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1
Chiti, Elena. "Écrire à Alexandrie (1879-1940) : Capital social, appartenances, mémoire." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3098.
Повний текст джерелаАнотація:
Cette thèse est une étude d’histoire culturelle sur les processus de construction des appartenances. Le cadre spatio-temporel de départ est la ville d’Alexandrie entre la fin du XIXe siècle et le premier tiers du XXe. Son statut compliqué d’interface entre plusieurs horizons politico-culturels (ottoman, arabe, européen) en fait un terrain privilégié pour analyser les notions d’étranger, égyptien, ottoman, local, national, cosmopolite comme catégories mouvantes, façonnées par les acteurs. Dans la volonté de faire de l’imaginaire un objet d’histoire, ces catégories sont appréhendées à travers les textes littéraires (en arabe, français, italien, anglais) produits par les acteurs de la vie culturelle alexandrine. Une étude de leurs trajectoires personnelles, des sociabilités qui se nouent (ou pas) dans les milieux littéraires citadins et des critères sur lesquels se font et se défont les réputations littéraires permet de lier la dimension individuelle de ces acteurs à une dimension collective, sociétale. Pour prolonger le débat dans l’actualité, on propose enfin une approche socio-historique de la survie ou de la disparition de ces réputations littéraires au-delà du cadre spatio-temporel de départ. Réfléchir aux milieux dans lesquels une réputation d’auteur construite dans l’ère des empires survit, ou ne survit pas, au passage à l’ère des États-nations, ou à celui de la période coloniale à l’époque des décolonisations, permet d’explorer le champ de la mémoire sur des bases autres que celles de la nostalgie ou de l’idéologieThis dissertation is a cultural-history study of the building up of categories of belonging. The spatio-temporal context is the city of Alexandria between the late 19th century and the first third of the 20th. Being a field of confrontation between several cultural and political horizons (ottoman, Arab, European), Alexandria is a privileged field to study the notions of foreigner, Egyptian, ottoman, local, national, cosmopolitan as shifting categories, built-up by actors. In the aim of treating imagery as a historical object, these categories are investigated through a set of literary texts (in Arabic, French, Italian, English) produced by the actors of Alexandrian cultural life. By studying their trajectories, the sociability that emerges (or not) in Alexandrian literary milieus and the criteria on which literary reputations are built up, we can link the individual scale to a societal dimension. In conclusion, to extend the perspective, this dissertation proposes a socio-historical analysis of the survival or disappearance of these literary reputations beyond the space and time firstly considered. Analyzing the milieus in which an author reputation built up in the age of empires survives, or not, through the age of Nation-states, or from the colonial epoch to the age of decolonization, is offering an approach to the field of memory which is not based on nostalgic or ideological positions
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Chiti, Elena <1979>. "Écrire à Alexandrie (1879-1940) : capital social, appartenances, mémoire." Doctoral thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/4650.
Повний текст джерелаАнотація:
Cette thèse est une étude d’histoire culturelle sur les processus de construction des appartenances. Le cadre spatio-temporel de départ est la ville d’Alexandrie entre la fin du XIXe siècle et le premier tiers du XXe. Son statut compliqué d’interface entre plusieurs horizons politico-culturels (ottoman, arabe, européen) en fait un terrain privilégié pour analyser les notions d’étranger, égyptien, ottoman, local, national, cosmopolite comme catégories mouvantes, façonnées par les acteurs. Dans la volonté de faire de l’imaginaire un objet d’histoire, ces catégories sont appréhendées à travers les textes littéraires (en arabe, français, italien, anglais) produits par les acteurs de la vie culturelle alexandrine. Une étude de leurs trajectoires personnelles, des sociabilités qui se nouent (ou pas) dans les milieux littéraires citadins et des critères sur lesquels se font et se défont les réputations littéraires permet de lier la dimension individuelle de ces acteurs à une dimension collective, sociétale. Pour prolonger le débat dans l’actualité, on propose enfin une approche socio-historique de la survie ou de la disparition de ces réputations littéraires au-delà du cadre spatio-temporel de départ. Réfléchir aux milieux dans lesquels une réputation d’auteur construite dans l’ère des empires survit, ou ne survit pas, au passage à l’ère des États-nations, ou à celui de la période coloniale à l’époque des décolonisations, permet d’explorer le champ de la mémoire sur des bases autres que celles de la nostalgie ou de l’idéologie.This dissertation is a cultural-history study of the building up of categories of belonging. The spatio-temporal context is the city of Alexandria between the late 19th century and the first third of the 20th. Being a field of confrontation between several cultural and political horizons (ottoman, Arab, European), Alexandria is a privileged domain to study the notions of foreigner, Egyptian, ottoman, local, national, cosmopolitan as shifting categories, built-up by actors. In the aim of treating imagery as a historical object, these categories are investigated through a set of literary texts (in Arabic, French, Italian, English) produced by the actors of Alexandrian cultural life. By studying their trajectories, the sociability that emerges (or not) in Alexandrian literary milieus and the criteria on which literary reputations are built up, we can link the individual scale to a societal dimension. In conclusion, to extend the perspective, we propose a socio-historical analysis of the survival or disappearance of these literary reputations beyond the space and time firstly considered. Analyzing the milieus in which an author reputation built up in the age of empires survives, or not, through the age of Nation-states, or from the colonial epoch to the age of decolonization, is offering an approach to the field of memory which is not based on nostalgic or ideological positions.
3
ANCELET, JOCELYNE. "Un essai psychothanatologique : les dernieres annees de paul klee (1879-1940)." Aix-Marseille 2, 1994. http://www.theses.fr/1994AIX20070.
Повний текст джерела
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Lees, Carol Anne. "Klee and Worringer : elective affinities in an aesthetic partnership." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22365.
Повний текст джерелаАнотація:
It is the purpose of this thesis to examine the development of the concepts of abstraction and formalism in the art theory of Paul Klee and their consequent effect on his artistic production. The major impetus suggested for this development are the writings of Wilhelm Worringer, although the aesthetics of the Munich avant garde must also be credited. I have traced the evolution of Klee's thought through an examination of his diaries, letters and other documents of the period. It is clear that a demonstrable change occurs in Klee's concept of art as a result of his exposure to Worringer and the Blaue Reiter. This evolution is visible in his creative production.
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Kouprovskaia-Bruggeman, Ekaterina. "Paul Klee et son influence sur la création musicale contemporaine." Paris 4, 2003. http://www.theses.fr/2002PA040009.
Повний текст джерелаАнотація:
Paul Klee fut profondément influencé par la musique. Il a aussi eu un fort ascendant sur les compositeurs. Le point de vue musicologique sur l'esthétique et la peinture de Klee permet de déceler des catégories et éléments du discours musical, contribuant à la création de compositions plastiques. Klee utilisait le principe de la modélisation des règles de la pensée musicale à plusieurs niveaux. Il s'agit des modèles du thème, du motif, de la citation, du temps musical, des formes musicales et des modèles de notation. La convergence Klee/Webern est définie comme l'expérience parallèle de deux artistes vivant à la même époque, qui ne se sont jamais connus, mais qui laissent apparaître nombre de correspondances, esthétiques et techniques. Le lien Klee/Boulez démontre les leçons que Boulez a tirées à travers son étude de la peinture et de la pensée théorique de Klee. Plusieurs opus d'Edison Denissov traduisent l'influence directe de l'?uvre de Klee sur les compositeursPaul Klee was very influenced by music. He has also exerced a strong ascendancy over the composers. Klee's aesthetic and painting are studied from a musicilogical point of view; it allows to detect the categories and elements of the musical views, which contributes to a creation of painting compositions. Klee used the principal of modelling the rules of musical thought, on several levels, like models of theme, motive, quotation; of musical time; of musical forms and models of notation. The convergence Klee/Webern is defined like a parallel experience of two artists who lived at the same time, who never known each other, but which presents a number of aesthetical and technical conformities. The link Klee/Boulez demonstrates the lessons Boulez has drawn through his study of the painting and theoretical views of Klee. Several opus of Edison Denissov translate the direct influence of Klee's work over the composers
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Ben-Porat, Orit. "L'abstraction picturale chez Paul Klee : entre formalisme et symbolisme." Paris 8, 2005. http://www.theses.fr/2005PA083670.
