Literatura científica selecionada sobre o tema "Mémoire – Photographie"
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Artigos de revistas sobre o assunto "Mémoire – Photographie"
Vial, Christine. "Mémoire et photographie". Bulletin de psychologie 42, n.º 389 (1989): 375–78. http://dx.doi.org/10.3406/bupsy.1989.13023.
Texto completo da fonteThomas, Cyril. "Shõmei Tõmatsu : la mémoire des ruines". Protée 35, n.º 2 (5 de fevereiro de 2008): 45–54. http://dx.doi.org/10.7202/017466ar.
Texto completo da fonteOlivier, Laurent. "Photographie, Archeologié Et Mémoire". European Journal of Archaeology 2, n.º 1 (1999): 107–15. http://dx.doi.org/10.1179/eja.1999.2.1.107.
Texto completo da fonteTamisier, Marc. "La mémoire et la photographie". Marges, n.º 01 (15 de março de 2003): 65–76. http://dx.doi.org/10.4000/marges.826.
Texto completo da fonteJewsiewicki, Bogumil. "Photographie, un objet du pouvoir". Anthropologie et Sociétés 40, n.º 1 (18 de maio de 2016): 219–50. http://dx.doi.org/10.7202/1036378ar.
Texto completo da fonteMeynard, Cécile. "L’Africain de Le Clézio". Arborescences, n.º 4 (20 de novembro de 2014): 44–64. http://dx.doi.org/10.7202/1027431ar.
Texto completo da fonteCollington, Tara. "L' usage de l’objet dans la pratique autobiographique de Colette Fellous". Voix Plurielles 17, n.º 1 (27 de abril de 2020): 141–58. http://dx.doi.org/10.26522/vp.v17i1.2477.
Texto completo da fonteBédard, Yves. "Images technologiques : ce qu’il advient de la mémoire". Cinémas 1, n.º 3 (2 de março de 2011): 88–101. http://dx.doi.org/10.7202/1001068ar.
Texto completo da fonteKim, Hyeona. "La photographie dans La Mémoire aime chasser dans le noir de Gérard Macé". Études de Langue et Littérature Françaises 103 (15 de setembro de 2015): 373–94. http://dx.doi.org/10.18824/ellf.103.12.
Texto completo da fonteRoberts, Allen F., e Mary Nooter Roberts. "L'aura d'Amadou Bamba. Photographie et fabulation dans le Sénégal urbain". Anthropologie et Sociétés 22, n.º 1 (10 de setembro de 2003): 15–40. http://dx.doi.org/10.7202/015520ar.
Texto completo da fonteTeses / dissertações sobre o assunto "Mémoire – Photographie"
Erbetta, Alejandro. "Mémoire et (re)construction d'histoires individuelles, familiales et collectives (approches photographiques)". Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080033.
Texto completo da fonteIn a time of exacerbation of the self-representation (through the socialnetworks, among other things), our subject of study proposes a reflection onmemory and the reconstruction of histories in the artistic practices. Using as astarting point a personal photographical work (Reprises), we propose a linkbetween theory and creation, in a dialectic that starts from the analysis ofpersonal works, to establish a dialogue with theorists and contemporaryartworks dealing with these issues. In this kind of retrospective approaches thatreinterpret the past, the artists work from the material and memory traces, suchas the images of family albums, archives, documents, or testimonies. Mixingdifferent esthetical universes in a new unity, they make coexist their ownimages with existing sources, disappeared lives with their own existences. Theirworks thus become a artistic re-creation and postulate a special narrative spacewhich evokes a poetics of the memory. Partial and fragmentary, they show anarrative reconfigured by the imaginary and the editing. They exceed thestrictly photographical field and open their language to the dialogue with otherarts, taking the form of hybrid artworks. What relation can be set betweenmemory, reconstruction and identity, between individual and collectivehistory ? If the past is being transformed, how to rebuild it ?
Sheridan, Bridget. "Les cheminements de la mémoire : marche, photographie, écriture". Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20104/document.
Texto completo da fonteWith art walking and the body in motion at the heart of my artistic practice, this research incites us to explore collective memory via three visual and theoretical areas : walking in the landscape, photography and writing.The path we take demands exploring archives, using testimonies. It also means travelling alongside the witnesses of some of the most tragic episodes of our history, along the paths of their memory. As a walking artist, it is equally making my way, on foot, reactivating memory, which seeps into the furrows traces into the earth, projecting the past on the landscape, the mountains and the horizon. As we walk, our body in motion experiences the landscape, an intersensoriality that stimulates memory. I revive history whilst interweaving walking, photography and writing. Photography responds to the rhythm of the walking artist, to the artist's curiosity in the archives, and to the artistic language of the photographer questioning “lieux de mémoire”. Writing, in turn, examines the use of lines, movement and testimonies, while it also questions handwriting and mapping. These three mediums are intertwined in an intermedial artistic practice, discovering the paths of memory. We must imagine a process of weaving between creative work and theory that awakens curiosity for historical, anthropological, philosophical and architectural subjects. This research suggests considering this intermedial approach, this subtle blend between walking as an aesthetic practice, photography and writing, while walking the paths of memory
Erbetta, Alejandro. "Mémoire et (re)construction d'histoires individuelles, familiales et collectives (approches photographiques)". Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080033.
