Letteratura scientifica selezionata sul tema "Art égyptien – Thèmes, motifs"
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Articoli di riviste sul tema "Art égyptien – Thèmes, motifs":
Noël, Sophie. "A Master in Tone(s): Markson’s Interconnective, Abstract Art in Wittgenstein’s Mistress". Études anglaises Vol. 76, n. 3 (16 aprile 2024): 298–322. http://dx.doi.org/10.3917/etan.763.0298.
Rossi, Jérôme. "L’art des drones et des nappes synthétiques (synth pads) Narrativité musicale et soundscape score dans The Neon Demon (2016)". Filigrane 27 (settembre 2022). http://dx.doi.org/10.56698/filigrane.1312.
Tesi sul tema "Art égyptien – Thèmes, motifs":
Vivès, Luc. "Le thème égyptien au XIXe siècle : les images de l'Egypte dans la littérature française". Paris 4, 1996. http://www.theses.fr/1996PA040175.
Our research aimed at bringing to the fore the close dependence existing between, on the one hand, the literary and artistic pictures of the XIXth century's Egypt and, on the other hand, a wide part of modernism which is linked to what we have chosen to name sign imaginary. Through the naissance of Egyptology speeches and archaeological subjects, through the progressive increase of travelling relations and the numerous - generic and stylistic - changes of orientalist and exoticism pictures, we have been able to piece together the slow assertion of the linguistic themes within the different portrayal system of modern and ancient Egypt. From three main picture series - subdividing itself into as many motifs as exposition methods - we have tried to grasp, in a chronological order, the conditions of appearance of the Egyptian-like art and the various pictorial metamorphoses allowing it to be perpetuated as far as today, in order to invest or to be invested with all the linguistic signs. In this manner, we have been able to notice the contamination of the touristic and the novelistic genres, the exchanges and the breaks between the Egyptian-like literary and the Egyptian knowledges, the birth of the historical novel, the development of the linguistic sciences and the progressive supremacy of the (hieroglyphic and alphabetic) signs within the modern western thought. The French literature, that the prism of the pharaonic hieroglyph carried on fascinating, has thus taken back to it not only archaeological and linguistic pictures, but also its own methods of representation : the language cannot be written any longer, be described and, so, appropriate itself without a henceforth familiar resort to a great many Egyptian patterns
Coulon, Laurent. "Le discours en Égypte ancienne : éloquence et rhétorique à travers les textes de l'Ancien au Nouvel Empire". Paris 4, 1998. http://www.theses.fr/1998PA040060.
This thesis deals with the discourse in ancient Egypt and the various shapes of valorization which matter is the discourse itself as a social activity as well as a literary shape and topic. The question, thus, relates to the way in which the ancient Egyptians have been picturing to themselves the discourse and its applications, its importance, its functions and its aesthetic value. The method adopted is built upon a pragmatic approach in which the texts from the ancient kingdom to the new kingdom that mention the dimension of the discourse (autobiographies, teachings, royal inscriptions, literary or religious texts) are related to their sociological and historical context. It is then possible to draw out, for each period, the place given to eloquence: thus, in the times of united monarchic power, the existence of court eloquence is stated, which is the means of distinction above all. On the contrary, during the first intermediate period, with the local withdrawal of the provinces, an unprecedented spreading out of political eloquence appears in assemblies where the community's future is committed. The literary discourse forms also the subject of a study in so far as it builds a reflection on the part taken by the discourse. During the middle kingdom, productions such as "the eloquent peasant" or "the lamentations of khakheperreseneb" are questioning deeply the lack of social communication or the loss of reference in an official discourse which fairness is fallacious. During the new kingdom, the literature, which had become more autonomous in the sphere of the discourse, appears as an all-powerful rhetoric that trifles with the truth and the false. The study eventually opens on an endeavor to evaluate the Egyptian rhetoric in itself, especially through what links the latter to the magic discourse
Villaeys, Julie. "La genèse de l’identité royale égyptienne de Nagada I à Nagada III (3900-2700 avant notre ère)". Electronic Thesis or Diss., Sorbonne université, 2023. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2023SORUL164.pdf.
