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Stewart, Heather, i heather stewart@deakin edu au. "Beyond the analogon; the 'transfer of the referent' :bthe relationship between the external world experienced through culturally generated perceptual models constructed in the human mind, and the transfer of these images, via visual language, onto referents". Deakin University, 1994. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20071120.120343.
Pełny tekst źródłaReynolds, D. A. "Imagination and the aesthetic function of signification in the works of Rimbaud, Mallarme, Kandinsky and Mondrian". Thesis, University of East Anglia, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376063.
Pełny tekst źródłaStretch, Eleanor Eunice, i mikewood@deakin edu au. "Using site as the medium of image-making at Tower Hill". Deakin University. School of Contemporary Arts, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.144857.
Pełny tekst źródłaWilliamson, Rebecca Boatwright. "Diagonal vision". Thesis, Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/52238.
Pełny tekst źródłaTolonen, Juha. "Waste*lands : landscape photography modernity". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/268.
Pełny tekst źródłaAltschuler, Jenny. "Between forever and never : the photograph as a bridge between past and present; memory and it's fiction, 1981-2009". Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/7802.
Pełny tekst źródłaIn Camera Lucida Roland Barthes (1980: 64-66), describes the process of looking through his mother's photographs after her death. He weighs up how much of her he recognises in the images he comes across. He evaluates the versions of her that are portrayed and deduces that "none seem to be really 'right':" neither as photographic performances nor as existing recurrences of "the beloved face" that he carries in his psyche. He talks about trying to find her, and achieves only part satisfaction in pinpointing fragments in each image that seem to depict parts of the mother he knows. He concludes that by being partially true, the total representation in each image is false. He suggests that the physical details and direct documentations of his mother's physical self, do not contain the sense of her, as he knows her.
Vallie, Zubeida. "Social dynamics of a resistance photographer in the 1980s in Cape Town". Thesis, Cape Peninsula University of Technology, 2014. http://hdl.handle.net/20.500.11838/1327.
Pełny tekst źródłaThis study seeks to contribute to the field of documentary photography by looking at a resistance photographer who documented events during the liberation struggle against Apartheid in the 1980s in Cape Town, South Africa. The research explores the richness, depth and complexity of the reflective knowledge of the phenomenon and develops a sense of understanding of the meanings of the circumstances and social context of the researcher. It considers the thoughts, observations as well as reflections regarding the meanings and interpretations of experience as a photographer in the 1980s. The perspective of the research is to understand through the photographer’s memory the phenomenon of interest in the exhibition Martyrs, Saints & Sell-Outs and in so doing argue for a consideration of the lives of those who not only lived during Apartheid but continue to do so after its demise. In addition to thinking about questions of photographic representation, the study also addresses ideas of space, and unarticulated injuries and trauma. The photograph is well suited as a medium through which one may think about these difficult questions, for in its very inception, the medium is one of simultaneous absence and presence. The study concludes with recommendations for future investigation in the documentary photography narrative in Cape Town, South Africa.
Blake, Amanda Beth. "Images of women shopping in the art of Kenneth Hayes Miller and Reginald Marsh, ca 1920-1930". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5327/.
Pełny tekst źródłaMundy, Robyn C. "A novel, The nature of ice and exegesis, Writing with light : truth and meaning in visual representations of Antarctica". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/356.
Pełny tekst źródłaKilian, Julie. "Traditional and Christian elements in contemporary pictorial African art in South Africa with special reference to the works of John Muafangejo, Azariah Mbatha and Dan Rakgoathe". Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012635.
Pełny tekst źródłaAshley, Daniel. "Civil War Photographs Considered". Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/AshleyD2004.pdf.
Pełny tekst źródłaSpargo, Natascha. "The forensic aesthetic in art". Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1004624.
Pełny tekst źródłaStrydom, Richardt. "A comparative reading of the depiction of Afrikaner ancestry in two works by C.D. Bell / Richardt Strydom". Thesis, North-West University, 2009. http://hdl.handle.net/10394/4987.
Pełny tekst źródłaThesis (M.A. (History of Arts))--North-West University, Potchefstroom Campus, 2010.
Kilpatrick, Helen Claire. "Ideologies in contemporary picture book representations of tales by Miyazawa Kenji". Australia : Macquarie University, 2004. http://hdl.handle.net/1959.14/62731.
Pełny tekst źródłaThesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2004.
Bibliography: p. 301-332.
Introduction -- The significance of Miyazawa Kenji's ideals in (post) modern Japanese children's literature -- Re-presenting Miyazawa Kenji's tales: cultural coding and discourse analysis -- Tale of "Wildcat and the acorns" (Donguri to Yamaneko): self and subjectivity in the characters and haecceitas in the organic world -- Beyond dualism in "Snow crossing" (Yukiwatan) -- Kenji's "Dekunobõ ideal in "Gõshu the cellist" (Serohiki no Gõshu) and "Kenjũ's park" (Kenjũ kõenrin) -- Beyond the realm of Asura in "The twin stars" (Futago no hoshi) and "Wild pear (Yamanashi) -- The material and immaterial in "The restaurant of many orders (Chũmon no õi ryõriten) -- Conclusion.
