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Artykuły w czasopismach na temat "Marcel Duchamp"
Judovitz, Dalia. "Marcel Duchamp". Dada/Surrealism 22 (29.10.2018): 1–18. http://dx.doi.org/10.17077/0084-9537.1346.
Pełny tekst źródłaRead, Peter, Klaus Beekman i Antje von Graevenitz. "Marcel Duchamp". Modern Language Review 86, nr 2 (kwiecień 1991): 475. http://dx.doi.org/10.2307/3730612.
Pełny tekst źródłaGhanem, Nadia. "Marcel Duchamp. Biographie / Marcel Duchamp. La vie à crédit". Marges, nr 07 (15.06.2008): 126–27. http://dx.doi.org/10.4000/marges.610.
Pełny tekst źródłaRustad, Hilde. "Marcel Duchamp og postmoderne improvisasjonsdanstradisjoner, brudd og kontinuitet". Nordic Journal of Dance 10, nr 1-2 (1.12.2019): 4–15. http://dx.doi.org/10.2478/njd-2019-0002.
Pełny tekst źródłaDaniels, Dieter. "THE SECOND HALF OF THE READYMADE CENTURY (1964–)". Nordic Journal of Aesthetics 28, nr 57-58 (21.06.2019): 141–57. http://dx.doi.org/10.7146/nja.v28i57-58.114853.
Pełny tekst źródłaHan, Eui-Jung. "Marcel Duchamp as Parrhêsiast". Sookmyung Research Institute of Humanities 5 (28.02.2020): 47–69. http://dx.doi.org/10.37123/th.2020.5.47.
Pełny tekst źródłaAlliez, Éric. "Duchamp Within and Against Lacan". Theory, Culture & Society 37, nr 7-8 (27.10.2020): 329–53. http://dx.doi.org/10.1177/0263276420959415.
Pełny tekst źródłaCapela, Carlos Eduardo Schmidt. "Étant donnés: Raúl viu a vulva (¡Ave María!)". Boletim de Pesquisa NELIC 18, nr 29 (5.09.2018): 5–20. http://dx.doi.org/10.5007/1984-784x.2018v18n29p5.
Pełny tekst źródłaFranco Taboada, Manuel. "Análisis geométrico del Moulin à café de Marcel duchamp". EGA Revista de Expresión Gráfica Arquitectónica 24, nr 35 (8.04.2019): 96. http://dx.doi.org/10.4995/ega.2019.11549.
Pełny tekst źródłaCometti, Jean-Pierre. "À quoi sert Marcel Duchamp ?" Cahiers philosophiques 131, nr 4 (2012): 9. http://dx.doi.org/10.3917/caph.131.0009.
Pełny tekst źródłaRozprawy doktorskie na temat "Marcel Duchamp"
Toumazis, Yiannis. "Marcel Duchamp, artiste androgyne". Amiens, 2009. http://www.theses.fr/2009AMIE0003.
Pełny tekst źródłaThe present thesis illustrates the close relation of Marcel Duchamp’s work to Androgyny; the harmonious coexistence of the male and female principles, as we inherited them from the ancient myths of creation, the Platonic ideas, the Gnostic and Hermetic thoughts, the Alchemical beliefs and the way they are expressed in the corpus of Duchamp’s work. Part I, “L’ Androgyne”, presents the use and meaning of Androgyny in Ancient Myths of Creation, Classical Antiquity, Ancient Greek Philosophy and specifically Plato’s Symposium, Gnosticism, the Hermetic Philosophy of the Alchemists and Kabala. Part II, “Marcel Duchamp - L’ Artiste Androgyne” examines the work of Marcel Duchamp seen from an androgynous perspective in order to offer a different insight to his work. In particular it examines and extensively analyzes the two major works of Duchamp: Le Grand Verre and Étant Donnés and focuses on the androgynous characteristics of the works as they have been set in Part I
Pavan, Margot. "MARCEL DUCHAMP: IMPRESSÕES EM CONSERVA". Universidade de São Paulo, 1996. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-10022015-165909/.