Повний текст джерелаАнотація:
Le but de la recherche est d’éclairer le langage abstrait autour et à partir du travail de l’artiste Paul Klee. L’étude portera sur l’apparition de certains thèmes et symboles dans son œuvre. Sa foisonnante création implique un choix, car la position de Paul Klee à la lisière de plusieurs styles, favorise la variété et les diverses associations des paramètres picturaux. La synthèse personnelle de l’artiste entre les divers courants artistiques est illustrée par la création et la théorie. Attentif à la modernité, il tente d’explorer l’espace psychologique, l’espace philosophique et tous les possibles du nouveau langage. 18 tableaux représentent en particulier les paramètres couleur, ligne et symbole et les ramifications de leurs interférences. Cette quête est destinée à montrer, entre autres, le fonctionnement de ce langage, en rapprochant langage verbale et langage visuel, en vue d’extraire une synthèse entre contenu est innovation, et à fournir par la même occasion des clés pour la compréhension de la création en généraleThe purpose of this research is to clarify the abstract language, white evolving around the work of Paul Paul Klee. This study will also deal with various themes and symbols reappearing in his work whose rich variety is due among other things to his personality and his choice of expressing the unity behind several artistic movements. Another reason for his multiple pictorial expressions lies in his intention to exercise all the components of painting and the diversity of their associations. In doing so, his personal synthesis is fully illustrated by his practice and theory. A true disciple of the modernist spirit of creation, his main idea was to employ while exploring it a new type of pictorial space focusing on the psychological and philosophical levels. By choosing specifically 18 paintings, out aim is to throw light on his approach towards colour, line and symbol (and from in general), and their interaction. This will enable us to show the functioning of the artistic language, playing its role between verbal and visual language. Our purpose is finally, to keep in sight a unique view point white referring to content and innovation, and all the same to obtain a wider scope and new keys for the comprehension of creation as a whole
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Rougerie, Florence. "Ecriture et peinture dans l'oeuvre de Paul Klee : aux frontières du visible et du lisible, de la lettre à la trace." Paris, EPHE, 2012. http://www.theses.fr/2012EPHE4002.
Повний текст джерелаАнотація:
L’œuvre de Paul Klee (1879-1940) se caractérise par son intermédialité : conjointement à sa démarche de plasticien, il se consacre en effet à une production littéraire – autobiographique et poétique, tout en opérant sur ses deux activités créatrices un retour réflexif. Souvent décrit comme un peintre-poète, en partie du fait de sa médiation surréaliste en France, c’est finalement le peintre-scripteur qui s’impose à la faveur des signes qu’il trace inlassablement sur la toile, faisant du tableau un texte à lire. Klee place la lettre, et au-delà, le signe écrit au cœur de son œuvre, à la fois comme moyen graphique et pictural, et comme élément de sa théorie : pour lui, l’œuvre d’art est mouvement, trace d’un geste qui trouve son prolongement naturel dans l’acte de réception. Aussi l’indécision de la ligne scripturale et picturale, entre lisible et visible, entre figuration et abstraction, est-elle productive, l’ambivalence des formes rendant l’interprétation possible, dans le jeu d’une détermination réciproque du vide et du plein, de la figure et du fond, de la forme et du sens. L’étude raisonnée de ce corpus et de son évolution au fil de son œuvre a pour but d’en saisir les enjeux théoriques, mis en perspective avec les pratiques intermédiales des avant-gardes de l’époque: assignant au mot et à l’image l’objectif de « rendre visible l’invisible », Klee introduit une dimension temporelle dans le tableau, en opposition à la hiérarchie établie par Lessing entre les arts et leurs domaines respectifs ; plutôt que la prédominance du langage, il tend ainsi à confirmer l’intuition d’Adorno selon laquelle les œuvres d’art ne seraient telles qu’en tant qu’elles sont écritureThe work of Paul Klee (1879-1940), is characterized by its intermediality : together with his artworks, he also wrote autobiographical and poetical pieces of literature, whilst adopting a reflexive approach in both these creative activities. Often regarded as a poet-painter, eventually it’s rather the writer-painter who stands out thanks to his practice of relentlessly inscribing signs on the canvas and turning the picture into a text held to the reader. Indeed, Klee places the letter and the written sign at the very heart of his work, as a graphical and a pictorial means, but also as an element of his theory: in his mind’s eyes, the artwork is synonymous with movement and the trace of a gesture, naturally completed in the reception act. That’s why the indecision between the scriptotial and the pictorial line, between the visible and legible, figuration and abstraction, proves fruitful, as ambivalence of forms is conductive to analysis in a productive and reciprocal determination through the interplay between full and blank figures, the figurative and the grounding, or content and form. The methodical study of this corpus and its evolution in his work aims at defining its theoretical implications in the light of the intermediality between the avant-guarde artists of the time with a view to assigning to both word and image the task of « making visible the invisible », Klee introduces a temporal dimension into the picture, in opposition to Lessing’s hierarchy between arts and their respective realms. Instead of asserting the prevalence of language, Klee supposedly tends to confirm Adorno’s insight according to which art works might be such stuff as they are writings
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Barbosa, Severino Antonio M. (Severino Antonio Moreira) 1951. "Utopia da palavra, utopia das linguagens : variações em torno do tema na arte moderna, em Paul Klee e na teoria poetica." [s.n.], 1995. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251728.
Повний текст джерелаАнотація:
Orientador: Rubem de Azevedo AlvesTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Kang, Young-Jou. "La problématique du signe dans les oeuvres de Paul Klee." Paris 1, 1995. http://www.theses.fr/1995PA010556.
Повний текст джерелаАнотація:
Durant toute sa vie artistique, Paul Klee s'efforce d'une part d'intégrer les signes conventionnels dans le champ pictural, et, d'autre part, de transformer les éléments plastiques en formessignes. Ce procès d'intégration et de transformation suscite des problèmes pratiques et théoriques. Les objets de la nature sont élevés à la hauteur de la culture et, inversement, les signes de la culture sont immerges dans la nature, de sorte qu'ils forment ensemble un circuit interminable. L'exploitation de tous les niveaux et de tous les domaines du signe, ainsi que de leur circulation, lui permet d'obtenir une grande fécondité des expressions à la fois formelles et thématiques. La circulation des signes est également un moyen de l'auto-limitation face à la fausse liberté illimitée du langage pictural. Tout en respectant le plus rigoureusement possible toutes les limites du champ pictural et tous les appendices (titre, signature, date, etc. ), il les glisse jusqu'au point de leur non pertinence et de leur renversement. Ainsi, tout ce qui s'enracine dans l'art traditionnel est remis en cause : l'espace illusionniste, la hiérarchie des parties du champ, l'artiste comme père et créateur. Et Klee fait éclater un certain nombre de démarcations qui sont inscrites à l'intérieur même de l'art pictural et entre les artsPaul Klee did every effort to integrate the conventional signs into the pictorial field and transfom plastic elements into forms-signs throughout all his artistic life. These procedures of integration and transform cause the problems of theory and praxis. In his works, natural objects are raised up to the level of culture, and inversely, cultural signs, absorbed into nature, made up of as un endless circuit. Taking advantage of all signs in every domain and every level and having a careful looking into their possibility of circulation, Klee obtain a great fecundity in his formal and thematic expression. The circulation of signs is equally to be the method of self-limiting against the false infinite freedom of pictorial language. The boundary of pictures and all kinds of appendices (title, signature, date, etc. ) Are respected with a maximal rigorousness and further moved into the impertinence and inversion covertly. In this wxay his works accuse all concepts and elements rooted in the traditional art : illusive space, hierarchy of parts of a field, artists as a creator. Furthemore, Klee make vanished some boundaries inherent to the painting itself and the boundaries between arts
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Long-Tarasco, Véronique. "Mécènes des deux mondes : les collectionneurs-donateurs du musée du Louvre et de l'Art Institute Chicago, 1879-1940." Paris 1, 2003. http://www.theses.fr/2003PA010585.
Повний текст джерелаАнотація:
En Europe et en Amérique, la plupart des musées des beaux-arts sont nés après 1850 de l'initiative de collectionneurs. Majoritairement des industriels, des banquiers et des négociants, ils considéraient la collection comme un symbole de culture, de prospérité, de richesse, de pouvoir pour eux-mêmes et pour leur nation. Ainsi, l' Art Institute de Chicago est fondé en 1879. La culture européenne était un modèle pour la nouvelle nation américaine, soucieuse de compter parmi les puissances culturelles. Le Louvre devint le musée idéal et l'incarnation de la haute culture en raison de sa visée éducative, patriotique et régénératrice héritée du moment révolutionnaire français. Fondé sur une prosopographie comparée et une étude des goûts, ce travail met en évidence les aspects sociaux, culturels, politiques et économiques de la collection, ainsi que les processus d'imitations et de transformations, de Paris à Chicago, qui contribuèrent à façonner le musée américain.