This thesis investigates ideologies in contemporary picture books of Miyazawa Kenji's tales from the perspective of the acculturation of children in (post)modern Japan. Miyazawa Kenji (1896-1933) was writing in the early 20'" century, yet he is currently the most prolifically published literary figure in picture book form and these pictorialisations are widely promulgated to children and throughout cultural and educational institutions in Japan. Given Kenji's prominence as a devoutly Buddhist author with a unique position within Japanese literature, the thesis operates on the premise that the picture books are working, inter aha, to decode or encode the inherent Buddhist ideologies of self, identity and subjectivity and that the picture book re-versions are attempting to be 'authentic' to these. (Unlike many other works adapted for picture books, Kenji's original words are left intact.) Such selflother interactions are important to the construction of identity because childhood itself is an ideological construction premised on assumptions about what it means to be a child and what it means to 'be'; in other words, "such fictions are premised on culturally specific ideologies of identity" (McCallum, 1999: 263). Picture books, with their two forms of narrative discourse, pictures and words, are more ideologically powerful than words alone because the pictures also carry attitudes and therefore doubly inscribe both the explicit and implicit ideologies inherent in the words. -- By utilising Miyazawa Kenji's non-humanist Buddhist ideologies as a basis, this investigation compares how different artists are (re-)inscribing these ideals in the most frequently pidorialised versions of his children's tales. It is primarily an investigation into how the artistic responses re-situate or respond to ideologies of self and subjectivity inherent in a select corpus of focused pre-existing texts. Ultimately, the thesis shows how different pictures can shape story and how the implied reader is interpellated into certain subject positions and viewpoints from which to read the texts. This involves an intertextual approach which explores how art and culture interact to imply significance.
Mode of access: World Wide Web.
iv, 332, [31] p. ill. (some col.)
Lutz, Cullen Clark. ""Documenting" East Texas: Spirit of Place in the Photography of Keith Carter". Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2625/.
Pełny tekst źródłaAskam, Richard. "Memory, truth and justice: A contextualisation of the uses of photographs of the victims of state terrorism in Argentina, 1972-2012: Communicating an intersection of art, politics and history". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1339.
Pełny tekst źródłaMillan, Roberto. "Illustrating autobiography : rearticulating representations of self in Bitterkomix and the visual journal". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20268.
Pełny tekst źródłaENGLISH ABSTRACT: This thesis explores an analysis of autobiographical illustration, as it relates directly to autobiographical devices employed in Bitterkomix and my own visual journals. The result is a practitioner-specific approach that frames my own work within a discourse of comics and consequently within the larger discourse of visual narrative. These devices are analysed in the works of artists in Bitterkomix who employ autobiography, not only as a means of effecting more intimate interactions between the reader and the narrative, but also as a form of legitimising narrative. A principal deduction that I have made is that autobiographical writing operates through the filter of memory and language translation. A divergence occurs within Bitterkomix, as well as within my own work, between the artist as himself and the artist as his autobiographical self - the two are never identical. I choose to define autobiographical illustration as an interpretative and experimental visual writing process used to affirm and negate perceived concepts of self through the filters of memory, language translation and imagination. Imagination acts as an extension of current memory from which perceived past, present and future identity constructs emanate and extend. These constructs are by no means indicative of historical fact but often appear to be so given autobiography's association as a referential text. The visual journal as an autobiographical object, like Bitterkomix, seeks to legitimise itself in 'naturalising narrative' by feigning to make it the outcome of a documentative process. It is exactly the tension between autobiography's perceived characteristic as a genre that involves 'real' experiences and its actual function as a narrative construction of identity that merits its use as a strategic device. I argue how my visual journals constitute autobiographical narrative objects and archives of autobiographical illustrative form and content. This tension is amplified in my visual journals in their association as deeply personal objects and as a result of what is perceived to be the artist's natural process. Most importantly, these narrative objects are placed within the public's gaze and are made to be read as autobiographical texts, ultimately as documents of this process.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek outobiografiese illustrasie wat direk verband hou met outobiografiese praktyke wat in Bitterkomix en in my eie visuele joernale gebruik word. Die resultaat is 'n praktisyn-spesifieke aanslag wat my eie werk binne die diskoers van stripkuns plaas, en sodoende binne die groter diskoers van visuele narratief. Hierdie praktyke word geanaliseer in die werk van Bitterkomix-kunstenaars wat outobiografie gebruik, nie net as 'n manier om meer intieme interaksies tussen die leser en die narratief te bewerkstellig nie, maar ook om die narratief legitiem te maak. Ek maak die afleiding dat outobiografiese skryfwerk deur die filters van geheue en taal werksaam is. In beide Bitterkomix en my eie werk is 'n skeiding tussen die kunstenaar self en die kunstenaar se outobiografiese self sigbaar – die twee is nooit identies nie. Ek verkies om outobiografiese illustrasie te definieer as 'n interpretatiewe en eksperimentele visuele skryfproses wat gebruik word om waargenome begrippe van die self deur die filters van geheue, vertaling en verbeelding te bevestig en te negeer. Die verbeelding dien as 'n voortsetting van huidige geheue waaruit waargenome identiteitskonstrukte van die verlede, hede en toekoms voortvloei. Hierdie konstrukte is geensins aanduidend van historiese feite nie, maar kom dikwels so voor gegewe outobiografie se assosiasie as verwysende teks. My argument is dat my visuele joernale beide outobiografiese narratiewe objekte én argiewe van outobiografiese illustratiewe vorm en inhoud is. Visuele joernale as outobiografiese objekte, soos in die geval van Bitterkomix, probeer sigself legitiem maak deur middel van 'naturaliserende narratief', deur voor te gee dat dit die resultaat van 'n dokumenterende proses is. Dit is juis die spanning tussen outobiografie se aard as 'n genre wat gegrond is op 'ware' ervaringe, en outobiografie se funksie as 'n narratiewe konstruksie, wat die gebruik daarvan as 'n strategiese middel die moeite werd maak. Hierdie spanning word in my visuele joernale verhoog deur hulle diep persoonlike aard, en as gevolg van wat gesien word as die kunstenaar se natuurlike proses. Belangriker nog is dat hierdie narratiewe objekte binne die publiek se sigveld geplaas word om as outobiografiese tekste gelees te word, en ook uiteindelik as dokumente van die proses.
Yip, Andrew. "A portrait of the nation as a young man : the genesis of Gallipoli : mythologies in Australian and Turkish art". Phd thesis, Department of Art History and Film Studies, 2010. http://hdl.handle.net/2123/7779.
Pełny tekst źródłaRogers, Y. "Pictorial representations of abstract concepts in relation to human-computer interaction". Thesis, Swansea University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380052.
