involved in its creation. Articulating multiple issues, a new object was gradually invented: the photographically illustrated book, that is a book discursively produced through combining texts and photographic images between its covers, if not on the very pages themselves. To this end, the thesis charts the boundaries and tendencies of the average production of photographically illustrated books between 1867 and 1897, building a corpus that reflects its extent and its ambitions. Through a systemic analysis, it demonstrates that books were neither the breeding grounds nor the main sites nor the main vehicles for the dissemination of photographic images in 19th century France. By showing the extreme diversity of the production, it argues that books have constituted an experimental ground where modalities of texts’ and photographic images’ associations were tested. Through this process, authors and editors progressively defined what would become the specific characteristics of photographic images as means available for illustration. Allowing publishers and printers to reaffirm their dominant position in the world of publishing, the processes of this appropriation is particular because of the very low involvement of the photographic community itself. Therefore, the thesis proposes a periodization of the links of photographers to the book, analysing its role in the statutory claims they made through time
Gleeson, William. « Les lieux de la désolation : évènement, espace et destruction dans la photographie de la guerre civile américaine (1861-1865) ». Paris 7, 2012. http://www.theses.fr/2012PA070033.
Texte intégralThis dissertation examines American Civil War photography, notably its relationship with the environment. The images from the conflict are placed into their cultural context and are considered as elements of non-discursive rhetoric. One part looks at the difficulty of photographing the Wilderness region of Virginia. Another chapter looks at the possibility of making a portrait by substituting a landscape for an absent body. The dissertation also investigates the use of these images after the war, raising issues of memory and photographic truth. A final chapter concerns the photography of ruins and tries to understand how these ruins establish a lasting manner of looking at destruction
Gervais, Thierry. « L'illustration photographique : naissance du spectacle de l'information (1843-1914) ». Paris, EHESS, 2007. http://www.theses.fr/2007EHES0143.
Texte intégralBetween 1843 & 1914, photography became the main means of illustrating stories in the French press, paving the way for many new kinds of publications. Photo-mechanical printing methods made it possible to combine typecast letters and silver print images and newspaper editors rushed to use this new tandem to illustrate their pages. From the magazine L'Illustration, created in 1843 to La Vie au grand air, which appeared during the Belle Époque, photography's importance increased enormously. Initially used by engravers and not published themselves, photographs soon became the main medium for illustrating news stories. The press began using more and more photographie images. Under the guidance of artistic directors, skilled in the art of marrying words and images, picture stories began to cover newspaper pages, transforming illustrated journals into magazines. Between these two dates, the protocols of photographie illustration were established, producing a spectacular form of visual news
Schincariol, Andrea. « Naturalisme et photographie : l'influence invisible du dispositif photographique sur le roman d'Emile Zola, Guy de Mautpassant, Joris-Karl Huymans et Henry Céard ». Toulouse 2, 2010. http://www.theses.fr/2010TOU20097.
Texte intégralThis study consists in an analysis of the relationships between the photographic dispositive and five of the most significant works of the literary movement of Naturalism. In the first section of his thesis, the PhD student has analyzed two texts related with the literary genre of the “Fantastic”: the short story Le Horla (1887), written by Guy de Maupassant and Joris-Karl Huysmans's novel Là-bas (1891). The second section is entirely dedicated to the study of Nana (1880), by Émile Zola, and the influence of the photographic dispositive on the theme of “nude” with respect to the heroin of the novel, Nana. The third section consists in a photo-literary analysis of some of the poetic and aesthetic aspects characterizing the novels of Henry Céard, Une belle journée (1881) and Terrains à vendre au bord de la mer (1906). The candidate has operated a meticulous analysis of those literary works, with a focus, in the first place, on those textual marks suggesting the presence of the photographic medium; secondly, he has developed his photo-literary study trying to explore, on the deeper level of the literary enunciation, the function of the photographic dispositive with respect to the construction of the text. Besides, the candidate has proposed, starting from the novels that he has studied, some iconic references reflecting the photographic production contemporary to the authors of his corpus and also some photographic examples of present time
Blin, Marie-Christine. « Art et écologie dans l'Amérique du dix-neuvième siècle, 1820-1890 : artistes pionniers et exploration visuelle ». Le Havre, 2013. http://www.theses.fr/2013LEHA0013.