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Gonçalves, Mauricio Bernardino [UNESP]. "Desenvolvimento do sistema do capital e teorias de transição em Trotski e Mészáros." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/132168.
Повний текст джерелаАнотація:
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A partir de 2008, com a eclosão da mais importante crise econômica desde 1929, o discurso e o ideário neoliberais perderam ainda mais força, uma vez que o Estado revelou-se o fiador último do sistema do capital em nível global. Os problemas sociais em escala mundial que estão nas raízes da crise se acumulam sem que haja perspectivas positivas para as suas resoluções. Ao lado disso, a possibilidade de uma ordem social alternativa ao capital e o legado teórico-político de Karl Marx recomeçam, ainda que timidamente, a ser debatidos. A partir desse cenário, a questão da transição pós-capitalista, e pós-capital, se coloca, com a intensificação da crise, como um problema muito importante para teorias de mudanças sociais substantivas. Este trabalho investiga duas delas: a da revolução permanente de Leon Trotski e a da luta para além do capital de István Mészáros, tidas como representativas do que a teoria social inspirada em Marx produziu no último século sobre a questão. Enquanto a primeira se viu envolvida com as repercussões - e descaminhos - da principal experiência prática de transição pós-capitalista no século 20, a segunda avalia as insuficiências daquela experiência e os requisitos para uma teoria geral de transição. Aqui, levamos em conta o problema da transição tendo como um dos eixos principais a questão do Estado. A teoria da revolução permanente de Trotski, que passa por vários momentos, reafirma - incorporando alguns elementos específicos - as características essenciais do problema do Estado e da transição emanados dos clássicos da teoria social marxista. Todavia, trabalhando com uma metodologia e uma perspectiva originais em relação à categoria da totalidade - que abre um campo ainda não explorado para as teorias de transformações sociais -, deixa um legado de validade duradoura sobre o tema. A segunda, por sua vez, avança em direções e abordagens até então não...
From 2008 until now, with the outbreak of the most important economic crisis since 1929, the discourse and the neoliberal ideology had lost even more strength, once the state has proved to be the ultimate guarantor of the capital system in a global level. The social problems worldwide that are on the roots of the crisis pile up without positive outlook for its resolutions. Beside this, the possibility of a social alternative order to capital and the theoretical-political legacy of Karl Marx are now, although timidly, being again debated. From this scenario, the issue of post-capitalist transition, and post-capital, arises, with the intensification of the crisis, as a very important problem for theories of substantive social changes. The work thus investigates two of them: the permanent revolution from Leon Trotski and the struggle beyond capital from István Mészáros, taken as representative of the social theory inspired by Marx and produced in the last century on the issue. While the first became involved with the repercussions - and detours - of the main practical experience of post-capitalist transition in the 20th century, the second assesses the shortcomings of that experience and the requirements for a general theory of transition. Here, we consider the problem of transition having the question of the state as one of its main focus. Trotski's theory of permanent revolution has different moments but as a whole reaffirms - incorporating some specific elements - the essential characteristics for the problem of the state and transition given from the classics of marxist social theory. However, working with a methodology and a original perspective on the totality category - which opens a field unexplored for social changes theories -, he leaves a legacy of great validity on the subject. The second, in turn, moves on directions and approaches insufficiently developed until now - in a sense shifting the focus of the ...
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Ismail, Nouri. "Esthétique nomade : la ligne, Deleuze et Klee." Paris 8, 2010. http://octaviana.fr/document/150188242#?c=0&m=0&s=0&cv=0.
Повний текст джерелаАнотація:
A partir de plusieurs notions et techniques appartenant à Deleuze et à Klee, nous avons tenté de créer un agencement esthétique nomade. C'est un ensemble ouvert, constitué d'éléments disparates et traversé par une ligne de fuite. Une esthétique nomade a pour trait fondamental une nouvelle conception de l'espace. C'est une distribution nomade de l'espace. Dans cet espace nomade, les éléments ne sont pas des formes, mais des événements, des heccéités, des mises en forme : Gestaltung. C'est le recours à un concept clé, la ligne nomade, qui permet de considérer cette nouvelle esthétique et renvoie à une fonction opératoire, et non à une essence. C'est à partir de ce concept de la ligne, après la définition de ses composantes et de ses rapports avec la forme que nous avons d'abord développé les traits principaux, dégagés à partir de l'œuvre de Deleuze et de Klee, de cet espace plastique nomade. Cette réflexion nous a alors amené à définir l'essence de cette esthétique nomade dans sa conception originale de la création, comme rapport avec le devenir et les forces du chaosFrom several concepts and techniques belonging to Deleuze and Klee, we tried to create an nomad aesthetic arrangement. An aesthetic for nomadic basic feature a new design space. In the mobile space, the elements are not forms, but events, hecceities, the formatting : Gestaltung. It is the use of a key concept, the Nomad line, which allows us to consider this new aesthetic and returns an operational function, not an essence. It is from this concept of the line that we first developed the main features of this area plastic nomad. This discussion then led us to define the essence of this aesthetic nomad in the original design of creation, as compared with the forces of chaos
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Chanet, Jean-François. "L'école républicaine et les petites patries : enseignement primaire et sentiment d'appartenance en France sous la IIIe République (1879-1940)." Paris 1, 1994. http://www.theses.fr/1994PA010511.
Повний текст джерелаАнотація:
Nos recherches sur l'histoire du Felibrige dans le Cantal nous ont permis d'observer le rôle actif joue par des instituteurs publics dans le domaine de l'érudition régionaliste. D'où venaient-ils? Pourquoi ont-ils participe à un mouvement peu compatible, en apparence, avec le nationalisme exclusif qu'ils étaient supposés défendre? Comment expliquer qu'on les ait, dès leur séjour a l'école normale, autorisés à publier des textes en dialecte local, et que les inspecteurs ne les en aient pas ensuite dissuadés ? Nous avons donc été conduit à vouloir étudier dans l'ensemble du pays l'histoire, du corps enseignant, de sa composition et des variations de sa situation professionnelle. Les études de la diversité des conditions et des usages de l'enseignement primaire sous la 3e république sont en nombre négligeable, par rapport aux travaux sur les textes officiels qui en régissaient l'organisation. Comment expliquer cette dissymétrie, sinon par la conviction qu'une fois adoptée la législation des années 1880, les modalités de son application, l'avance ou le retard de la fréquentation scolaire selon les régions, l'activité des maîtres selon leur origine, leur recrutement, la diversité des mœurs et des habitudes locales n'entravent plus l'unité de l'enseignement, elle-même destinée à fortifier l'unité nationale ? À travers l'établissement du "cadastre littéraire" de l'enseignement primaire, notre travail vise à donner une connaissance plus précise des raisons et des moyens qui ont conduit l'institution scolaire à assurer dans notre pays la défense et l'illustration de personnalités régionales pérennesStuddying the history of felibrige in the cantal, i could observe the active part taken by teachers in the development of regionalistic erudition. Where did they come from ? Why did they take part in such a movement, seemingly in conflict with the exclusive nationalism they were assumed to defend ? How could it be that they had been allowed to write and publish dialect studies or narratives, ever since they have been eleves-maitres at ecole normale? Why did most of the primary school inspectors and the chief education officers never strive to stop them? These questions led me to examin the history of the teaching profession and of its recrutement throughout france. There are fewer studies about the range of conditions and customs peculiar to primary education than works on the laws of its organization. Where does the reason for such a dissymmetry lie, if not in the following opinion : once the laws of the 1880's had passed, neither their mode of enforcement nor variety in the teachers' practices, according to their origins and the different local habits and customs, did undermine equality in primary education and national unity. Drawing up, as roland dorgeles said, the "cadastre litteraire" of primary education, this doctoral thesis aims at enhancing our knowledge of the reasons why and the means by which primary state education insured protection and illustration of long-standing regional personalities in france between 1879 and 1940
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Melo, Franklin Rabelo de. "Incidências trotskistas em Caio Prado Júnior, Ruy Mauro Marini e Florestan Fernandes." reponame:Repositório Institucional da UnB, 2018. http://repositorio.unb.br/handle/10482/32413.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de Serviço Social, Programa de Pós-Graduação em Política Social, 2018.Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-09T21:10:27Z No. of bitstreams: 1 2018_FranklinRabelodeMelo.pdf: 1291315 bytes, checksum: 8a0303e873ae1be774cb80455dd65b22 (MD5)
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Este trabalho procura apontar as incidências do pensamento de Leon Trotsky nas elaborações teóricas de Caio Prado Júnior, Ruy Mauro Marini e Florestam Fernandes sobre a gênese e as particularidades da formação social brasileira. A partir da análise das principais obras dos autores, buscou-se extrair as categorias analíticas centrais em suas formulações, para em seguida indicar a relação entre os conceitos trotsksitas (a lei do desenvolvimento desigual e combinado, a teoria da revolução permanente, os fundamentos contidos no Programa de Transição e o conceito de bonapartismo sui generis) e as ideias de Caio Prado Júnior (colônia, nação e revolução), Ruy Mauro Marini (superexploração da força de trabalho e subimperialismo) e Florestan Fernandes (revolução dentro da ordem, revolução contra a ordem e autocracia burguesa).