Pełny tekst źródłaMaimone, Giovana Deliberali. "Estudo do tratamento informacional de imagens art?sticopict?ricas: cen?rio paulista - an?lises e propostas". Pontif?cia Universidade Cat?lica de Campinas, 2007. http://tede.bibliotecadigital.puc-campinas.edu.br:8080/jspui/handle/tede/808.
Pełny tekst źródłaThe activities that include the informational treatment are broadly studied and applied by Information Science, concerning printed documents, conventionally found in libraries and information centers. However, in relation to imagetic material, specifically the artistic-pictorial works (paintings) situated in different places, there is little literature about the theme, in spite of communicative and documentary importance these materials can offer. Considering image as a source of information and as an element that can be analyzed and represented, the conceptual framework of the area concerning this theme is presented, intending to identify methodologies of informational treatment, specific of this kind of document. In this perspective, with the purpose of evidencing the state of art in Paulista scene, four representative art institutions of the state of S?o Paulo are observed. Analysis and proposals are elaborated in order to adjust the methodologies found in literatures of the area to the national context, taking into account the economic and the social limits. Two essays with two representative works of the studied museums are made to demonstrate the possibility of appliance of the proposals. Finally, the considerations about the theme reveal the situation of documentary backwardness of Brazil in relation to the developed countries, making the position of museums and painting collection galleries clear in relation to the public: the contemplation. On the other hand, this search demonstrates real possibility of changing this framework, through the application of suggested proposals, expressing worries about the generation of knowledge to the user. This research utilized the inductive method, starting of data observer specifically in each museum with the intent of a general reality.
As atividades que compreendem o tratamento informacional s?o amplamente estudadas e aplicadas pela Ci?ncia da Informa??o no que diz respeito aos documentos impressos, convencionalmente encontrados em bibliotecas e centros de informa??o. Por?m, em rela??o aos materiais imag?ticos, especificamente as obras art?stico-pict?ricas (pinturas) situadas em ambientes diferenciados encontram-se escassas literaturas, apesar da import?ncia comunicativa e document?ria que estes materiais podem oferecer. Partindo da concep??o da imagem como fonte de informa??o e elemento pass?vel de ser analisado e representado, apresenta-se o quadro conceitual da ?rea no que concerne a esta tem?tica, intentando identificar metodologias de tratamento informacional espec?ficas desta tipologia de documento. Nesta perspectiva, com o prop?sito de evidenciar o estado da arte em cen?rio paulista, recorre-se ? observa??o de quatro institui??es de arte representativas do estado de S?o Paulo. An?lises e propostas s?o elaboradas a fim de adequar as metodologias encontradas na literatura da ?rea ao contexto nacional, considerando os limites econ?micos e sociais. Para demonstrar a possibilidade de aplica??o destas propostas, s?o realizados dois ensaios com duas obras representativas dos museus estudados. Por fim, as considera??es revelam a situa??o de atraso document?rio do Brasil em rela??o aos pa?ses desenvolvidos, tornando clara a posi??o dos museus e pinacotecas em rela??o ao p?blico: a contempla??o. Em contrapartida, esta pesquisa demonstra clara possibilidade de modifica??o deste quadro, atrav?s da aplica??o das propostas sugeridas, manifestando preocupa??es quanto ? gera??o de conhecimentos para o usu?rio. Utilizou-se para esta pesquisa o m?todo indutivo, partindo-se de dados observados especificamente em cada museu com o intuito de se chegar a uma realidade gen?rica.
Dowdell, Emma-Kate. "Picturing irony: Making a visual case-study from the work of Camus". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1595.
Pełny tekst źródłaExenberger, Margareta. "An image says more than words : a qualitative essay about the pictorial language of children and youth in Westafrica". Thesis, Växjö University, School of Education, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1198.
Pełny tekst źródłaThe pictorial language of the Swedish children is characterized by the idea that a “good” drawing should be in the right perspective and as photographically realistic as possible. This is a study about the pictorial language of the children in the Gambia and Senegal. Is the pictorial language different with the children living in a culture that has a stronger tradition of spoken word and visual communication than the children living in the western civilisation?
With the help of different theories concerning children’s creating of art, this study is trying to sort out the differences. It is also explaining about different theories when it comes to development stages in the children’s drawings and how the culture, tradition and conventions influence both the pictorial grammar and the ideal image.
The study is based on drawings collected in schools in The Gambia and Senegal and the drawings are analysed with the help of theories in Karin Aronssons “Barns världar – barns bilder”.
The study is also based on observations and interviews with children and teachers in a school in the Gambia.
Pockley, Simon Charles Nepean. "The flight of ducks research report". [Melbourne] : S. Pockley, 1998. http://purl.nla.gov.au/nla/pandora/FOD.
Pełny tekst źródłaMatejka, Anna. "Are pictures worth a thousand words? Testing two versions of the Pictoral Infant Communication Scale". Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86601.
Pełny tekst źródłaDans le but d'améliorer les renseignements que les parents fournissent lorsqu'ils sont soumis aux outils de mesure des examens de dépistage des troubles du spectre autistique (TSA), Delgado, Venezia, et Mundy (2004) ont intégré des images à côté de chaque point décrivant les comportements que les parents doivent évaluer, et créé un nouvel outil appelé le Pictorial Infant Communication Scale (PICS) (échelle illustrée : communication de l'enfant). Les propriétés psychométriques de PICS semblent prometteuses. Pourtant une version avec seulement des questions de PICS, sans images, n'a pas encore été comparée au PICS sans images. Un procédé de dépistage plus efficace en termes de temps et de ressource permettra peut-être de comprendre le rôle que jouent les images dans la clarification des constructions destinées aux parents, soumis aux outils de dépistage. Une série d'analyses a été conduite pour examiner les différences entre les deux versions du questionnaire PICS, la version de PICS avec images (PPICS) et la version de PICS sans image (NPICS). Ont participé : 66 enfants au développement typique et un parent pour chaque enfant. Un groupe a été soumis au PPICS et un autre groupe au NPICS. Au 12 mois de l'enfant, les parents ont complété le PICS et les Inventaires Macarthur du Développement de la Communication- Forum court (IMDC), un questionnaire qui mesure le développement du langage et les enfants ont été évalués avec l'Echelle de Communication Sociale Précoce (ECSP), afin d'obtenir une mesure clinique des capacités d'attention conjointe de l'enfant. Au 18 mois de l'enfant, on a de nouveau administré les PICS, IMDC et ECSP, ainsi que les Echelles d'évaluation du langage expressif et réceptif des Echelles Mullen d'apprentissage précoce, un outil de mesure standardisé du développement du langage. Au 24 mois de l'enfant on a de nouveau administré le IMDC et le Mullen. Les corrélations longitudinales et trans-sec
Janlert, Lars-Erik. "Studies in knowledge representation : modeling change - the frame problem : pictures and words". Doctoral thesis, Umeå universitet, Institutionen för datavetenskap, 1985. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-65865.