Pre- and protodynastic Egypt (3900 - 2700 BCE) is a formative period, during which the state and kingship are gradually being established. It is also a world teeming with images: in a context where hieroglyphic writing had not yet made its appearance or is just beginning to emerge, iconography and the material support with which it is associated occupy a central place. Artistic productions convey concepts directly related to ideology. They are therefore the medium of choice for expressing royal identity. However, particular attention needs to be paid to terms and concepts. When can we start talking about "kings"? Is it appropriate to draw a line between 'chief' and 'king'? We will see that kingship remains a vague and etic semantic concept, which is also poorly integrated into the socio-political classifications of societies. In the end, it seems wiser to move beyond the quest for the 'first kings' and focus instead on the iconographic mechanisms that structure a more general identity of power throughout the Pre- and Protodynastic periods. We will thus see the emergence of several visual markers linked to power, as well as several iconographic dynamics that intersect in the iconographic theatre. While it is not easy to associate the concrete reality of the exercise of power with a mode of iconographic representation, it is nonetheless possible to perceive the existence of ruptures and continuities. These are mainly linked to the representation of power as a concept, not linked to an earthly individual, or to its personalisation. During the Nagada II and III periods in particular, certain iconographic markers were re-exploited and diverted to suit new needs and serve the expression of a "royal" identity
Bida, Habib. "La notion d'imitation de la nature dans l'art arabo-islamique". Paris 1, 1993. http://www.theses.fr/1993PA010751.
Soulillou, Jacques. "La représentation du crime dans l'art aux 19ème et 20ème siècles". Paris 1, 1994. http://www.theses.fr/1994PA010631.
Euzet, Claire. "Le musicalisme : une tendance de l'abstraction". Paris 4, 1996. http://www.theses.fr/1996PA040135.
The concept of musicalisation of art was introduced at the beginning of the XXth century. The 3rd November 1913, Henry Valensi revealed for the first time to the public, "La loi des prédominances", during a conference on "Colour and forms, or the musicalisation of all the arts". Other painters were working on theories of correspondence between sound and light waves: "bleuisme" by Gustave Bourgogne, "rapports des sons et des couleurs" by Charles Blanc-Gatti, "émotivisme" by Vito Stracquadaini. Henry Valensi eventually founded a group with these painters: "the circle of musicalist artists" (4th march 1932). This circle has organised numerous exhibitions in France as well as abroad and over the years, many painters have joined the group. Their aim has been a method inspired by musical composition resulting in a style as abstract as that in music
Badet, Muriel. "L'enlèvement : les mouvements du désir : ses représentations dans l'art occidental, de la Renaissance au XXe siècle". Paris, EHESS, 2002. http://www.theses.fr/2002EHES0075.
This study is based on a wide range of works and texts which provide the starting point. Their comparison allows to study the stakes of abduction representation. There is no chronological objective, but choosing the love abductions, the first question refers to the etymology of the term “abduction” and its various meanings, from rape to rapture. A whole series of actions follow such as to take away, to lift up, to move. The disruptions and contradictory impulses of desire are represented by the dynamic of abduction. When there is passion, the image used are those of amorous pursuit, brutal fevers; when it is strategic, the representation changes, and concentrates on the presence of accomplices or signs indicating the trap into which the victim will fall. The movement is stopped. In the examples of men abducted by women it would appear that desire is suffered rather than voluntary. The position of domination is reversed for the dominated. The only choice left to the abductor is to grabe the object of desire. At the same time, inertia rather than activity is the emotion's signal. The main combined of power and apathy affect the woman when she has decided to be abducted. The apathy represents and agreement and leads to the abduction, where the body is overwhelmed and where the soul swoons and flys away with a feeling of unlimited pleasure. Moving the study to the social experience, we notice that if abductions are punished, their representations mix the erotic symbol of the subject with the wedding rules, and with panegyric or hegemonic speeches
Sansy, Danièle. "L'image du juif en France du nord et en Angleterre du XIIe au XVe siècle". Paris 10, 1994. http://www.theses.fr/1994PA100035.