This work wants to indicate the occurrences of Leon Trotsky’s thought in the theoretical elaborations from Caio Prado Júnior, Ruy Mauro Marini and Florestan Fernandes about the genesis and particularities of the brazilian social formation. From the analisys of the author’s main works, there was made an effort to extract the central analytical categories in their formulations, to then indicate the relation between the trotskists concepts (the law of uneven and combined development, the theory of permanent revolution, the fundamentals contained in the Transitional Program and the concept of bonapartism sui generis) and the ideias of Caio Prado Júnior (colony, nation and revolution), Ruy Mauro Marini (overexploitation of the labor force and subimperialism) and Florestan Fernandes (revolution within the order, revolution against the order and bourgeois autocracy).
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Debodard, Myriam. "Paul Klee en France : poétique d'une mise en texte critique et littéraire." Paris 3, 2005. http://www.theses.fr/2005PA030012.
Повний текст джерелаАнотація:
Les gloses sur la peinture questionnent doublement le langage, sur son contenu comme sur sa forme. Comment décrire, expliquer, interpréter ? Or, ces interrogations se font encore plus aiguës devant une peinture étrangère, notamment celle qualifiée péjorativement en France de " germanique ". L'interprétation esthétique des textes français relatifs à Klee trace des pistes pour justifier ce questionnement et y répondre. En effet, l'annexion initiale, dans les écrits, de Klee par les surréalistes, accentue le rejet de sa peinture ainsi que sa qualification, outrepassant les faits, dans l'avant-garde ; cette annexion réfrène les ardeurs éventuelles d'une certaine partie de l'opinion critique. Le contexte historique entérine cette tenue à l'écart de Klee par la France, jusqu'aux années soixante. Sur le plan formel, la cartographie stylistique de ces discours met en relief l'utilisation plus fréquente de catégories génériques combinées, plutôt qu'une stricte observance des genres. En particulier, le mode démonstratif intervient dans le genre poétique et, à l'inverse, le mode poétique dans l'essai. A l'intérieur de ces cadrages génériques particuliers, le discours esthétique proprement dit se trouve quant à lui " recadré ", eu égard à la pragmatique logiquement entrevue par le lecteur : les descriptions donnent peu à voir, quand, par ailleurs, c'est la tonalité descriptive d'un texte qui permet la survenue de l'herméneutique. Les commentateurs de Klee entretiennent donc avec le signifiant et le signifié de son œuvre un rapport contradictoire : considérant le premier via des œuvres, laissant alors souvent de côté tout souci interprétatif, ils tentent inversement d'atteindre le second via une évocation kaléidoscopique de l'Œuvre dans sa totalitéThe glosses upon painting question the language on two counts – on its substance and on its form. How can one describe, explain and interpret ? This questionning becomes all the more acute when it applies to foreign painting, and in particular when it comes to the painting which the French disparagingly refer to as " Germanic ". The aesthetical interpretation of the french texts regarding Klee gives us insights to justify and answer this questionning. Indeed, the very annexing Klee in the first time by the surrealists in their writings strengthens the rejection of his painting and his qualification, outrunning the facts, as a member of the avant-garde ; it also contriibuted indiscouraging part of the critics. The historical context confirms this keeping Klee out of the public view in France, untill the sixties. When it comes to form, the stylistic mapping of those discourses underlines the more frequent use of combined generic categories, rather than the strict observing of genuses. The demonstrative mode especially occurs in the poetic genus while the poetic mode is present in essays. Inside those particular generic frowmings, the strictly speaking aesthetic discourse gets re-framed by the pragmatic sanction logically foreseen by the reader : the descriptions set out little to be seen, whereas the descriptive tone of a text permits indeed that the hermeneutics might occur. Klee's ccommentators therefore maintain with the significant and the signified of his work a contradictory relationship : regarding the former via works, thus often neglecting any interpretative consideration, and in the opposite, they try and grasp the latter via a kaleidoscopic evocation of the Work in its whole
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Barasz, Johanna. "De Vichy à la Résistance : les vichysto-résistants 1940-1944." Paris, Institut d'études politiques, 2010. http://www.theses.fr/2010IEPP0003.
Повний текст джерелаАнотація:
Les vichysto-résistants peuvent être définis comme des hommes qui, engagés dans la résistance active, ont été des soutiens effectifs de l'Etat français, approuvant, au delà de la personne du maréchal Pétain, le régime, son idéologie ainsi que les politiques mises en œuvre, et dont l'expérience vichyste marque, d'un point de vue idéologique, organisationnel, stratégique et/ou relationnels, les formes de leur résistance. Cette thèse s’attache à étudier les voies de la métamorphose vichysto-résistante en rendant compte des passerelles qui ont rendu possible les basculements, à la fois dans les représentations des acteurs et dans les relations concrètes qui furent nouées par les vichysto-résistants avec les hommes et les organisations engagés dans la lutte contre l'occupant. Il s’agit ensuite de déterminer les caractères particuliers de la résistance des vichysto-résistants, ses spécificités tant idéologico-politiques que stratégiques et organisationnelles, en voyant comment les réseaux de relations entretenus à Vichy, les positions institutionnelles occupées, les complicités qui en résultèrent, influèrent sur les formes de cette résistance et son organisation. Sont enfin exposés les modalités de l'inscription des vichysto-résistants dans la Résistance en voie d'unification afin de montrer comment l'intégration des résistants issus de Vichy a influencé les processus de construction identitaire de la Résistance dans son ensemble. Confrontée à la rivalité des vichysto-résistants, la Résistance fut amenée à formuler son identité et, d'une certaine manière, à tracer les limites de sa communautéThe “Vichysto-resistants” can be defined as active French resisters who had been genuine advocates of the French State; in other words, men who had supported, not only the Marshal Pétain himself, but also the Vichy regime, its ideology and the policies it carried out under the German rule. Whether from an ideological, an organisational, a strategic or a relational point of view, their resistance experience was shaped by their Vichy experience. This thesis aims at elucidating the Vichysto-resistant paths of metamorphosis. We will highlight the bridges between Vichy and the Resistance underground movements that allowed individuals and groups to cross the frontier between two apparently opposed communities. These bridges existed both in the “Vichysto-resistants’” representations as well as in the concrete relationships they established with the underground movements. We will then establish the distinctive political and organisational features of the “Vichysto-resistants’” resistance and show how they were influenced by the institutional position they had occupied within the regime and the contacts they had maintained with Vichy officials. Finally, we will expose the modalities of the Vichysto-resistants’ integration within the Resistance in the process of unification. We will see how this incorporation affected the identity building processes of the Resistance as a whole. Indeed, faced with the rivalry the Vichysto-resistants represented, the Resistance was compelled to formulate its identity and, in a way, to draw the limits of its community
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Pees, Adriana Almeida. "Body-Mind Centering® e o sentido do movimento em (des)equilíbrio = princípios e técnicas elementares, na criação em dança, pela póestica nas linhas dançantes de Paul Klee." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284939.