Pełny tekst źródładigitalisering@umu
Shannon, Elizabeth J. "Paul Strand and Cesare Zavattini's 'Un paese' (1955) : the art, synergy and politics of a photobook". Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3331.
Pełny tekst źródłaLaoureux, Denis. "Contribution à l'étude des interactions entre les arts plastiques et les lettres belges de langue française: analyse de cas :Maurice Maeterlinck et l'image". Doctoral thesis, Universite Libre de Bruxelles, 2005. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211051.
Pełny tekst źródłaLe propos présente une structure symétrique. Celle-ci va de l’impact de l’image sur l’écriture à l’impact des textes sur la création plastique. La référence littéraire à l’image constitue la première phase de l’enquête. Celle-ci aboutit à la référence plastique à la littérature en passant préalablement par les collaborations effectives entre l’auteur et les artistes sur le plan de la théâtralité et sur celui de l’édition illustrée.
Un dépouillement des archives conservées tant en Belgique qu’à l’étranger a permis d’inscrire la lecture des œuvres dans le cadre d’une trame factuelle précise et fondée en termes d’exactitude historique.
Première partie. De l’image au texte. Le musée imaginaire de Maurice Maeterlinck
C’est en se référant à Bruegel l’Ancien que Maeterlinck publie le Massacre des Innocents en 1885. Ce conte de jeunesse, stratégiquement signé « Mooris » Maeterlinck, se revendique clairement d’une origine flamande à connotation bruegelienne. Régulièrement réédité du vivant de l’auteur, il a contribué à fixer les traits de Maeterlinck en fils des peintres flamands. Pour les critiques d’époque, l’œuvre de Maeterlinck trouverait son originalité dans la peinture flamande dont elle est la fille. Campant Maeterlinck en auteur « germanique » par son origine flamande, certains spécialistes s’appuient encore sur ce postulat à caractère tainien. D’autres commentateurs ont pris le parti de ne pas prolonger ce point de vue, mais plutôt d’en interroger les causes profondes. C’est à Paul Aron que revient le mérite d’avoir fait apparaître, dans un article fondateur, le caractère stratégique de cette référence à la peinture flamande dans les lettres belges .Il convenait d’élargir au-delà du seul conte de 1886 l’enquête sur la réception maeterlinckienne de la peinture flamande. On s’aperçoit alors que le Massacre des Innocents est loin d’être le seul Bruegel l’Ancien que Maeterlinck comptait exploiter à des fins littéraires. On s’aperçoit également que le peintre de la Parabole des aveugles est loin d’être le seul peintre flamand auquel Maeterlinck se réfère. C’est pourquoi nous avons entrepris de définir précisément, et de façon exhaustive, les limites du champ maeterlinckien en matière de peinture ancienne. Pour ce faire, nous avons inventorié l’ensemble des occurrences plastiques clairement identifiables dans les archives (lettres et carnets), dans les textes publiés ainsi que dans les interviews. Ce travail de compilation a révélé en effet que la réception maeterlinckienne de la peinture dépasse largement le cadre de l’art flamand des XVe et XVIe siècles. Renaissance italienne, Préraphaélisme, Réalisme et Symbolisme sont les principaux mouvements picturaux qui composent les salles du musée imaginaire de Maeterlinck.
Deuxième partie. Texte et image I. Les décors de l’indicible. Maeterlinck et la scénographie
Cette expérience de l’image, Maeterlinck va la mettre à profit lorsque ses drames seront appelés à connaître l’épreuve de la scène. Car dès lors qu’elle est transposée du livre à l’espace de jeu, l’œuvre dramatique cesse d’être exclusivement littéraire. Elle est alors faite de lumière, de corps en mouvement, de matière… Il est pour le moins paradoxal que l’apparition de ce répertoire coïncide avec une méfiance vis à vis du spectacle de théâtre. Très vite Maeterlinck cherche à définir les modalités de la mise en scène. Au fil de quelques articles, il élabore une pensée théâtrale qui participe pleinement au débat ouvert sur la question dans les revues littéraires par des auteurs comme Stéphane Mallarmé, Albert Mockel, ou Pierre Quillard, pour ne citer que quelques noms. Le décor est un point central de ce débat qui consacre l’émergence de la fonction moderne accordée à l’aspect visuel d’un spectacle de théâtre. Ce n’est pas pour rien si la conception des décors est désormais confiée non plus à des décorateurs de métier, mais à des peintres. L’expression de « tableau vivant » dont use Maeterlinck pour qualifier la métamorphose du texte par la scène indique bien le lien qui se tisse, selon lui, entre image scénique et peinture. Certaines œuvres, notamment préraphaélites, servent d’ailleurs de source pour la conception de scènes, de décors et de costumes. Maeterlinck ne s’est pas privé de donner son opinion personnelle sur le travail de préparation de mises en scène, notamment dans les spectacles de Paul Fort, de Lugné-Poe et de Constantin Stanislavski.