Texto completo da fonteIn a time of exacerbation of the self-representation (through the socialnetworks, among other things), our subject of study proposes a reflection onmemory and the reconstruction of histories in the artistic practices. Using as astarting point a personal photographical work (Reprises), we propose a linkbetween theory and creation, in a dialectic that starts from the analysis ofpersonal works, to establish a dialogue with theorists and contemporaryartworks dealing with these issues. In this kind of retrospective approaches thatreinterpret the past, the artists work from the material and memory traces, suchas the images of family albums, archives, documents, or testimonies. Mixingdifferent esthetical universes in a new unity, they make coexist their ownimages with existing sources, disappeared lives with their own existences. Theirworks thus become a artistic re-creation and postulate a special narrative spacewhich evokes a poetics of the memory. Partial and fragmentary, they show anarrative reconfigured by the imaginary and the editing. They exceed thestrictly photographical field and open their language to the dialogue with otherarts, taking the form of hybrid artworks. What relation can be set betweenmemory, reconstruction and identity, between individual and collectivehistory ? If the past is being transformed, how to rebuild it ?
Colombet, Julien. "La photographie en Pays d'Apt : (vers 1870-vers 1960) : image réaliste et enjeux ce mémoire". Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10054.
Texto completo da fonteBourdieu, Séverine. "Proses de la mémoire : enquête, archive et photographie dans le récit français contemporain". Bordeaux 3, 2006. http://www.theses.fr/2006BOR30057.
Texto completo da fonteFocusing on a corpus of contemporary French novelists, namely Pierre Bergounioux, François Bon, Annie Ernaux, Johan-Frédérik Hel Guedj, Pierre Michon, Patrick Modiano and Jean Rouaud, we will be examining a paradigm change which took place recently in the writing of memory. The works under analysis were written between the end of the nineteen seventies and the early 21st century. For reasons which are at the same time personal (episodes of grief), generational and historical (the fractures of the 20th century), the individual, family or collective past is now experienced as and marked by a sense of loss and escheated inheritance. Perceived as a riddle, it becomes actively investigated by the subject who seeks to inherit from it. It will be demonstrated that this process of investigation, centred as it is around the collection and the questioning of archives (letter-writing, notebooks, pictures, newspaper cuts, witness accounts and various material remains), borrows from methods of research and understanding belonging to other fields of knowledge, particularly social and human sciences, and from other types of discourse and writing, such as journalistic and police investigation. The borrowing rules themselves will be examined as so many questionings and defacements, with an eye on the renewal of literary forms that they bring about, as well as on the displacement of the relation between history and memory, and between document and fiction that they offer
Dornier-Agbodjan, Sarah. "Histoire de liens, histoire de biens : la photographie de famille : mémoire et transmission". Besançon, 2003. http://www.theses.fr/2003BESA1001.
Texto completo da fonteGuillot, Hélène. "Photographier la Grande Guerre : les soldats de la mémoire, 1915-1919". Paris 1, 2012. http://www.theses.fr/2012PA010617.
Texto completo da fonteRichards, Ariane Sarah. "Mai 68 : l'evolution de la mémoire culturelle et des icônes à travers la photographie". Thesis, Durham University, 2013. http://etheses.dur.ac.uk/6366/.
Texto completo da fonteEichenberger, Andrea. "Images d'Indiens : d'objet à sujet : la photographie chez les Guarani du village Yynn Moroti whera à Santa Catarina (sud du Brésil)". Paris 7, 2011. http://www.theses.fr/2011PA070046.
Texto completo da fonteThis thesis takes its place in discussions on Visual Anthropology and looks forward to promote an interaction between an imagetic narrative and an ethnographic reflection. After a work developed with Guarani people from the village Yynn Moroti Wherâ, located in Biguaçu district, south coast of Santa Catarina, I have tried to think about the different ways of seeing Indians in Brazil, and about the appropriation and usage of images in indigenous contexts. The thesis shows some changes in position regarding the visual constructions. Firstly, changes from the indigenous side, that are deconstructing stereotyped images and making simultaneously multiple images, that receive specific fonctions depending on the context : on one hand, they are an element of identity affirmation and a way to save the collective memory, on the other hand, they are looking for establishing a dialogue with the "Other" that is not able to see the Indians beyond the preconceived images. Secondly, a change from the anthropologist-photographer, that uses a differentiate methodology of insertion into the field and of interaction with studied subjects, and that produces an ethnographic narrative in which text and image are introduced so as to build a dialogue. In this work, Photography is set at the same level as ethnography, this means as an expression-discourse
Moreno, Jérôme. "Émergence et retrait de la figure humaine : pour une anthropologie de l’image". Toulouse 2, 2009. http://www.theses.fr/2009TOU20022.