Повний текст джерелаАнотація:
Orientador: Júlia Ziviani VitielloTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa busca através dos princípios de movimento do método Body-Mind Centering® (BMC) ? desenvolvido por Bonnie Bainbridge Cohen ? estudar o Sistema Vestibular e suas relações com o equilíbrio do corpo. Investiga suas possíveis contribuições quanto ao desenvolvimento motor e suas implicações qualitativas nos gestos e nas ações para a atuação e criação nas artes cênicas. Desde que o equilíbrio corporal deve-se a interação de três sistemas: somatosensorial, visual e vestibular. O método Body-Mind Centering® apresentase relevante neste estudo, pois seus princípios proporcionam uma vivência anatômica de diferentes sistemas corporais, favorecendo o reconhecimento da atuação do sistema vestibular no movimento. Isso conduz à compreensão de como abrangemos inteligentemente os sentidos no corpo, e como estes se relacionam com a percepção e o desenvolvimento do movimento. Almeja-se que esta pesquisa possa elucidar de que maneira o BMC pode interferir no aprendizado de como as ações se codificam possibilitando que se compreenda também que novas maneiras de co-emergir nos movimentos habilita e sustenta o processo criativo, uma vez que na dança, o artista conta com o próprio corpo para desenvolver seu trabalho de interpretação e criação. Esse processo de criação deve contar, por parte do artista, com uma atitude baseada na percepção do equilíbrio do seu corpo, nas suas escolhas e nas qualidades inerentes da reestruturação equilíbrio/desequilíbrio no movimento e no desenho coreográfico. A aplicação desta pesquisa foi realizada no entrelaçamento de três vias, as quais consideramos essenciais: laboratórios práticos (vivência específica da teoria por meio do Método BMC), de criação (desenvolvimento de uma coreografia) e pelo estudo da obra do pintor Paul Klee, que contribuiu como alicerce poético/imagético ao processo coreográfico.
Abstract: This research aims, through the movement principles of the Body-Mind Centering® (BMC) method developed by Bonnie Bainbridge Cohen, at studying the Vestibular System and its connections with body balance. It researches its possible contributions regarding the motor development and its qualitative implications in gestures and actions towards acting and creation in performing arts. Since body balance is due to the interaction of three systems: somatosensory, visual and vestibular, the Body-Mind Centering® method is realized as relevant in this study, as its principles provide an anatomic experience of different body systems, favoring the recognition of the vestibular system action in motion. This leads to understanding how we wisely cover the senses in the body, and how these senses relate to perception and motion development. This research is intended to be able to elucidate how BMC can interfere in learning the way the actions are coded allowing one to also realize that new ways to co-emerge in the movements enables and supports the creative system, since in dance, the artist counts on the proper body to develop his or her interpretation and creation work. This creation process must count, by the artist, on an attitude based on his/her body's balance perception, on his/her choices and on the inherent qualities of balance/unbalance restructuring in motion and choreographic design. The application of this research has been achieved in the three-way interlacement, which we consider essential: practical laboratories (specific experience of theory by means of BMC Method), of creation (development of a choreography) and by studying painter Paul Klee's work, which has contributed as a poetic/imagetic foundation to the choreographic process.
Doutorado
Artes Cenicas
Doutor em Artes
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Natech, Souab. "Histoire d'une rencontre entre musicalité et plasticité chez trois peintres Whistler, Klee, Schneider : ou l'évolution synesthésique du fait pictural vers une peinture musicale." Saint-Etienne, 2007. http://www.theses.fr/2007STET2127.
Повний текст джерелаАнотація:
LA RENCONTRE ENTRE MUSIQUE ET PEINTURE DEMEURE COMME UNE SORTE D'IDEAL. CE SUJET APPARAIT COMME UN THEME DE PREDILECTION, AUSSI BIEN CHEZ LES PEINTRES QUE CHEZ LES MUSICIENS, DES LE XIXème SIECLE. CE TRAVAIL DE RECHERCHE TENTE DE METTRE A JOUR LES MODALITES D'UNE RENCONTRE MUSIQUE PEINTURE, A TRAVERS LES OEUVRES DE TROIS PEINTRES : JAMES MCNEILL WHISTLER, PAUL KLEE, GERARD SCHNEIDER. AU COEUR DE CETTE ANALYSE VONT SE DEGAGER DIFFERENTS NIVEAUX D'INTERACTION DU MUSICAL ET DU PICTURAL AU SEIN DE LA PEINTURE QUI IRONT DES NIVEAUX LES PLUS EVIDENTS A DES NIVEAUX BEAUCOUP PLUS COMPLEXES. LE MOUVEMENT GENERAL DE CE TRAVAIL SUIVRA L'EVOLUTION DU PICTURAL VERS SON AUTONOMISATION EN REGARD AVEC L'ART ABSTRAIT PAR EXCELLENCE, LA MUSIQUE. NOUS CONSTATERONS QU'A PARTIR DU MOMENT OU VOIT LE JOUR UNE FORME D'EMANCIPATION DU FAIT PICTURAL, LE MUSICAL VA REPRESENTER UN APPORT STRUCTUREL ESSENTIEL. LES LOIS QUI REGISSENT L'ART DE LA COMPOSITION MUSICALE VONT PERMETTRE AU PEINTRE DE TROUVER DES REPONSES A DES PROBLEMES COMPOSITIONNELS. CETTE ANALYSE NOUS ENTRAINERA JUSQU'AUX EQUIVALENCES SENSORIELLES LES PLUS COMPLEXES, AUX SYNESTHESIES LES PLUS OUVERTES. DEUX POINTS DE VUE ESTHETIQUES INTERVIENDRONT DANS LA DISCUSSION AFIN DE MIEUX COMPRENDRE SELON QUELLES MODALITES S'EFFECTUE LA RENCONTRE DU MUSICAL ET DU PICTURAL : UN POINT DE VUE ESTHETIQUE QUI ENVISAGE CETTE RENCONTRE SOUS FORME DE DIALOGUE ENTRE DES ARTS SINGULIERS TEL QUE L'A PENSE ETIENNE SOURIAU DANS SA "CORRESPONDANCE DES ARTS". L'AUTRE QUI SE SITUERAIT DANS UNE SORTE D'IDEAL D'UNION ENTRE DES ARTS PROVENANT D'UNE MEME SOURCE, CE QUE MERLEAU-PONTY DEFINIT COMME UNE SOURCE COMMUNE, UN SENSIBLE ORIGINELThe relationship between music and painting remains today a kind of ideal. Since the end of the nineteenth century both artists and musicians demonstrate a partiality for this topic. In my work, i try to understand the nature of the different parallels between music and fine arts, in the work of james mcneill whistler, paul klee, gerard schneider. In this analysis, we will see the different degrees of interaction between music and the pictorial in painting. First, we will study the more evident aspects of the relationship between theme and script. The development of this analysis will follow the evolution of painting to abstraction vis-a-vis the more abstract art form : music. At the same time as the pictorial element becomes independent in regards to the subject, the music element will provide an essential structural contribution in painting. Observing the rules that frame musical composition permits painters to find answers to the difficulties encountered in composing their own art. Finally, we will consider complex sensory perception, the synaesthesic relationship between music and painting. In this analysis of the relationship between music and painting, we will compare our outlook with two aesthetic interpretations. Etienne souriau in "la correspondance des arts. " on the other hand, we will consider, as did merleau-ponty, a kind of idealistic union of art forms having a similar provenance. The relationship between music and painting in the works of whistler, klee and schneider will be examined in the light of these insights
19
Joubert, Marie-Agnès. "La Comédie-Française sous l'occupation (1940-1944)." Paris 10, 1995. http://www.theses.fr/1995PA100169.