Troisième partie. Texte et image II. Des cimaises en papier. Maeterlinck et l’édition illustrée
Il est significatif que le renouvellement de la théâtralité soit exactement contemporain d’une recherche sur le livre comme objet et sur la page comme support. On pourrait dire que la scénographie est à la scène ce que l’illustration est à la page. La critique maeterlinckienne ignore tout, ou à peu près, de la position prise par Maeterlinck à l’égard du support de la littérature. Il faut bien admettre que le poète des Serres chaudes n’a pas développé sur le livre illustré une pensée qui soit comparable à ce qu’il a fait pour le théâtre. De ce fait, le dépouillement des archives s’est avéré indispensable. Il a permis de mettre à jour la place prise par Maeterlinck dans l’élaboration de l’aspect plastique de l’édition de ses textes.
Sensible à ce qui, dans le langage, échappe à l’emprise de la parole au point de mettre en œuvre une dramaturgie fondée sur le silence, Maeterlinck s’est très tôt intéressé aux formes de communication non verbale en jeu au sein d’une production littéraire. Cet intérêt répond à une volonté d’émanciper l’écriture du logocentrisme de la culture française dont Maeterlinck a livré une critique radicale dans un carnet de note que l’historiographie a retenu sous le nom de Cahier bleu. L’homme de lettres s’est ainsi interrogé dès le milieu des années 1880 sur les effets de sens qui peuvent survenir de la part visuelle inhérente à l’édition d’un texte. L’émergence du symbolisme correspond ainsi à une redéfinition du support même de la littérature. Par l’encre qui lui donne corps et par la typographie qui trace les limites, le mot apparaît à Maeterlinck comme une forme dont la page-image magnifie la valeur plastique. Fort se s’être essayé, dans le secret des archives, à l’écriture d’une poésie visuelle enrichie par un réseau de lignes dont le tracé répondrait au contenu du texte, Maeterlinck va développer une esthétique de la couverture qu’il va appliquer dans le cadre de l’édition originale de ses premiers volumes. Dans ce contexte d’exaltation des données plastiques du livre, l’image va constituer un paramètre majeur. Résultant d’une collaboration étroite avec des illustrateurs qui sont d’abord peintre (Charles Doudelet, Auguste Donnay) ou sculpteur (George Minne), les éditions originales illustrées publiées par Maeterlinck apparaissent aujourd’hui comme des événements marquants dans l’histoire du livre en Belgique. Dépouillée des attributions descriptives qui avaient assimilé l’image au commentaire visuel redondant du texte, l’illustration est ici conçue à rebours des mots auxquels elle renvoie. Le tournant du siècle constitue une jonction dans le rapport de Maeterlinck à l’édition illustrée. Participant pleinement au phénomène d’internationalisation des lettres belges autour de 1900, Maeterlinck privilégie l’édition courante et réserve à la librairie de luxe et aux sociétés de bibliophiles le soin de rééditer dans des matériaux somptueux les versions illustrées de ses textes. Le Théâtre publié par Deman en 1902 avec des frontispices d’Auguste Donnay constitue la première expression de ce goût marqué pour les formes les plus raffinées du livre.
Quatrième partie. Du texte à l’image. La réception de l’œuvre de Maeterlinck dans les milieux artistiques
De telles interactions n’ont pu avoir lieu sans l’existence de facteurs externes de type socio-économique. Elles se déroulent en effet dans des lieux (les salons, par exemple) et des institutions (comme les maisons d’édition) mis sur pied par une société performante économiquement et qui, grâce à la dynamique culturelle d’une phalange d’intellectuels esthètes, peut désormais se donner les moyens nécessaires à l’affirmation de la Belgique comme scène active dans le courant d’émulation esthétique et intellectuelle qui traverse l’Europe de la fin du XIXe siècle. La critique s’est attachée au poète de Serres chaudes comme un homme sinon isolé dans une tour d’ivoire, à tout le moins retiré dans une campagne lointaine. Généralement présenté comme l’arpenteur des sommets de la mystique flamande, des mystères préraphaélites, des romantiques allemands et de Shakespeare, Maeterlinck aurait vécu en dehors des contingences de son temps. L’auteur a lui-même contribué à construire ce mythe de l’écrivain solitaire et du penseur reclus. Le dépouillement de ses archives montre à l’évidence qu’il faut nuancer cette lecture dépourvue de finesse. Cette réévaluation de la place de l’homme de lettres dans la société pose la question de la réception de l’œuvre, dans le cas qui nous occupe, par les milieux artistiques. La dernière partie de la thèse inverse donc la question posée dans la première. Si l’incidence de l’iconographie ancienne sur la production littéraire a fait l’objet de commentaires stimulants, inversement, l’analyse de l’impact de la littérature sur la création plastique demeure réduite à quelques cas célèbres comme les peintres Nabis ou Fernand Khnopff. Pour développer cette problématique, il s’est avéré indispensable d’aborder la visibilité de l’œuvre en fonction des réseaux fréquentés par l’homme de lettres. La quatrième et dernière partie tente de répondre à la question de savoir dans quelle mesure le réseau relationnel de Maeterlinck et les voies de diffusion empruntées par son œuvre ont induit ou pas la création plastique. De ce point de vue, la réception de Maeterlinck en Allemagne et en Autriche constitue un cas d’école. Etrangère à toute implication directe de l’auteur, la réception artistique de l’œuvre de Maeterlinck forme un corpus d’œuvres que nous avons étudié en le superposant à l’architecture interne de la bibliographie.