Pełny tekst źródłaThis work selects specific texts of Marcel Duchamp: theoretical texts in which Duchamp reflects about the art world. This texts are lectures that Marcel Duchamp gave at universities, letters and catalogs for the exhibitions that he organized and whose texts Duchamp signed. This material is essential to understand how a so radical artist understood art as he struggled to propagate his views. Duchamp played an important role in introducing European art to the United States by working as curator for a long period. It\'s amazing to read his texts presenting Picasso, Calder or Matisse. Or even defending the reasons why every artist should attend the university. These are texts that every art student or art lover should read. This material was selected and translated from the originals published on the books Duchamp du Signe - écrits (Paris, Flammarion, 1975) and The Writings of Marcel Duchamp (New York, Da Capo Preess, 1989), organized by Michel Sanouillet with the collaboration of Elmer Peterson (both contain the same texts, the first one in French, the second one in English). This selection covers 25% to 30% of these books. I left out of my selection all the notes that are part of the own works of Duchamp and have an intense poetic character, often using sophisticated puns. Besides the translation of theoretical texts, my work have two more parts. An afterword, which is a view of Duchamp\'s works illuminated only by the texts which are translated at the first part and an Appendix - which is the part I like best. This appendix is a joke on Duchamp. I propose a Ready-made to define a profile of his work cutting from the texts he wrote about other artists only traces that are strongly present in his own work. It´s almost a psychoanalytic reading that indicates how we see in others what we have in us.
Raymond, François. "Marcel Duchamp et le multiple dans l'art moderne". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/NQ56699.pdf.
Pełny tekst źródłaLe, Penven Françoise. "Les notes de Marcel Duchamp ou l'art d'écrire". Paris 1, 2000. http://www.theses.fr/2000PA010657.
Pełny tekst źródłaStévance, Sophie. "Impacts et échos de la sonosphère de Marcel Duchamp". Rouen, 2005. http://accesdistant.bu.univ-paris8.fr:2048/login?url=https://www.dawsonera.com/abstract/9782296230903.
Pełny tekst źródłaOn the forefront of modernity, Marcel Duchamp leaves us a work for which analysts are quite creative to name it (“avant-gardist”, “new”, “out of time”, “innovator”). Paradoxically, it is only known as Readymade. Yet, Duchamp's early interest for music and related matters has been widely ignored by a vast majority of the public and the University microcosm so far. His exploration of the sound sphere offers several musical compositions. Most of them were written in 1913 : Musical Erratum, for three voices, The Bride Stripped Bare By Her Bachelors Even/Erratum Musical, for keyboard, and the Musical Sculpture “that lasts”. They are followed by some “sonorous” Readymades (With Hidden Noise, 1916). In order to understand Marcel Duchamp's sonosphere and its implications on the work of other artists (exceeding Plastic-Arts by far), four methods are proposed : “permissive”, “performative”, “perceptual” and “perditive”. The new composer's own influences, his “horizon of waiting”, can be distinguished within these categories. From the first European and American experiments to Electronical Music, from Sound Poetry to Multimedia, from the Indeterminacy to Improvisation, from Audio Installation to Ambient Music, from Minimalism to Mass Musical Maximalism, this essay explores boundaries, now neutralized, between the “Musique Savante” and the “Oral” tradition. It also clarifies the historical, philosophical, political, sociological and artistic contexts through which concerns the acoustic or acousmatic conceptions of Marcel Duchamp, one century full member of musical instabilities
Piteira, Paula. "A influência da cronofotografia na obra de Marcel Duchamp". Master's thesis, Universidade de Évora, 2010. http://hdl.handle.net/10174/12267.
Pełny tekst źródłaChang, Young Hae. "La Prise de conscience de la langue dans l'oeuvre de Marcel Duchamp". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37603803b.
Pełny tekst źródłaPAIVA, CARMEN SILVIA MAIA DE. "LA CONSTRUCTION DU CORPS CHEZ PABLO PICASSO ET MARCEL DUCHAMP". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9129@1.