The imaginary of the Jew in northern France and in England, as well in the texts as in the pictures, is represend from the twelfth to the fifteenth century by two main figures: the murderer of Christ and the infidel. The Jew’s guilt of Christ’s crucifixion is alleged and repeated in the allegations of christian children murders which occur in the second half of the twelfth century and in the charges of host desecration, particularly in the miracle of billettes in 1920. As the devotion to the suffering Christ is increasing, the Jew is described as Christ’s torturer, becoming a character of the passion plays in the end of the middle ages. As a non-christian, the Jew is considered as synagogue's child and as a permanent source of blasphemy within the Christian society. He becomes an emblematic figure of the infidelity, more than the Saracen, but he is not considered as a real danger of apostasy or heresy. Surprisingly, the associations between the Jew and the devil are very exceptional, even if some iconographic attributes of the Jew come from those of the devil. The study of the physical distortions, the clothing differences, the Jewish badge, and the headdress in the pictures confirms that there is not a typical representation of the Jew
Guerber-Cahuzac, Chloé. "Le corps réinventé : sens et enjeux de la modélisation du corps humain par le cinéma". Paris 3, 2003. http://www.theses.fr/2003PA030033.
Subordinated to the narrative, the body in cinema is often reduced to actions, to legible symbols. To reappear as itself, it must revolt against the rules of fiction and become "an opposing body. " This reinvention is governed by the analogical specificity of the medium. To distinguish the particularities of the filmed body and of its modeling, we evoke time-lapse photography, visual anthropology, sculpture, painting, and dance. Our aesthetic approach thus integrates historical, cultural, anthropological, and ethical dimensions. Then, four specific cases illustrate the construction of the body against the narration : the Keatonian character ; the Hollywood model resulting from censorship in the 1930s ; the motif of the fragmented body in the French cinema of the 1960s ; the exhausted body filmed by John Cassavetes. Little by little, concepts emerge to remind us that all reinventions of the body bring together a singular universe, a collective imagination, and the status of the medium
Tempestini, Isabelle. "De l'icône au portrait : le visage dans la peinture russe". Paris, INALCO, 2001. http://www.theses.fr/2001INAL0012.
The face has a privilegied place in Russian painting. It defins the art of icons as well as portraits. Its image, in idealised form, is present in ancient religious painting whose ideas have been followed up to this day. Secular art emerges, progressively breaking away from sacred art, and is constantly dominated by the portrait. The thesis is divided into three parts. An analysis dedicated to early portraits known as parsuny, at the end of the sixteenth and begining of the seventeenth centuriees, shows the links which bind together these effigies with icons in the Kremlin's Armoury Palace. Princes and tsars are the first to get themselves represented, followed by the nobility, who introduced western styles. However, some resistance to these changes can be seen in provincial painting until the first half of the nineteenth century. The second part studies the influence of icon and parsuna on provincial portraiture also called "merchant portraiture". Merchants, rich farmers or Old Believers filled with religious piety commissionned representation of themselves in hieratic postures with expressionless faces emerging from their bright costumes. This type of picture is close to Malevich's ultimate pieces in the thirties, at the time when avant-garde artists went back to their roots. So the third part associates the artist's latest portraits with Russian religious and popular culture, revealing a continuity in Russian art
Libri sul tema "Art égyptien – Thèmes, motifs":
Hassan, Jamelie. Jamelie Hassan. Québec: Chambre blanche, 1996.
Steinweg, Marcus, e Aurélie Voltz. L'homme nu: [exposition, Montreuil, Maison populaire, janvier-décembre 2007]. Montreuil: Éd. Maison populaire, Centre d'art Mira Phalaina, 2008.
Robert, Favreau, e Debiès Marie-Hélène, a cura di. Iconographica: Mélanges offerts à Piotr Skubiszewski par ses amis, ses collègues, ses élèves. Poitiers: Université de Poitiers, Centre d'études supérieures de civilisation médiévale, 1999.
Fréchuret, Maurice. L' envolée, l'enfouissement: Histoire et imaginaire aux temps précaires du XXe siècle : [exposition] Musée Picasso, Antibes -- Musée d'art moderne, Villeneuve d'Ascq, communauté urbaine de Lille. Paris: Réunion des Musées nationaux, 1995.
Ellen, Gerken J., a cura di. Click 1: The brightest in computer-generated design and illustration. Cincinnati, Ohio: North Light Books, 1990.
Bonnefoy, Yves. L'Arrière-pays: Augmenté d'une postface. Paris: Gallimard, 2005.
Bonnefoy, Yves. L' arrière-pays. Paris: Gallimard, 1998.
Stückelberger, Johannes. Rembrandt und die Moderne: Der Dialog mit Rembrandt in der deutschen Kunst um 1900. München: W. Fink, 1996.
Clunas, Craig. Art in China. 2a ed. Oxford: Oxford University Press, 2009.
Clunas, Craig. Art in China. Oxford: Oxford University Press, 1997.