Texte intégralThe works of painters Albert Bierstadt and Thomas Moran and photographers Carleton Watkins and William H. Jackson are often credited with having been instrumental in the creation of the Yosemite and Yellowstone National Parks. Rather than look for evidence of their influence on politicians – evidence which turns out to be flimsy and the stuff of legend more than reality –this dissertation aims to study how landscape representation between 1820 and 1890 progressively shaped American mentalities so that people came to admire the wilderness they had dreaded for a long time and to advocate or accept its preservation. In the first part we will deal with the evolution of the image of nature and art since the arrival of the first settlers and their shared destinies. In the second part, we will look at how artists were made into aesthetic and environmental pioneers, sent on a mission of exploration to study the elements of nature thoroughly and recreate the scenes they had observed. Then we will analyze the writings of some artists which show a precocious ecological sensitivity and the concrete actions of those who fought for the preservation of certain sites. Finally, in the third part, we will examine the technological or artistic innovations and the adaptation of European pictorial conventions that favored the visual appropriation of nature : the panorama and the stereography, elevated vision from a distance and telescopic precision, as well as its pastoralization by human, animal presence or by the union of the sublime and the beautiful
Yeo, Mun-Ju. « Kitsch et photographie : étude historique du kitsch et de son statut dans la photographie (XIXe et XXe siècles) ». Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100037.
Texte intégralAppeared in the mid-nineteenth century as a jargon in the artistic circles of Munich designating a cheap image of poor quality, the term “kitsch” is used today not only in the art world, but also in everyday life, always with strongly pejorative sense. Generally considered as “bad taste”, “worthless art”, “artistic junk” or “vulgar art”, kitsch, however, is not a concept that remains only in aesthetic or artistic field ?. Various historical phenomena of kitsch which had been all emerged in the context of modernity, such as “bib[e]lotomanie”, “serialized novel”, “academic art” in France in the nineteenth century, or “barbershop’s painting” in Korea in the twentieth century, show that kitsch is indeed an attitude of human being toward his own existence and the world. The essence of this concept lies therefore in his negation of reality, or better in his escape from reality. That’s why photography deserves to be studied in relation with the kitsch. Having a specific link with the reality, the medium oscillate ontologically between the present and the past, the instant and the eternity, the here and the elsewhere, the subject and the object, the life and the death, etc. It is indeed because of this paradoxical ontology that the photography can become, according to the “acte photographique” not just art but also kitsch. Thus, the attitude to the latter the artists let reveal through their photographic work turn out extremely varied and ambiguous, even contradictory such as it does in the work of Pierre et Gilles, Vik Muniz, Sebastião Salgado and Oliviero Toscani
Mottet, Jean. « Cinéma et paysage : de la représentation à l'expérience paysagère ». Paris 1, 2002. http://www.theses.fr/2002PA010539.
Texte intégralDucos, Laure. « Alfred-Nicolas Normand (1822-1909) Ou les leçons de Rome ». Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2002/document.
Texte intégralThe architect Alfred-Nicolas Normand is forgotten by the history. After four year at the Beaux-Arts, he obtains the Grand Prix de Rome in 1846. He is student at the villa Medici for the five next years. He makes five Envois in high quality. One of them is the house of the Faun in Pompeii. He realizes a great Restoration of the Roman Forum. His works proposes a synthesis of art, erudition and archaeology. During his pension he is travelling acrosss Italy and is given a recent authorization to reach Greece. the boarding school is opportunity for Normand to find out and to experience all the forms of his art which are well abovethe competences taught by the Institute. He will feed upon all these influences his architectural skills. In 1851, he discovers the calotype process, and after that he is taking photographs of the monuments in their context. The observer would remark a relative ressemblance between his practice as drawer and as a photographer. As he wants the process to be clearly documentary, the shooting process is drastically influenced by the drawing codes and method standards. Back in France he realizes a antique style Villa for the Prince Jérôme Napoléon. Normand finds here the opportunity to apply the lessons learned from Roma : monumentality and sense of decor. He does a good mix between archaeology, canonical models and modern lifestyle. A few years after, he is been given the maintenance of the Colonne Vendôme. As this monument has been thrown down during the Commune events, the State puts him in charge of its restoration in order to erase this painful episode from the popular memory. Throughout his career he will be required to build private prestigious residences (castles and private mansions) for which he will request a varied vocabulary : medieval, neo-Renaissance or XVIIIth century. He also achivied numbers of tombs and honorific monuments. Thereafter he turns to work on the penal institution architecture. He is appointed to be responsible for the conception of the Maison Centrale of Rennes, a prison for a thousand women serving a long sentence. He turns the panoptical system into a wide central courtyard to which converge all the windows of the prison building. Alfred Normand, as recognized as he could be in his time, is one of the history's forgotten people. He is a good representative of these generations : brilliant, but whitout relief, that could fit perfectly the institutional needs. He personifies the inertia of a professional corps facing the modern societies' individualistic conception
Orain, Hélène. « Pure Photography : la photographie pure en Grande-Bretagne, matière à discours (1860-1917) ». Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H058.