Projeté au devant de la scène par l’article fameux d’Octave Mirbeau, Maeterlinck rechigne les apparitions publiques. Si l’auteur est pleinement inscrit dans les lieux de sociabilité de la vie littéraire, il reste que l’homme fuit les interviews et délègue à l’image le soin d’assurer la visibilité de sa personne :les portraits de Maeterlinck se multiplient dans les revues au point de former un corpus significatif que la critique maeterlinckienne n’a jusqu’ici pas ou peu abordé. Conscient de l’impact stratégique de l’image qu’un écrivain donne de lui, Maeterlinck souscrit au rituel de la pose. S’il est difficile d’apporter des précisions sur la part prise par l’écrivain dans la composition des portraits, il n’en demeure pas moins que l’homme se met en scène à rebours d’une prise de vue instantanée. Face à l’objectif, il prépare méthodiquement la transformation de sa personne en image. A la césure du siècle, plusieurs pictorialistes américains (Holland Day, Coburn et Steichen) ont conçu des portraits de Maeterlinck. C’est par ce biais que l’auteur belge a été amené à rédiger un texte sur la photographie.
Destiné au numéro inaugural de la fameuse revue Camera Work animée par Alfred Stieglitz, ces pages soulignent le caractère esthétique dont les pictorialistes ont teinté la photographie. Pour Maeterlinck, la photographie relève du domaine de la création artistique puisqu’il n’est désormais plus tant question de fixer les apparences du réel que d’en livrer une image dominée par la pensée et le savoir-faire. Gagné par la foi recouvrée dans les forces de la nature typique de l’optimisme qui touche la littérature au début du XXe siècle, Maeterlinck souligne que l’acte photographique est lié à l’intervention des « forces naturelles qui remplissent la terre et le ciel ». Et l’homme de lettres de préciser :« Voilà bien des années que le soleil nous avait révélé qu’il pouvait reproduire les traits des êtres et des choses beaucoup plus vite que nos crayons et nos fusains. Mais il paraissait n’opérer que pour son propre compte et sa propre satisfaction. L’homme devait se borner à constater et à fixer le travail de la lumière impersonnelle et indifférente ». L’épiphanie des ombres que cultive la photographie pictorialiste passe par un dialogue avec la lumière dont Maeterlinck fait une composante centrale de son théâtre au point de l’incarner, dans L’Oiseau bleu qu’il publie en 1909, sous la forme d’un personnage clé opposé significativement à la figure de la Nuit.
Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
Lamquin, Thomas. "Psychanalyse appliquée aux représentations picturales des camps de concentration nazis". Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100023/document.
Pełny tekst źródłaThis thesis begins with noticing that pictorial representations (e.g. drawings or paintings etc.) in nazi concentration camps have been made by some subjets while imprisonment, in a massive traumatism, usually thinked as a non-representable situation. From a three drawers and drawings study, imcompletely by Andre Green’s applied psychoanalysis method, reflexion can occur with the hypothesis of a dissociated physical and psychic self-preservation in that context. To achieve this goal, historical nazi camps differed representations, massive traumatism and creation, are detailed in a psychoanalytic viewpoint with Freud, Ferenczi, Winnicott, Roussillon, Green, Bertrand, Zaltzman, Cerf de Duzeele, Waintrater and Cupa as main authors. Results show the existence of an intermediate space that enabled these subjets to keep a specific representational activity. It’s mainly a representation work of the camp overreality in a psychic self-preservation way. This work is an internal and external connection work, in a culture and filiation link, that struggles against drive defusion. Eternity and omnipotent fantasy, libidinal coexcitation underly drawings and pictorial activity. They interrogate about a possible sublimation
CHEN, HSUEH-CHING, i 陳雪卿. "Symbiotic Prosperity between Images and Words──Creative Works of Pictorial Thoughts and Poetic Emotions as An Example". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/2275xd.
Pełny tekst źródła吳鳳科技大學
應用數位媒體研究所
104
Dong-Po Su(in Sung Dynasty)once praised Wei Wang's(in Tang Dynasty) works of poetry and painting:“ there is painting in poetry just as there is poetry in painting."He also said:“ Both poems and paintings are originally the same. They are natural, neat and clean."Such a concept, is also in our cultural inheritance. Words & images coexist in Chinese Literati Painting. Describing the external environment and internal thoughts, feelings through words are also normal in writing. Today, in many of the artist's creations, combining Visual art and writing is also a common phenomenon, writers still good at words to describe the scenes and subjective emotion and cognition. From ancient times to the present, there are various creative forms. Even with traditional forms of painting pencils, or as times change and technology advances, using digital equipment to create, creating illusion by the image, still attracting all eyes focused. Spirits of literature and visual can interact each other. No matter what form of artistic creations, large proportion of inspirations come from real life. Because what to express are common human emotions, various types of artistic creation can break through time and space constraints, affecting different groups of viewers at all times. so that the people can resonate. “ Pictures & words coexisting”allows creators to express thoughts and feelings more clear, also let viewers to extract more information from the work, resulting in more recognition. Creative concept and motivation of this study, come from Chinese traditional poetry and paintings, bookmarks, poetry cards, combining Visual art and literature, through today's technology tools (digital camera, computer) and the combined beauty of words. The personal creation exhibition “ Pictorial Thoughts and Poetic Emotions” was held during May 8th to 24th, 2016 , in Wu-Feng University. I expect through application digital media technology, combined Literati Painting and the modern book card of life application form, together with words creation, can interpret the concept of “ there is painting in poetry just as there is poetry in painting”, and bring viewer more deep feelings.
Arbuckle, Katherine Elizabeth. "A study of pictorial interpretation of health education illustrations by adults with low literacy levels". Thesis, 2014. http://hdl.handle.net/10413/10808.
Pełny tekst źródłaThesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2014.
Cleaver, Rosalind. "Colonial, tourist and alternative views of commodified South African wilderness". Thesis, 2012. http://hdl.handle.net/10210/4496.