Texto completo da fonteFace plastic practice generates sensible images. This thesis proposes an exploration of figurative images based on anthropological approach. In a first category of images, face proceeds from vagaries of History. It could be alternately propaganda and destruction. Shoah symbolizes the face obliteration and reveals an image in the very back. Conversely, the face could rise from the melting pot of distortion, disfigurement and representation. The image envisages face like a trace: a gesture print issued from accumulation, interlace or series principle. In this case, image awakes from the gesture. However, a third set of images could also reveal a hesitant face. For example, in photography, this face plays on the thin frontier between representation and abstraction. Image waves between retreat and emergence, figurative appearance and disappearance. According to survival principle, this oscillation indicates the capability of figurative images to resurface time and space, beyond. They have a power : the power to remember
Livros sobre o assunto "Mémoire – Photographie"
Erbetta, Alejandro. Pour une poétique de la mémoire: Photographie, littérature & arts. Paris: L'Harmattan, 2019.
Encontre o texto completo da fonteLangford, Martha. Scissors, paper, stone: Expressions of memory in contemporary photographic art. Montreal: McGill-Queen's University Press, 2007.
Encontre o texto completo da fonteTan, Fiona. Rise and fall: Fiona Tan. Vancouver: Vancouver Art Gallery, 2009.
Encontre o texto completo da fonteBourgade, Philippe. Eau-mémoire. Pointe-à-Pitre: Éd. Jasor, 2006.
Encontre o texto completo da fonteJacques, Lamalle. Mémoire noire. Paris: Les Arènes, 2016.
Encontre o texto completo da fonteClaass, Arnaud. Arnaud Claass: Mémoire vive. Trézélan: Filigranes, 2004.
Encontre o texto completo da fonteKlasen, Peter. Peter Klasen: La mémoire du regard, l'œuvre photographique. Paris: Archibooks + Sautereau, 2009.
Encontre o texto completo da fonteGaillard, Agathe. Mémoires d'une galerie. Paris]: Gallimard, 2013.
Encontre o texto completo da fonteGironde, Michel. Les mémoires de la violence: Littérature, peinture, photographie, cinéma. Paris: Harmattan, 2009.
Encontre o texto completo da fonteGironde, Michel. Les mémoires de la violence: Littérature, peinture, photographie, cinéma. Paris: Harmattan, 2009.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Mémoire – Photographie"
Bigot, Corinne. "Nostalgic Albums or Alternative Lieux de mémoire? The Interplay Between Stories, Photographs, and Recipes in Ethnic Culinary Memoirs". In Palgrave Studies in Life Writing, 137–53. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84875-0_8.
Texto completo da fonteGuillot, Hélène. "Photographie et nécessité d’État". In Les Soldats de la mémoire, 31–40. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.4751.
Texto completo da fonteNordholt, Annelies Schulte. "La photographie dans Lieux". In Georges Perec et ses lieux de mémoire, 110–39. BRILL, 2022. http://dx.doi.org/10.1163/9789004521070_007.
Texto completo da fonteGehrmann, Susanne. "24 Photographie et écriture autobiographique au Congo". In Traumatisme et mémoire culturelle, 359–74. De Gruyter, 2023. http://dx.doi.org/10.1515/9783110420746-024.
Texto completo da fonteGuillot, Hélène. "Le parcours d’une plaque de verre : de la prise de la photographie à l’archivage". In Les Soldats de la mémoire, 85–89. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.4786.
Texto completo da fonteBorges, Cristian, e Samuel de Jésus. "Mémoire de gestes dans l’œuvre d’Agnès Varda : peinture, photographie, cinéma". In Agnès Varda : le cinéma et au-delà, 63–70. Presses universitaires de Rennes, 2009. http://dx.doi.org/10.4000/books.pur.1742.
Texto completo da fontePierron, Lucile. "Célébrer le temps provisoire de la Seconde Reconstruction : les « baraquements-églises » ou la photographie comme mémoire d’un patrimoine disparu". In Les archives iconographiques et audiovisuelles de la Reconstruction en France, de 1940 aux années 1960. Publications des Archives nationales, 2023. http://dx.doi.org/10.4000/books.pan.5608.
Texto completo da fonteBessat, Frédéric. "Liste des photographies". In La mémoire des coraux, 237. Éditions de la Sorbonne, 2000. http://dx.doi.org/10.4000/books.psorbonne.36909.
Texto completo da fonteGuillot, Hélène. "Consulter les photographies". In Les Soldats de la mémoire, 201–5. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.4841.
Texto completo da fonteGuillot, Hélène. "Le personnel photographe". In Les Soldats de la mémoire, 57–66. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.4771.
Texto completo da fonte