Повний текст джерелаАнотація:
Septembre 1940 : la Comédie-Française rouvre ses portes dans paris occupé. Administrateur par intérim après la retraite forcée d'Edouard Bourdet, Jacques Copeau assume la délicate tâche de maintenir intact en cette période particulièrement troublée le prestige de la première scène nationale. Mais les divisions de plus en plus aiguës au sein de la troupe, et la suspicion dont il fait l'objet de la part des autorités allemandes, précipitent son départ en décembre 1940. Choisi par les sociétaires eux-mêmes, son successeur, Jean-Louis Vaudoyer, affiche tout de suite des projets très ambitieux. Apres avoir obtenu la promesse d'un relèvement spectaculaire du montant de la subvention, il propose une réforme du comité d'administration, de l'assemblée générale et de la régie de la mise en scène, procède a une refonte de la troupe et contribue à la création de "la reine morte" et du "soulier de satin". L'état français apporte un soutien matériel et financier presque inconditionnel à la Comédie-Française, qui satisfait à un double désir : contrôler la gestion administrative et encourager une vie artistique brillante. Le théâtre vit également sous un autre regard : celui de l'occupant allemand, qui exerce une surveillance sans relâche sur l'administration et les pièces représentées. Malgré toutes ces contraintes, la Francais progresse dans le sens de la rénovationSeptember 1940: the Comedie-Française reopens in an occupied Paris. Jacques Copeau, acting administrator after the forced retirement of Edouard Bourdet, takes on, in particularly agitated times, the delicate task of maintaining as intact as before the prestige of the first national scene. Nevertheless, subject to growing divisions in the company as well as a suspicion from German authorities, he is urged to leave in December 1940. His successor, Jean-Louis Vaudoyer, is designated directly by the members of the society and sets forth highly ambitious projects. After obtaining the promise for a spectacular subsidy increase, he proposes a reform of the board of directors, the general assembly and the stage management. He also reorganizes the troupe and contributes to the creation of “la reine morte” and “le soulier de satin”. The French government provides the Comedie-Française with a material and financial support, almost unconditionally and with a twofold objective: controlling the administrative management and favoring an outstanding artistic life. The theater is also controlled by the German occupier who keeps a permanent eye on the administration and on performed plays. Despite all these restraints, the Comedie-Française progresses in the way of renovation
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Silva, Angelo Jose da. "A critica operaria a revolução de 1930 : comunistas e trotskistas." [s.n.], 1996. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281700.
Повний текст джерелаАнотація:
Orientador: Armando Boito JrDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Realizei neste trabalho a sistematização e análise das grandes linhas de interpretação elaboradas pelos Comunistas e Trotskistas sobre a Revolução de 1930. No primeiro capítulo fiz um comentário sobre as principais teses acadêmicas relacionadas à esta Revolução e seus antecedentes. No segundo capítulo tratei das origens do Partido Comunista do Brasil e de suas principais teses sobre aquela conjuntura. No terceiro capítulo situei o surgimento do trotskismo brasileiro a partir do debate internacional envolvendo Trotski e Stalin e da decisiva ação política de Mario Pedrosa como principal articulador dessa fração política do PCB. Ainda neste capítulo, analisei os principais document, os dessa corrente relativos ao evento revolucionário de 1930
Abstract: This thesis seeks to analyse the two important lines of interpretation about Revolution of 1930 in Brazil, likes Trotskyists and Communists. In first chapter I did a commentary about the principais academic thesis related in these Revolution and its background. In second chapter I did the research about origins of PCB and its principals orientations in these time. In third chapter the arise of trotskyism it was relate of International struggle between trotskyism and stalinism, and the decisive Mario Pedrosa' s action how the principal organiser of trotskyism fraction in PCB. Yet in these chapter, I analysed the most important documents of trotskyism group about 1930's Revolution
Mestrado
Mestre em Ciência Política
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Garreau, Jacques. "Mauritz Stiller ou L'insolent génie d'un cinéaste de Suède." Rennes 2, 1995. http://www.theses.fr/1995REN20017.
Повний текст джерелаАнотація:
De 1916 a 1924, le cinéma muet suédois est connu dans le monde entier. Deux cinéastes sont considérés comme les maîtres de ce qui est appelé "l'école cinématographique suédoise" : Victor Sjostrom et Mauritz Stiller. Né en Finlande dans une famille de juifs russes, Stiller commence sa carrière au théâtre avant de rejoindre la société de production de Magnusson, la Svenska Bio. L'oeuvre de Stiller peut être scindée en quatre parties : ses premiers films, malheureusement disparus, ne peuvent être étudiés que d'après les photographies et les synopsis ; Stiller réalise ensuite plusieurs adaptations d'oeuvres littéraires scandinaves (en particulier les romans de Selma Lagerlof comme Le trésor d'Arne), considérées comme ses chefs-d'oeuvre. Il est aussi célèbre pour avoir créé le genre de la "comédie sophistiquée", notamment avec Erotikon. Il passe la dernière partie de sa carrière à Hollywood, ou il part avec une jeune actrice suédoise, Greta Garbo. Il supporte mal le cadre rigide de la production américaine bien éloignée de la liberté qu'il avait connue en Suède. Il meurt à Stockholm en 1928. Certains thèmes se retrouvent dans toute son oeuvre : le pouvoir de l'image ; la quête d'un juste regard sur le monde ; le témoin qui empêche toute relation à deux,. . . Ces sujets trouvent leur équivalent visuel grâce à l'esprit inventif de Stiller qui en fait un des grands artistes du 7e artFrom 1916 to 1924, Swedish silent film was known all over the world. Two directors were considered as the masters of what was called "the Swedish cinematographic school" : Victor Sjostrom and Mauritz Stiller. Born in Finland into a Jewish Russian family, stiller began his career in theater before joining the great Magnusson’s production firm, Svenska Bio. The works of stiller can be divided into four parts : his first films which unfortunately were lost can only be known through photos and synopsis. Later, stiller directed several adaptations from Scandinavian novels (particularly Selma Lagerlof’s books such as Sir Arne’s treasure) which are considered to be his masterpieces. He is also famous as the inventor of the "sophisticated comedy", especially with his film Erotikon. He spent the last period of his life in Hollywood, bringing with him a young Swedish actress he had discovered, Greta Garbo. He had difficulty bearing the rigid framework of American production which was far from the freedom he had known in Sweden. He died in Stockholm in 1928. Some themes run along his works: the power of images; the quest of the best place to observe the world; the witness who breaks every dual relation,. . . These topics are always translated in visual motifs with a permanent inventiveness that make stiller one of the great artists of the 7th art
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Miranda, Vinicius Almeida Ribeiro 1981. "Dois trotskismos num partido de massas : as trajetórias das organizações Democracia Socialista e Convergência Socialista no PT de 1978 a 1992." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279577.
Повний текст джерелаАнотація:
Orientador: Alvaro Gabriel Bianchi MendezDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Esta dissertação analisa a trajetória de duas organizações políticas brasileiras que tinham como principal referência teórica o trotskismo. As organizações pesquisadas são a Convergência Socialista e a Democracia Socialista. A trajetória destas organizações é marcada pela participação no PT, partido amplo, com identidade operária e de massas fundado em 1980. O objetivo central da pesquisa é analisar as diferenças entre as duas organizações em sua relação com o PT e, consequentemente, as diferenças políticas entre si. A hipótese central é que as diferenças entre os grupos CS e DS são de natureza tática até 1989 e passam a ser estratégicas a partir de 1991, passando por um período de transição entre um período e o outro
Abstract: This dissertation analyses the course of two Brazilian political organizations that had main theoretical reference the trotskyism. These organizations were Convergência Socialista (Socialist Convergence) and Democracia Socialista (Socialist Democracy). The course of these organizations is marked by the participation in PT, a wide party, identified with workers and the masses of the population, founded in 1980. The main objective of this research is to analyze the differences between both organizations with the PT and, consequently, their political differences. The major hypothesis is that the difference between CS and DS are tactical until 1989 and turn to be strategical in 1991, going through a transitional period between each one
Mestrado
Ciencia Politica
Mestre em Ciência Política
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Paz, Martha Costa Guterres. "A paisagem sonora em Avalovara, de Osman Lins." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/148564.