Pełny tekst źródłaThe landscape of South Africa has changed dramatically since early colonisation. Even so, it appears that the conventions employed in portraying landscapes have not; colonial landscape imagery that helped promote European immigration to this country during the Nineteenth Century remains remarkably similar to conventions employed in contemporary landscape representation used to market game reserves. In this dissertation, it is argued that colonial landscape imagery facilitates and supports a view of nature as an „authentic‟ wilderness available for expropriation. It is proposed that wildlife reserves, both in their intent and realisation, present a simulacrum of wilderness, also available for the consumer and promoted by advertising imagery. It is further argued that it remains the imperative commodification of nature which informs the pictorial conventions adopted in both cases. Thus, the myths inherent in both colonial representations of landscape and the utopian vision proffered in game reserve marketing are challenged. This research project employs discourse analysis that is framed in a qualitative, interpretative paradigm. Colonial imagery is examined in terms of post-colonialist critique of imperial landscape representation, while a post-modern approach is used to investigate contemporary imagery. This research project demonstrates that landscape imagery used to promote a „natural‟ wildlife site, is persistently presented according to prescribed canon as a functioning system regardless of its actual condition. Futhermore, the research project leads to an alternative view of nature, presented in my practical work, that is cognisant of the problems experienced in reality.
Mlauzi, Linje Manyozo. "Reading modern ethnographic photography : a semiotic analysis of Kalahari Bushmen photographs by Paul Weinberg and Sian Dunn". Thesis, 2002. http://hdl.handle.net/10413/4609.
Pełny tekst źródłaThesis (M.A.)-University of Natal, Durban, 2002.
Wilkie, Tanis Eleanor. "Images of the Native Canadian in National Film Board documentary film, 1944-1994". Thesis, 1996. http://hdl.handle.net/2429/4472.
Pełny tekst źródłaArnold, Grant. "The terminal city and the rhetoric of utopia: John Vanderpant’s photographs of terminal grain elevators". Thesis, 1996. http://hdl.handle.net/2429/4342.
Pełny tekst źródłaHouston, Natalie. "Coloured lens : a study of the socio-cultural context of Wentworth in Durban, KwaZulu-Natal, South Africa, towards a photographic documentary". Thesis, 2012. http://hdl.handle.net/10321/761.
Pełny tekst źródłaSocial issues are a very real problem in South Africa. Violent protests in poorer communities around South Africa indicate a need to better understand negative social realities impacting on communities. This research examined the sociocultural context of Wentworth in Durban, KwaZulu-Natal, South Africa, as shown on the map on page x. The focus of this study was the social and community realities; and the significance of photography in the context of examining these. The aim was to use photography as a research tool as well as to document the data collected. From the data a 118-page book, as shown on page viii, was conceptualised, which captures this community’s social context. Further, the study questioned the use of design practice to support social change. Because of the distinctly “Coloured” nature of Wentworth, literature was sought for the definition, history, current dynamics and complexities of Coloured identity. The literature review highlighted ethics and the strategies that should be adhered to when considering the social nature of photography. For this inquiry a qualitative analysis was conducted using the Grounded Theory method. A collaborative, or participatory research approach, was used for data collection, by working closely with families and health, church and non-governmental groups in Wentworth. Qualitative data collection methods used to gather primary data were photographic documentation and interviews. This research produced a number of key findings regarding socio-cultural problems plaguing the community. Findings deemed photography a rich tool for researching the social and for accurately recording everyday life. The main conclusions drawn from this research were that in-depth studies be conducted on individual problems, utilising greater manpower and funding. In addition, that further research and documentation be undertaken in the community.
Desnoyers, Rosika. "A Genealogy of Pictorial Berlin Work: A History of Errors". Thesis, 2012. http://spectrum.library.concordia.ca/975116/1/Desnoyers_PhD_S2013.pdf.
Pełny tekst źródłaCheng, mei hsuan, i 鄭美萱. "The Study of the Relationship Between Pictorial Media and Words Media and Infant’s Concentration". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/89389109708494922173.
Pełny tekst źródła國立臺灣藝術大學
應用媒體藝術研究所
98
It seems essential for a contemporary society to explore the relationship between word and image. The choice of learning methods will deeply influence the children’s ability of concentration, even of reading, even if the types of learning are merely a learning medium for children. The early childhood education has been stressed under the circumstance of lower and lower birth rate; therefore, cram schools have begun to present many classes of creative writing and memory enhancement. These classes make use of way of teaching nothing else but the content of word or image, but the relation between word and image is likely inseparable, and may actually exist in the literature, graphic book, and other types of media respectively. Studies have been made on the infant’s ability of concentration based on the reading theory among the discussions about words and pictorial media. It has been found that pictorial learning fits more properly in the tendency of modern, multimedia society, which is compared to the wording one. The media such as television, computer, DVD, however, have been only considered as the tool of supplementary education. The use of media listed above has not fully enhanced the infants’ ability of thinking, which has been merely stimulated through hearing and seeing. It has been recognized that the schema (background knowledge) of infant has been usually advanced by expression of written communication; therefore, the infants’ ability of reading and thinking has been able to increase and encourage children to use written word and spoken language as the media for interactive communication. The purpose of this study is to explore the relationship between pictorial and words media, and examine the further application on the infants’ ability of concentration. First, the questionnaire on the relation of pictorial and words media has been made and tested toward the parents of infants. Secondly, the study samples the infants aged from two to six and their parents in order to design the interview for testing the validity of questionnaire. Lastly, the study makes a conclusion by analyzing the result form interview, and suggests recommendations for further research.
Zhang, Shu-Juan, i 張淑娟. "Exploration GSM Method and ISM Method of Assessment on Aesthetics - Campus Tree Pictorial Work Case -". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/r854w5.
