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Artykuły w czasopismach na temat "Deuil – Photographie"
De Gournay, Chantal. "Le deuil de l'image. De la photographie à l'image virtuelle". Réseaux 11, nr 61 (1993): 125–32. http://dx.doi.org/10.3406/reso.1993.2408.
Pełny tekst źródłaZiolko, Caroline. "Le photographique mémoriel". Articles 23, nr 1 (7.06.2011): 33–39. http://dx.doi.org/10.7202/1004020ar.
Pełny tekst źródłaLétourneau, Sophie. "Roland Barthes enquête : La chambre claire ou la mélancolie policière". Études littéraires 42, nr 2 (24.07.2012): 69–79. http://dx.doi.org/10.7202/1011521ar.
Pełny tekst źródłaRojas-Urrego, Alejandro. "La hantise de l’oubli". Le présent de la psychanalyse N° 11, nr 1 (27.10.2023): 79–98. http://dx.doi.org/10.3917/lpp.241.0079.
Pełny tekst źródłaBalint-Babos, Adina. "Imaginer, monter : la mémoire inachevée d’Auschwitz selon Georges Didi-Huberman". Voix Plurielles 11, nr 2 (3.12.2014): 20–31. http://dx.doi.org/10.26522/vp.v11i2.1097.
Pełny tekst źródłaChin, A., C. Rigby, A. Short i W. T. White. "Verified records of Kuhl’s devil ray (Mobula kuhlii) in the Solomon Islands from citizen scientists". Pacific Conservation Biology 26, nr 1 (2020): 100. http://dx.doi.org/10.1071/pc18088.
Pełny tekst źródłaHardcastle, John. "‘Photographers are the devil’: an essay in the historiography of photographing schools". History of Education 42, nr 5 (wrzesień 2013): 659–74. http://dx.doi.org/10.1080/0046760x.2013.816880.
Pełny tekst źródłaMas, F., R. Forselledo i A. Domingo. "Mobulid ray by-catch in longline fisheries in the south-western Atlantic Ocean". Marine and Freshwater Research 66, nr 9 (2015): 767. http://dx.doi.org/10.1071/mf14180.
Pełny tekst źródłaErmolin, Evgeniy, Hernán De Angelis i Pedro Skvarca. "Mapping of permafrost on Vega Island, Antarctic Peninsula, using satellite images and aerial photography". Annals of Glaciology 34 (2002): 184–88. http://dx.doi.org/10.3189/172756402781817824.
Pełny tekst źródłaSari, Anindya Ratna, Ida Bagus Candrayana i Farhan Adityasmara. "Pemotretan Pakaian Tradisional Adat Bali Dalam Karya Fotografi Prewedding Di Maxhelar Photography". Retina Jurnal Fotografi 4, nr 1 (27.03.2024): 31–43. http://dx.doi.org/10.59997/rjf.v4i1.3259.
Pełny tekst źródłaRozprawy doktorskie na temat "Deuil – Photographie"
Sassi, Sonia. "Roland Barthes : figures du discours de l'amour, de la mort et du deuil dans "Fragments d'un discours amoureux", "La chambre claire. Note sur la photographie" et "Journal de deuil"". Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100039.
Pełny tekst źródłaThis doctoral thesis is entitled Figures of the speech of love, death and mourning in Fragments of a lover’s discourse, Camera Lucida. Reflections on Photography and Mourning Diary, published respectively in 1977, 1980 and 2009. At the point of convergence of language sciences and literature, this long-term research is based on a generative approach, understanding the three texts of the corpus in relation to each other, throughout the stages of the investigation conducted. In the analysis of the three essays, which constitutes an interdependent triptych, the objective of this thesis is not only to highlight the affinities and their intersections, but also their differences and disparities at all levels: the configuration of the themes, words, notions and key expressions constituting love, death and mourning, the morphology and composition of the three texts, the metaphoricity and its semiotics, the enunciating dispositions of the speech and the interdiscourse they support. Thus it will be easy to recognize what a science of enunciation and discursive formations can bring to literary analysis: microreadings centered on lexis, minute details and sequences through which literature confronted with love passion, funeral amazement and grief, affirms its strength, but also its collapse
Rèbre, Isabelle. "Figures du deuil et du photographique. Formes du film-essai chez Naomi Kawase, Alain Cavalier et David Perlov". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080044.