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Uma incursão pelo romance Avalovara, de Osman Lins, abre possibilidades para a descoberta de um universo acústico repleto de simbolismos, permeando as cenas da narrativa. O presente trabalho fundamenta-se nas pesquisas do compositor e educador canadense Raymond Murray Schafer sobre a paisagem sonora mundial. Propõe-se a investigar a relação entre a obra literária Avalovara e a linguagem sonora a partir das expressões acústicas do romance, identificando os possíveis significados de tais conexões. Fez-se necessária a transposição para o mundo ficcional de Avalovara da metodologia de análise e classificação dos sons utilizada por Schafer, tendo sido elaborada uma tabela de categorização contendo os cenários mais significativos com as sonoridades identificadas em cada um deles. Uma passagem pelos caminhos da ecocrítica e da ecologia sonora possibilitam, com base na visão de Schafer sobre ruído associada a diversas expressões de sons estridentes presentes na narrativa, vislumbrar uma proximidade do pensamento de Osman Lins com o ideário da ecologia acústica. Sons naturais, música, ruídos e silêncio se mesclam em uma sinfonia de oposições sonoras em que o ir e o vir dá vida e ritmo à narrativa, estabelecendo uma ligação da linguagem literária com a linguagem musical. Inter-relacionam-se, também, a estrutura do romance e a organização formal de peças musicais relevantes, tais como, a cantata Catulli Carmina, de Carl Orff, e os fragmentos da introdução da Sonata em fá menor (K462) para cravo, de Scarlatti. Quatro músicas de caráter contrastante, aqui denominadas de eixos musicais, revelam o percurso dos protagonistas em suas buscas, seus anseios e suas frustrações. O pássaro Avalovara com seus cantos, gritos e movimentos em espiral, traz à tona um mundo de mistérios que permite fazer associações e interpretar os diversos simbolismos relacionados à ave guia. As palavras no corpo da remetem a um processo de iniciação para o conhecimento, quando o pássaro mítico a introduz no mundo dos sons. Alguns aspectos da filosofia tântrica são aqui abordados em razão da profunda similaridade dos processos de ascensão espiritual com a trajetória de Abel e a , em sua obstinada busca pelo conhecimento absoluto a partir do domínio dos mistérios das palavras que perpassam o corpo da mulher tríplice. O silêncio no romance é analisado sob várias perspectivas, relacionando-o com a filosofia tântrica e com as concepções de Schafer e de John Cage. O romance foi considerado como uma única paisagem sonora e seus fragmentos cênicos denominados, neste trabalho, de cenários sonoros.A foray into romance Avalovara, Osman Lins, opens up possibilities for the discovery of an acoustic universe full of symbolism permeating the scenes of the narrative. This paper is based on the researches of the Canadian composer and educator Raymond Murray Schafer about the global soundscape. It propose to investigate the relationship between the literary work Avalovara and a sound language from the novel acustic expressions, identifying the possible meanings of such connections. Was necessary a transposition to the fictional world of Avalovara of the analysis methodology and classification of sounds used by Schafer, having been developed a categorization table containing the most significant scenarios with the sounds identified in each of them. A passage along the paths of ecocriticism and sound ecology allow, based on Schafer's view of noise associated with various expressions of strident sounds present in the narrative, to glimpse a proximity of the thought of Osman Lins with the ideas of acoustic ecology. Natural sounds, music, noise and silence blend themselves in a symphony of sound oppositions where the going and coming give life and rhythm to the narrative, connecting the literary language with the musical language. Interrelate also the structure of the novel and the formal organization of relevant musical pieces such as the Catulli Carmina cantata, of Carl Orff, and the fragments of the introduction of the Sonata in F minor (K462) for harpsichord, of Scarlatti. Four musics of contrasting character, here called of musical axis, shows the route of the protagonists in their searches, their anxieties and their frustrations. The Avalovara bird with their chants, shouts and spiral movements brings up a world of mysteries that allows associations and interpret the various symbolisms related to bird guide. The words in the body of refer to a process of initiation into the knowledge, when the mythical bird introduces her in the world of sounds. Some aspects of tantric philosophy are addressed here because of the profound similarity of spiritual ascension process with the trajectory of Abel and , in his dogged pursuit of absolute knowledge from the control of the mysteries of words that permeate the body of the triple woman. The silence in the novel is analyzed from various perspectives, relating it with the tantrik philosophy and the thought of Schafer and John Cage. The novel was regarded as a unique soundscape and its scenic fragments called, in this work, of sound scenarios.
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Boursier, Jean-Yves. "Le Parti communiste français et la question nationale." Paris 8, 1989. http://www.theses.fr/1989PA080392.
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La question nationale designe le rapport au pays, le rapport a un cadre politique et historique, a des formes de conscience internes a la societe civile francaise et pas uniquement la question de la formation et de l'existence des nations. La sequence historique choisie est celle ou se deploie pleinement le thorezisme, presente comme voie francaise du marxisme-leninisme de la troisieme internationale, organisee par le pcf. Dans cette sequence, le pcf montre qu'il possede une singularite : il concentre la politique, il est la politique. De ce fait, il ne peut eclater et sa politique est de preserver "le parti". Le pcf a une quasi-impossibilite a mener une politique independante et s'accroche a d'autres forces pour renforcer "le parti" mais ces autres forces doivent lui reconnaitre le monopole de la representation ouvriere. Le pcf est la reponse organisationnelle a la question politique du bilan de la premiere guerre mondiale, de la sfio et du systeme politique de la troisieme republique fondee sur l'ecrasement de la commune de paris et sur la demission nationale par l'abandon de l'alsace-lorraineThe national question is meant to be understood as the relationship to the country as well as a link with a political an historical setting, together with theaspects of conscience awareness of the french civilian society : this does not exclude the problem of the creation and existence of nations. The historic period chosen is the one during which the ideas of thorez are fully unfolded : these ideas are thus presented so as tobe understood as the french way of the marxist leninism doctrine belonging to the komintern which was organized by the pcf. During this period, the same pcf shows how it is at the core and does represent the core of politics at the same time. Hence it cannot split and it aims at preserving the "party". The pcf is almost unable to follow an independant political line and is obliged to cling to other forces to make it stronger; these other forces have to acknowledge the worker's representation monopoly. The pcf is the answer to the political questionning of the first world war result, of the sfio and of the political system of the french third republic grounded upon the crushing of the commune and upon the national disinterest
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Bentabed, Leïla. "Chemins et langages de la peinture allemande de 1900 à 1945 : Klee et Kandinsky." Paris 4, 2008. http://www.theses.fr/2008PA040059.
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Klee et Kandinsky donnent à voir l’invisible dans leur art. Leur démarche créatrice repose sur le postulat de l’analogie de la genèse du monde et de l'œuvre. Dans cette double interprétation basée sur l'unicité de la vie, la pensée, l'enseignement et la peinture chez Klee et Kandinsky, la première partie est consacrée à l'étude contrastive de leurs écrits (autobiographiques, poétiques, théoriques et didactiques). Un corpus de textes fondamentaux de ces deux précurseurs de l'art abstrait dévoile une pensée métaphysique créant un lien original entre l'Occident et l'Orient. Les deux artistes parviennent ainsi à résoudre le paradoxe suprême de l'art moderne, à savoir la relation Visible/Invisible. Dans la deuxième partie, l'unité des deux œuvres peints de Klee et de Kandinsky est analysée selon notre propre méthode sémiologique : un système parallèle dynamique de lectures et de décodage des signes et archétypes kléens et kandinskiens démontrent ce passage du visible à l'invisible en tant qu'articulation esthétique spécifique de Klee et de Kandinsky. Notre méthodologie sémiologique basée sur le métissage des approches théoriques s'inscrit dans la problématique actuelle de la théorie de l’artThe artistic method of Klee and Kandinsky is based on the hypothesis that world and creative product emerge simultaneously. Founded on the unity of their life, thought, teaching, and painting, in the first part of my twofold study regarding both thes artist I am focussing on a constrastive analysis of their (autobiographical, poetical, theoretical and didactic) writings. This body of fundamental texts of these two predecessors of abstract art reveals a metaphysical thought, creating an original connection between occident and orient. Thereby, the two artists succeed in resolving the greatest paradox of modern art, namely the relationship between the visible and the invisible. The second part of my thesis is concerned with the analysis of the paintings of these two artists, using my own semiological method. A parallel, dynamic reading and decoding of Klee’s and Kandinsky's signs and archetypes demonstrates that their specific aesthetic expression is the passage from visible to invisible. My semiological method, based on a combination of a variety of theotical approaches, thereby joins the current challenges posed by modern theories of art
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Dubus, Emmanuel. "L'inspection du Midi de Jules Ferry à Jean Zay : études sur les inspecteurs d'académiques de l'Aveyron, de l'Aude, du Gard, de l'Hérault, de la Lozère, des Pyrénées-Orientales et du Tarn de 1879 à 1939." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30026/document.