Pełny tekst źródła國立臺中教育大學
教育資訊與測驗統計研究所
103
As the world increasingly frequent exchanges, art and culture of the countries, but also with the spread of the humanistic quality around the world, a national goal has always been to develop various advanced countries efforts. Although Taiwan is a national scientific and technological progress, but in this regard the spiritual life is a little behind other advanced countries, regardless of cultural events organized by the government or private, although there are people actively participate, but how to appreciate or judge, but like smoke and mirrors general, know Figure painting was good, but do not know what was good. Therefore, in the past few years, increasing attention aesthetic education, more and more scholars in this field published a variety of papers to explore how the aesthetic, the concept of beauty by way of education, indeed convey to each student. However, the pretty experience is very straightforward subjective feeling, everyone has their own standards and feelings. Thus, as things of beauty and ugliness in the comments or good or bad, it is still an objective standard, to persuade each other to avoid conflict or misunderstanding. So, we are hoping to minimize the impact of human factors, in order to achieve the objective aesthetic standard of review. The purpose of this study hope to the scientific method, to find an objective way to judge beauty and ugliness, so that subjective feelings into objective changes. And the use of GSM method and ISM method to be analyzed, make intuitive sense to form a reasonable assessment. The results show that the GSM method and ISM method with two modes of teaching, teachers in the teaching can explain whether teaching purposes.
Yu-Shan, Hsu, i 許玉珊. "A Study of the Semiotic Possibility to Pictorial Art Use Pablo Picasso’s Work as Example". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/81513917330500255152.
Pełny tekst źródła大葉大學
造形藝術學系碩士班
93
Since the nineteenth century, people have created and perceived information in a logical and concentrated manner. This thesis focuses on creating a series of artistic symbols to represent the famous paintings of Pablo Picasso in a compressed way. There are two important procedures, based on Johannes Itten’s theory “Analyses of Form”, to symbolize Picasso’s works. The first, is to catalog Picasso’s works and analyze the forms of his paintings by applying the three natures of paintings:impressive, constructive, and expressive. The second, is to imitate the original works thus experiencing the motifs and emphasizing the important characters. To symbolize paintings is an idea of creating an art index not only to assist designers in finding their sources and to help the public in the symbols can also in interacting with arts systematically and rapidly, also to create a modern way to approach arts.
Chen, Yu-Chien, i 陳于倩. "Using Pictorial Story Based English to Improve Fifth Grade English Words Underachievers Learning in Remedial Teaching". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/96708674488718022025.
Pełny tekst źródła朝陽科技大學
資訊管理系碩士班
101
This study aimed to explore whether or not the “Pictorial Story Based English” applied in remedial English teaching improve the learning effectiveness of underachievers’ word learning and explore the attitude of remedial teaching students towards English teaching. The research participants include underachievers of fifth grade English classes in four elementary schools in Chunghwa County, a total of 39 students. During the 14-week remedial teaching period, the students attended the word teaching class through the “Pictorial Story Based English” once a week, a total of 10 sessions, and five English words were given each time, a total of 50 words. The students that participated in the remedial teaching answered five “fill in the blanks” questions in the pre-test and took the post-test after the teaching. After the first teaching, a retention test was conducted before the teaching. On the fourteenth week, the general test for English word learning effectiveness consisting of 50 questions and the questionnaire survey for learning attitude were conducted. The results show that: (1) The students showed improvement in the number of correct answers in the pre-test and post-test of English words; (2) At the end of the remedial teaching, the students showed improvement in the general test for English word recognition; (3) The students showed improvement in attitude performance, specifically in “active learning,” “attention” “interests” and “self-confidence.” The above results indicate that the “Pictorial Story Based English” applied in the remedial teaching of English words indeed improve the fifth grade underachievers’ word recognition and spelling proficiency, which in turn had a positive impact on their learning method and learning attitude. Hence, the results in this study shall serve as a reference for English remedial teaching applied in English word teaching.
Wu, Chien-Wei, i 吳芊葳. "The theory of pictorial work in Mikel Dufrenne''s phenomenological aesthetics : the interpretation of the paintings of Li Mei Shu". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/68249993097680840900.
Pełny tekst źródła淡江大學
法國語文學系碩士班
100
According the Phénoménologie de l’expérience esthétique, Mikel Dufrenne attempts to describe aesthetic experience from a phenomenological point of view. This kind of experience allows us to feel the world as the most thorough and most endearing. And more so, this experience is as that of perception that leads to questions about the nature of art and to connect with the artist. So I choose Li Mei Shu, a contemporary artist of my country Taiwan, as a model to interpret this aesthetic experience. The encounter between theory of Dufrenne and paintings of Li would be a possibility of a real experience that allows us to touch the nature of art. This thesis has four main divisions. The first division concretizes Dufrenne’s theory in the Phénoménologie de l’expérience esthétique, placing it in the context of the introduction of phenomenology in France from Sartre and Merleau-Ponty. Then, I try to identify the approach proposed by Dufrenne on pictorial work and to find methods that will be used to analyze the paintings of Li. In the third chapter, I discuss the art of Li, and this division outlines the life and the thinking of this Taiwanese artist. Finally, as the conclusion of my research, we can see the meeting between Li and Dufrenne. In this case, we ask what could be revealed the relationship between the artwork and the point of view through the theory of Dufrenne and paintings of Li. Specifically, I tried to find a new look at paintings of Li. I use five sections to discuss and to characterize the paintings of Li from Dufrenne’s phenomenological aesthetics. According the interpretation of phenomenological aesthetics, we reconnect the world of Li’s art as a spectator. In other words, thanks to the endeavor and passion of Li on his art, through the model of this aesthetic experience, the spectators could reconstruct the relationship between the artwork and the creator.
Keen, Rusti Leigh. ""Look West," Says the Post: The Promotion of the American Far West in the 1920s Saturday Evening Post". Thesis, 2012. http://hdl.handle.net/1805/3087.
Pełny tekst źródłaThis thesis will look at the various images of the American Far West presented by the Saturday Evening Post during the 1920s under the editorship of George Horace Lorimer, and will examine his editorial strategy that promoted the Far West as a last land of opportunity while also recognizing and weighing in on the challenges of that region.
"Логофест-2021". ФОП Цьома, 2021. http://repository.sspu.edu.ua/handle/123456789/11403.
Pełny tekst źródłaThe collection includes materials of the speech therapy festival "Logofest - 2021". The materials of the collection will be useful for teachers, speech therapists, researchers, scientists, teachers, students.