Pełny tekst źródłaThis dissertation is a consideration of the photographic in its relation to memory and mourning in both their personal and historical forms. It demonstrates how photography is a figure of mourning; how it is at once a means of connecting and a means of cutting off. Figures of mourning and filmmakers’ unique formal gestures are analyzed through a pared-down corpus of three essay films. In Letter From a Yellow Cherry Blossom (2002), Naomi Kawase is personally confronted with death. Her use of photographic stills provokes an interruption that reverses a seemingly fatal trajectory. Photography is a connecting figure that brings together the living and the dead. In Alain Cavalier’s This Answering Service Takes No Messages (1978), the filmmaker embodies a man in mourning. He uses a number of photographic stills from his personal archives, including newspaper clippings showing cadavers from the Second World War. This gesture of reuse brings out the historical dimension of the issues investigated in this dissertation. Photography becomes a figure of cutting off: the film deploys a number of figures through which rupture is insistent and participates in a process of mourning. In David Perlov’s Diary (1973-1982), a project bookended by two wars, these issues take on a political dimension. The Israeli filmmaker and photographer makes use of a number of photographic formats. Through reuse and repetition, the photographic allows for a transformation of the figure that breaks off from a traumatic past
Najm, Daoud. "Relire la scène maternelle : Deuil et photographie chez Roland Barthes et Hervé Guibert". Thèse, 2008. http://hdl.handle.net/1866/18241.
Pełny tekst źródłaBarada, Nina. "Sur un cinéma élégiaque : de la preuve à la plainte : le deuil, l'archive, la photographie". Thèse, 2017. http://hdl.handle.net/1866/20763.
Pełny tekst źródłaLétourneau, Sophie. "La mélancolie même de la photographie : Roland Barthes". Thèse, 2009. http://hdl.handle.net/1866/3267.
Pełny tekst źródłaIn any body of knowledge, from humoral medicine to psychoanalysis, from art history to philosophy, melancholy has been defined by a gap. Unless he becomes apathetic, the melancholic will try to cope with this deficiency by engaging in intellectual or artistic activities: melancholy is both genius and inadequacy. Melancholy is a labour that deals with absence – but what kind of absence? Arts and scholarly literature has portrayed melancholy as a result from a flaw in the image: a memory or an accurate representation is missing in the melancholic mind. We do not see much of melancholy but an ongoing process of imagination, craft and organization that we call “intellectualization” or “creation”. Melancholy supposes a tendency to formalize: it is the search of the ideal mode of representation, be it a graphic, a name or a literary genre. Few productions allow the study of melancholy at work as well as Roland Barthes’ (1915-1980). Intellectual, his written works question the meaning and the forms of literature and the world in a melancholic way. Creative, his production shows a figure of melancholy that varies from one book to another, depending on what is missing – though it always has something to do with a defect in the image. In this sense, photography has been used as the image of both reality and memory for the writer-to-be. The photographic image is a key to understand his theoretical quest and desire to write a novel. With photography, melancholy appears in the city (L’Empire des Signes), on the mirror (Roland Barthes par Roland Barthes), in love (Fragments d’un Discours Amoureux), and on a grave (La Chambre Claire). Figuring what literature cannot grasp, a photograph sets the conditions of a melancholic narrative. Thus, fragmentation, collection, speculation, investigation, and formalization are the many operations that describe Roland Barthes’ poetics. In these operations, we see as well a model for the melancholy of the creative process.
Książki na temat "Deuil – Photographie"
Mosse, Richard. The devil you know. Las Palmas, Canary Islands]: Centro Atlántico de Arte Moderno, 2014.
Znajdź pełny tekst źródłaKeribar, İzzet. Öteki ya da değil ne fark eder! İstanbul: Doğan Kitap, 2012.
Znajdź pełny tekst źródłaArevyan, Ani Çelik. Göründüğü gibi değil: Fotoğrafları = Nothing is as it seems : photographs by. Karaköy, Istanbul: Istanbul Modern, 2010.
Znajdź pełny tekst źródłaNapier, Susan. Devil To Pay. harlequin, 1992.
Znajdź pełny tekst źródłaHugo, Pieter. Pieter Hugo: Between the devil and the deep blue sea. 2017.
Znajdź pełny tekst źródłaCzęści książek na temat "Deuil – Photographie"
"List of Photographs". W Devil in Deerskins, vi. University of Manitoba Press, 2014. http://dx.doi.org/10.1515/9780887554551-001.
Pełny tekst źródła"Acknowledgements and Photographic credits". W Guide to the Manta and Devil Rays of the World, 5. Princeton University Press, 2019. http://dx.doi.org/10.2307/j.ctvs32s7t.3.
Pełny tekst źródła"Acknowledgements and Photographic credits". W Guide to the Manta and Devil Rays of the World, 5–10. Princeton University Press, 2018. http://dx.doi.org/10.1515/9780691207216-001.
Pełny tekst źródłaHauser, Kitty. "Revenants in the Landscape: The Discoveries of Aerial Photography". W Shadow Sites. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199206322.003.0009.
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