Pełny tekst źródłaFUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
Cette recherche a pour but une réflexion sur l intersection entre corps et processus de création dans les parcours de Marcel Duchamp (1887-1968) et Pablo Picasso (1881-1973). Bien qu ils aient vécu le même moment historique, leurs travaux révèlent des conceptions distinctes de l art et indiquent différentes prises de positions sur les plans historique et culturel. Comme les processus de création opératoires qui structurent le travail artistique sont constitués par un ensemble de créations et de transferts de sens qui se constituent et se métamorphosent dans l action de chacun des artistes, cette étude est liée aux impasses et aux possibilités mises en place par les processus de civilisation et de modernisation. La métaphore du corps chez chacun de ces artistes indique des attitudes et des réflexions quant aux notions d adhésion ou de distance très particulières et fécondes pour comprendre l art et de la culture aujourd´hui. Ainsi, comme la formation du symbolique se réfère aussi à la façon dont les hommes s organisent matériellement et économiquement, ainsi qu à l analyse de leurs poétiques et de leurs stratégies diversifiées, nous examinerons surtout sur les conditions modernes du travail, c est à dire, la logique de l émancipation de la notion actuelle de travail et la séparation entre idéation et exécution, liées à l avènement et au déploiement de la modernité. Dans l ´uvre de Pablo Picasso, nous constatons la constitution d´un concept du corps comme métaphore et élaboration de l´espace comme réversibilité. La notion de métamorphose, l assimilation de certains principes constructifs de l art primitif et la relecture de l´histoire de l art élaborent un concept plus élastique de la représentation du corps. À ce mouvement dramatique de reconnecter le corps et l individu fracturés par la modernité à une notion impossible de totalité, Marcel Duchamp interpose un corps devenu marchandise et fragment. À la conception de l art chez Picasso, liée à la position de l homme emmêlé au langage corporel, Duchamp oppose la manifestation du décollement entre le langage et les choses como si telle était la condition elle-même de la création: un texte fracturé.
Esta pesquisa tem como tema uma reflexão sobre cruzamento entre corpo e processo criativo nos percursos de Marcel Duchamp (1887- 1968) e Pablo Picasso (1881-1973). Embora partilhem o mesmo período histórico, suas trajetórias de trabalho revelam distintas concepções de arte, bem como modos diversos de inserção nos domínios históricos e culturais. Como os procedimentos operatórios que estruturam os trabalhos artísticos se ligam a um conjunto de criações e de transferências de sentido que se constituem e se metamorfoseiam na ação de cada artista, este estudo encontra-se vinculado aos impasses e às possibilidades referentes aos processos civilizadores e de modernização. A metáfora do corpo em cada um dos artistas indica atitudes e reflexões quanto às noções de adesão ou distanciamento muito particulares e fecundas para a compreensão da situação da arte e da cultura hoje. Assim como a formação do simbólico também se refere ao modo como os homens se organizam material e economicamente, à análise das poéticas e estratégias diversificadas dos artistas em questão, uniremos o exame das condições do trabalho elaboradas quando do surgimento e desenvolvimento da modernidade, isto é, a lógica da emancipação da noção de trabalho e a separação entre ideação e execução.Tomamos por base o fato da obra de Pablo Picasso e sua noção de corpo fazer metáfora e constituir um espaço de reversibilidade. A partir da noção de metamorfose, da assimilação de princípios construtivos da arte primitiva e da releitura da história da arte, constatamos a elaboração de um conceito mais elástico de representação de corpo. A essa busca dramática de religar corpo e indivíduo fraturados a uma noção impossível de modernidade, Marcel Duchamp interpõe um corpo transformado em mercadoria e fragmento. À concepção de arte em Picasso, do indivíduo enredado à linguagem corporal, Duchamp contrapõe a manifestação do descolamento entre homem e linguagem como se esta fosse a própria condição da criação: a de um texto fraturado.
Miller, Shelby E. ""The Cult of Cézanne:" Marcel Duchamp, Clyfford Still, and Banksy". Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149471175808765.
Pełny tekst źródłaAntoniani, Riccardo. "Biowritings : the Body and the Text in Marcel Duchamp and William Seward BurroughsBio-écritures : le corps et le texte chez Marcel Duchamp, William Seward Burroughs". Paris 7, 2011. http://www.theses.fr/2011PA070017.