Texte intégralThis study is an analysis of the evolution of the notion of pure photography, in discourses happening in Great Britain between 1860 and 1917. Defined as a photograph that is neither retouched nor manipulated, pure photography is envisaged in regard to retouching and negative and positive interventions. An exploration of British periodicals has brought to light the constant preoccupation for the definition and legitimacy of the photographic tools. First, the question of combination printings, the notion of truth as the essence of photography and the aspect of photographic images are a source of debate. The discourses of acceptance and rejection of practices such as printing-in clouds, colouring and retouching shine light on the genesis of retouching. These aspects, paralleled with the presence of pure photography in exhibitions, highlight the emergence of a purist aspiration as early as 1860. Finally, the discourses of Peter Henry Emerson and Frederick H. Evans on pure photography are confronted and contextualized within pictorialism, to further its definition. Thus, through these debates on purity, the limits of experimentation and the aspects of photography, the figures of Alfred H. Wall, Oscar Gustav Rejlander, Julia Margaret Cameron, Robert Demachy, Alvin Langdon Coburn and Alfred Stieglitz are connecting. Their discourses and research put forth an ideal, out of reach, impractical, a myth more than a reality
Guerra, Diego Fernando. « In articulo mortis : el retrato fotográfico de difuntos y los inicios de la prensa ilustrada en la Argentina, 1898-1913 ». Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20025/document.
Texte intégralThe subject of this thesis is the postmortem photographic portrait in Buenos Aires and, especially, its development in the context of the insertion of the photography in the early twentieth century massmedia. In this sense, the main objective of this work is to contribute to the knowledge of the relationship between death and visual representation in the beginning of the mass culture. The analysis of a heterogeneous corpus - the photographs, paintings, photo-engravings, cartoons, journalistic images and advertisings - therefore tries to study some fundamental problems of the presence of the image and the portrait in modern funerary rites and mourning practices. Its intention is also to highlight the role of mortuary practices in the Argentine modernization process and its links with the development of visual mass culture
El sujeto de la tesis presente es el retrato fotográfico post-mortem a Buenos Aires y, especialmente, su desarrollo en el marco de la inserción de la fotografía en la prensa de masa de principios del siglo XX. En este sentido, el objetivo principal de este trabajo es contribuir al conocimiento de los relaciones entre muerto y representación visual en el principio de la cultura de masa. El análisis de un corpus heterogéneo - fotografías, pinturas, fotograbados, caricaturas, imágenes tan periodísticas como publicitarias - tratará pues de dar cuenta de algunos problemas fundamentales de la presencia de la imagen y el retrato en los ritos funerarios y las prácticas modernas de duelo. Tenemos también la intención de poner de relieve el papel de las prácticas mortuorias en el proceso argentino de modernización y sus lazos con desarrollo de la cultura visual de masa
Ponrouch, Julia. « La présence cambodgienne en France depuis le protectorat (1863-1953) jusqu'à aujourd'hui : des étudiants aux réfugiés en passant par les soldats et travailleurs pendant les guerres, une immigration en constante mutation : un cas d'étude : la ville de Toulouse ». Paris 7, 2010. http://www.theses.fr/2010PA070078.
Texte intégralThis study details the history of Cambodian immigration in France since the French Protectorate became established, at the end of 19th century. This immigration took many forms. Students' and military troops' temporary stays during the Protectorate concerned a few hundred people ail together. This was followed by a massive and permanent immigration in France of more than 50,000 Cambodian refugees at the end of the 20th century. Nowadays, Cambodian student immigration is supplemented with people settling in by family entry and through marriage. Cambodian political associations have been present in France since the 1940's. These associations have evolved over time, depending on Cambodia's situation. These days, Cambodian associations are mainly cultural and operate within a much bigger and more structured community. The French state and population were rather hostile to Cambodian immigrants during wars, but they became welcoming later on, which played a significant positive role in the integration of refugees. These refugees were then received by institutions paying attention not to repeat the mistakes made with other nationalities. Thus Cambodian people were scattered ail around the country, more than two thirds of them being taken care of in temporary housing centers. Reception policy, reactions of French people, and Cambodian people's culture concurred to the integration strategy of these immigrants. This history has been detailed through the specific study of Toulouse, a city that has welcomed this immigration since its beginning and whose Cambodian community has been characterized for the past three decades by a lively social life through associations
Su, Ying-Lung. « Taïwan vue par les étrangers : illustrations photographiques de Taïwan dans les publications étrangères, 1843-1945 ». Thesis, Paris, EHESS, 2021. http://www.theses.fr/2021EHES0015.
Texte intégralThis thesis aims to explore a source of images of Taiwan, most of which have been neglected up to now : photographic illustrations which appeared in foreign publications between 1843 and 1945. The numerous photographs taken by foreigners living in Taiwan since the 19th century or financed by the Japanese colonial government after 1895, in order to be published abroad in periodicals or books have become the only archive available for consultation. Almost 2000 images have been inventoried in the 108 publications analysed in the thesis. Most of them have been photographed in the original publications. All of them have been reproduced, captioned and referenced in an additional volume. The timeline chosen for analysis (1843-1945) is split into two separate periods by the Japanese annexation of Taiwan in 1895. This political mutation had a major impact on the economic activity, the urbanisation, the social organisation and consequently on the images documenting the state of the country. The study first focuses on the history of the relationships between foreign nations and Formosa-Taiwan. It then minutely describes all the collected editorial sources, the information they contain and offers an analysis of the island’s links with foreign countries by looking into the identities of the editors and writers as well as the languages used. Next, the study investigates the practice of the different categories of photographers who provided the images, these often being amateurs who were also the authors of the texts. This study examines the techniques of photography and printed illustrations in order to grasp the possibilities of the photographic illustration, including the turning point represented by the emergence of photoengraving in 1893. The study of all the collected images highlights the main themes of the illustrations and the ways in which they align with the editorial objectives of the articles or books, from topography to the exploitation of camphor and the development of schools. Two main questions dominate this corpus of illustrations, both emphasizing with the Japanese colonisation. On the one hand, the recognition of Aboriginal tribes, often deemed ‘savages’. Objects of curiosity, they triggered ethnological benevolence, fear or hostility and were subjected to real photographic investigations which represent a third of all the illustrations. On the other hand, the modernisation, the urbanisation, the economic growth and the ensuing social transformations of the island under Japanese control. The study underlines the diversity and the ambivalence of the points of view ‘on Taiwan’ and of the ‘foreign’ attitudes towards Taiwan but also the visual and aesthetic value of a major archive, for the most part never seen before, scattered and, from now on, digitally available
Boissarie, Delphine. « La maison Denis Frères (1862-1954) : trajectoire d'un réseau commercial et social entre Bordeaux et l'Extrême-Orient ». Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30073.
Texte intégralIn 1859, the catch of Saïgon by the French gives in the circles of the trade of France the hope of competing with the British colony of Singapore in Extreme East. Étienne Denis, fully-licensed captain of Bordeaux, sends his sons to Cochinchina to poll the potentialities of this new commercial skyline. Founded in 1862 in Saïgon, the Denis Frères company develops industrial activities, trade, coastal shipping, is interested in the rice and becomes one of the most prosperous business of the Indochinese colony, notably by the development of its commercial network in the Asiatic « Mediterranean Sea ». The consultation of archives of the Denis Frères company, of the family Denis, of the ancient employees of the company, supplemented by the study of the public archives concerning the firm and his leaders in France and in Indochina allows to envisage the strategy of developpement but also the management of a firm in colonial background. This double establishment, between Bordeaux and Extreme East, invites the researcher to play the games of ladders. It asks the question of the adaptation of the firm the peculiarities of the Asiatic market, traditionally dominated by the Chineses, and of his role in the emphasizing of the colony. Indeed, the structure of the firm reflects the Indochinese colonial society and the evolution of its mentalities. In France, the Denis Frères company registers in a network of defence of colonial interests and allows to appreciate the influence of ultramarine trade
Sotteau, Stéphanie. « Appert, photographe parisien (1860-1890) : atelier et actualité ». Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040113.