Pełny tekst źródłaIn the XX Century European and American Literature it is possible to highlight a number of writers for whom the body invested a major relevance in the organization of their works: the physicality of their experience became the base of which they created new narrative ways of expression. By opting for Marcel Duchamp and William Seward Burroughs, I formulated a counterpoint between the biography and the bibliography. My aim was to show how to certain experiences of the body corresponded a precise organization of their art. In order to do so, I took as an example Roger Shattuck's and Marcel Schwob's criteria. For what concerns Duchamp, I demonstrated how his passion for the chess game and his desire of freedom were fondamental to the edition of the Notes after which he created the Large Glass poem. For what concerns Burroughs, I showed how his addiction worked as a metaphor of power and therefore the use of literary mechanisms such as the "cut-ups" and the "fold-ins" provided him a strategy to exceed any coercion. I also highlighted how the thematic of denudation played a predominant role along their production and was the condition sine qua non to achieve a truth within the text and the body
Książki na temat "Marcel Duchamp"
Moure, Gloria. Marcel Duchamp. London: Thames and Hudson, 1988.
Znajdź pełny tekst źródła1887-1968, Duchamp Marcel, red. Marcel Duchamp. Stockholm: Rabén & Sjögren, 1986.
Znajdź pełny tekst źródłaMoure, Gloria. Marcel Duchamp. Barcelona: Ediciones Poligrafa, 1988.
Znajdź pełny tekst źródłaMarcel Duchamp. Paris: P. Belfond, 1985.
Znajdź pełny tekst źródłaauthor, Tomkins Calvin 1925, Kamien-Kazhdan Adina author i Gagosian Gallery, red. Marcel Duchamp. New York: Gagosian Gallery, 2014.
Znajdź pełny tekst źródłaMarcel Duchamp. New York: Rizzoli, 1988.
Znajdź pełny tekst źródłaMoure, Gloria. Marcel Duchamp. Paris: A. Michel, 1988.
Znajdź pełny tekst źródłaDuchamp, Marcel. Marcel Duchamp. Redaktor Museum Jean Tinguely Basel. Ostfildern-Ruit: Hatje Cantz, 2002.
Znajdź pełny tekst źródłaDuchamp, Marcel. Marcel Duchamp. Firenze: Galleria Vivita, 1987.
Znajdź pełny tekst źródłaJouffroy, Alain. Marcel Duchamp. Paris: Centre Georges Pompidou, 1997.
Znajdź pełny tekst źródłaCzęści książek na temat "Marcel Duchamp"
Wild, Gerhard. "Duchamp, Marcel". W Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3463-1.
Pełny tekst źródłaMolderings, Herbert. "Marcel Duchamp". W Joseph Beuys-Handbuch, 264–68. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05792-1_48.
Pełny tekst źródłaWild, Gerhard. "Duchamp, Marcel: Duchamp du signe". W Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3464-1.
Pełny tekst źródłaKilroy, Robert. "Duchamp with Lacan through Žižek". W Marcel Duchamp’s Fountain, 27–37. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-69158-9_3.
Pełny tekst źródłaStark, Trevor. "Duchamp, Marcel". W The Modern Art Index Project. Leonard A. Lauder Research Center for Modern Art, 2016. http://dx.doi.org/10.57011/ahds4649.
Pełny tekst źródła"MARCEL DUCHAMP". W Modern Sculpture, 72–74. University of California Press, 2022. http://dx.doi.org/10.2307/j.ctv2vr8v47.20.
Pełny tekst źródła"Marcel Duchamp". W Man Ray, 39–48. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1vbd144.9.
Pełny tekst źródłaChâteau, Dominique. "DUCHAMP, Marcel". W Les théoriciens de l'art, 182–84. Presses Universitaires de France, 2017. http://dx.doi.org/10.3917/puf.talon.2017.03.0182.
Pełny tekst źródła"Marcel Duchamp". W Surrealist Painters and Poets. The MIT Press, 2001. http://dx.doi.org/10.7551/mitpress/6565.003.0036.
Pełny tekst źródła"Duchamp, Marcel". W The Visual Dictionary of Interior Architecture and Design, 83. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: Ingram Publisher Services Inc. English Language Support Office, 2009. http://dx.doi.org/10.5040/9781350088719.0070.
Pełny tekst źródłaStreszczenia konferencji na temat "Marcel Duchamp"
Zhang, Lihong. "Research on Post-modern Artistic Language Originality. Analysis of the Works of Marcel Duchamp as an Example". W 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.80.
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