Texte intégralE. Appert (1831-1890) is a photographer known for his prisoners’ portraits after the Commune of Paris and for his photomontages of Crimes de la Commune. Meanwhile, he has begun his career before 1871 and for nearly thirty years. This photographer was in fact like a “reporter” looking after events of the moment. Weaving useful links with the Justice and the Paris police headquarters, his portraits and montages reflected political occurrences. Considered as a supporter of Thiers and closed to imperial family, Appert photographed above all the pick of Politic, Army and of the Church without choosing any side. He made a type of portrait, pure without any ornament: the model, politic or prisoner, seated on a simple chair in front of a plain background. His photomontages made carefully were mostly group portraits for political and judiciary actuality. The photographer developed narrowed links with illustrated press and has published portraits as early as the beginning of 1860 portraits in Le Monde Illustré and L’Illustration. This followed collaboration was an opportunity to be known by the public. From a modest social sphere, photography was a way for Appert to rise himself into the society. His commercial opportunism allowed the photographer to survive to economic and political difficulties throw the end of the Second Empire, siege of Paris, civil war and Third Republic
Marcus, Gustaf. « Paria : Brottslingen och normaliseringen av människan i Strindbergs, Hanssons och Geijerstams författarskap ». Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL139.
Texte intégralThis study explores the representation of the criminal and the wider question of the normalization of man seen through the works of August Strindberg, Ola Hansson and Gustaf af Geijerstam. The question of the identity of the criminal attracted considerable attention at the end of the 19th century. It was explored in new, prestigious scientific fields that relied upon cutting-edge photographic technology and statistics as forms of surveillance for defining types of human beings. In the literary works, the criminal thus functions as an appealing topic through which deeper cultural anxieties about deviance, decline and degeneration could be voiced and discussed. However, the criminal is a complex figure who at the same time tended to be seen as a sick, deviant or abnormal individual in need of normalization, and as a superior being who expresses his personal freedom and individuality. This ambivalent process, called a “game of normality”, is in turn understood in post-Foucauldian terms as a form of “governmentality”, or as a continuous shaping of a field of situated freedom and individuality
Zogovska, Elena. « L'enseignement du Français Langue Étrangère en Macédoine à partir de textes littéraires des XIXe et XXe siècles sur Paris ». Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA045.
Texte intégralThe literary text with his artistic, historical, linguistic, cultural and sociological power is privileged medium for the class of the French as a Foreign Language. Relying on the literature to teach various aspects of the French language and culture is the main idea of this research. But what type of literary text to choose? Paris – the world capital of art and culture, the home of writers, poets and artists, the most visited place in Earth, the nest of lovers and romantics, Paris dreamed, Paris loved, Paris fantasized: with this series of attributes, the City of light in the past has been and today still is an inspiration for writers and poets from around the world. It is magical Paris, poetic and festive, but also Paris unfortunate and unhappy that inspires, fascinates and drives them to write. An exceptional literary heritage has therefore built up over the centuries. In this context, a literary corpus of nineteenth and twentieth centuries in Paris - very diverse, consisting of novels, chronicles, collections of poems and plays - is at the heart of this thesis. Three dimensions are mentioned: linguistic, literary and cultural. The study of many facts about the language, then the discovery of the specificities of French literary genres, as well as putting into perspective numerous questions on Paris and his inhabitants – all these are topics of my work. I also demonstrate that the literature does not lock in on itself, but opens, goes further and embraces the other arts such as painting, photography and cinema. The literature pierces a new path to French culture and makes teaching/learning of the French as a Foreign Language more dynamic and more creative. Different approaches and techniques are implemented so that linguistic, literary and cultural skills are acquired in the most efficient way possible by the learners of French as a Foreign Language
Lahaie, Andréann. « William Notman et les imaginaires photographiques de la chasse au XIXe siècle à Montréal ». Mémoire, 2013. http://www.archipel.uqam.ca/5829/1/M13153.pdf.
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