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Sous la Troisième République, les inspecteurs d’académie ont été chargés de faire appliquer les différentes politiques gouvernementales en matière d’enseignement primaire. Leur rôle, mal connu, ne se résuma pas seulement à exécuter des instructions ministérielles. Ils ont investi leur mission en s’adaptant aux territoires dans lesquels ils exerçaient, des territoires où ils devaient composer avec des pressions contradictoires. Le Midi, où de fortes disparités culturelles, politiques, religieuses et économiques existaient, permit ainsi à ces hommes d’épouser l’idéal républicain, en soutenant, en menant le camp laïque, en s’opposant parfois violemment avec les adversaires conservateurs. Après la Grande Guerre cependant, leur influence s’amoindrit, contestée qu’ils furent par l’émergence du Syndicat National et de ses relais départementaux. Ainsi, de Jules Ferry à Jean Zay, les inspecteurs d’académie, alors que s’effaçait lentement la tutelle du préfet et des hommes politiques, durent composer avec cette force nouvelle en tenant désormais grand compte de ses revendicationsUnder the Third Republic in France, chief inspectors of schools were in charge of making apply the various governmental policies in primary education. Their role, badly known, amounted not only to execute ministerial instructions. They invested their mission by adapting itself to the territories in which they practiced, territories where they had to compose with contradictory pressures. In the south of France, when strong cultural, political, religious and economic disparities existed, so allowed these men to marry the ideal republican, by supporting, by leading the laic camp, by opposing sometimes violently with the conservative opponents. After the Great War however, their influence decreases, disputed that they were by the emergence of the “Syndicat National des Instituteurs” and its departmental relays. So, from Jules Ferry to Jean Zay, chief inspectors of schools, while faded slowly the guardianship of the prefect and the politicians, had to compose with this new strength by holding henceforth major account of its demands
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CHEN, MEI-QI, та 陳玫琦. "保羅•克利研究(PaulKlee,1879-1940)". Thesis, 1993. http://ndltd.ncl.edu.tw/handle/73424646826458383105.
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Bush, Andrea L. "Tradition, Innovation, Wholeness, and the Future in the Art of Paul Klee." Thesis, 1993. http://hdl.handle.net/10756/285235.
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OTTONELLI, OMAR. "Dalla storia delle istituzioni al corporativismo. La vicenda scientifica di Gino Arias (1879-1940." Doctoral thesis, 2010. http://hdl.handle.net/2158/535456.
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La presente tesi di dottorato mira a ricostruire, sin dagli studi giovanili che precedettero la sua laurea, l’intera vicenda scientifica di Gino Arias (1879-1940). Fiorentino, docente universitario di discipline economiche e accademico georgofilo (fu vicepresidente della gloriosa istituzione fiorentina), egli entrò nel mondo accademico come storico delle istituzioni-economiche giuridiche, per poi contraddistinguersi come celebre esponente del nazionalismo economico e, più tardi, durante il ventennio fascista, quale personalità centrale e assai influente della cultura economico-corporativa.
L’opera è aperta da un’introduzione, cui segue la ricostruzione biografica – sinora inedita – delle vicende dell’autore. Il lavoro si sofferma poi su tre ampie parti, ciascuna delle quali dedicata agli indirizzi – cronologicamente susseguentisi – più cari alla ricerca del professore fiorentino, ovvero:
- gli studi giovanili sulla storia delle istituzioni giuridico-economiche, che consentono ad Arias di avvicinarsi a Salvemini e con cui tenta altresì l’inserimento – poi rivelatosi fallimentare – entro il gruppo degli storici dell’Istituto di Studi Superiori di Firenze;
- i lavori successivi, nei quali, sotto l’iniziale guida di Achille Loria e Maffeo Pantaleoni, Arias transita con crescente consapevolezza dagli studi storici a quelli più squisitamente economici, fino a giungere, nel clima che precedette e seguì il primo conflitto mondiale, a proporre un’articolata visione economico-nazionalista (premessa per la successiva adesione al fascismo);
- gli studi sull’economia corporativa, che permettono ad Arias di affermarsi prima come autore di riferimento nel panorama della più intransigente cultura economica del regime.
Ciascuna delle tre parti è chiusa da paragrafi che intendono offrire sintesi specifiche e concatenate dei tre macro-indirizzi presi in esame.
Esaurisce il lavoro, infine, una nota conclusiva.
Alla tesi seguono quattro appendici documentarie, dove sono pubblicati:
- l’inventario dell’archivio delle carte di Gino Arias (l’organizzazione e la catalogazione dell’archivio sono state curate dallo stesso tesista);
- la trascrizione delle lettere di Gino Arias con Achille Loria (il carteggio consta di 132 missive, in larga misura risalenti al 1904-19, recuperate presso l’Archivio di Stato di Torino e sinora sfuggite all’attenzione degli storici);
- l’inedita bibliografia di Gino Arias, che conta 639 titoli;
- la bibliografia degli scritti secondari consultati.
Chiudono il lavoro l’indice dei nomi degli autori citati e il sommario.
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Mantero, Ana de Jesus Leitão de Barros 1952. "Um novo olhar sobre o visível:Wassily Kandinsky e Paul Klee." Doctoral thesis, 2012. http://hdl.handle.net/10451/7318.
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Tese de doutoramento, Filosofia (Estética e Filosofia da Arte), Universidade de Lisboa, Faculdade de Letras, 2012Wassily Kandinsky e Paul Klee. Dois olhares que pensaram o visível. Dois pintores, teóricos da arte, músicos e mestres da forma no Bauhaus. As suas carreiras artísticas cruzaram-se durante as quatro primeiras décadas do século XX. O objectivo deste estudo foi promover um debate imaginário entre eles, revelando pontos de encontro e de desencontro. Partimos de uma categoria filosófica: o visível. Aquilo que se vê e se faz ver, em nós, humanos. O núcleo de problemas nasceu deste caminho paralelo e desenhou-se em torno de dois temas indissociáveis: a génese da forma, no espaço-tempo pictórico, e a génese do visível, relacionando-o com a visão humana. Em ambos os casos, a mesma matéria-prima, linhas e cores que as ondas de luz nos fazem ver. A mesma relatividade, pois não existe uma relação de identidade, mas apenas de analogia entre o mundo visível e uma hipotética realidade objectiva. A mesma necessidade realista: reconhecer os objectos que percepcionamos. A pintura abstracta veio, de facto, desafiar os hábitos realistas da visão: as suas formas estranhas incomodam o cérebro, confrontado com a inutilidade das suas próprias expectativas visuais. Kandinsky e Klee pertencem a uma geração de pintores que, após a invenção da fotografia, questionaram a necessidade de continuar a imitar aquilo que os nossos olhos imaginam. Sem dúvida, o parentesco entre Arte e Natureza encontrava-se na força criadora de ambas as categorias e não no produto acabado da segunda. Então para quê imitá-lo? Os dois artistas investigaram a face oculta do visível para nela captarem a energia espiritual da matéria que engendra as suas próprias formas, bem como a sonoridade inaudível da cor enquanto vibração na alma humana. Ambos construíram uma gramática visual que consagrou a ressonância interior dos seus elementos, promovendo assim a musicalidade da Composição Pictórica.
Thinking eyes on visual reality. Two painters, theorists on art, musicians and masters of form at Bauhaus. Their artistic careers crossed during the first four decades of the twentieth century. The aim of this study was to imagine a debate of ideas between the two, disclosing points of consonance and dissonance in their artistic work. We start from a philosophical category: the visible. What can be seen and make itself be seen in human beings. The core of problems came from this parallel path, drawn on to inter-related themes: the genesis of form in pictorial space-time and the genesis of the visible, related with the human vision. In both cases we have the same raw material: lines and colors, seen through the waves of light. The relativity is the same, without relationship of identity, only the analogy between the visible world and a hypothetical, objective reality. The realistic necessity is the same: to recognize the objects that we perceive. Abstract painting, in fact, challenged the realistic habits of our vision: its odd shapes disturb the brain, confronted with the inadequacy of its own visual expectations. Kandinsky and Klee belong to a generation of painters who, following the invention of photography, questioned the necessity of continuing to imitate the visible. The relationship between Art and Nature is undoubtedly to be found in the creative forces of both categories, and not in the end-product of the second. Why should this therefore be imitated? The two artists researched the occult face of the visible in order to capture the spiritual energy that originates its own shapes, as well as the inaudible sound of color. Both painters built a new visual grammar that consecrated the interior resonance of its elements, thus promoting the musicality of the Pictorial Composition.
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Cardoso, Cristina Isabel Silvestre 1962. "Proposta pedagógica em sala de aula, desenvolvida com base na teoria da cor : os círculos órficos no cubismo cromático." Master's thesis, 2015. http://hdl.handle.net/10451/22655.
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Based on a didactic unit about Colour, this work was developed for a public group from an eighth grade school class. From this Visual Arts' work proposal, emphasis was given to the importance of Art Education on the global formation of the individual and the development of creativity and critical thinking skills, while studying some of the well-known national and international modern artists. It was also considered a brief study of the Portuguese History of Art Education, mainly exploring drawing teaching methods. The legal framework was mentioned as an extra component for the understanding of Art Education reality nowadays. The study was concluded with an analysis of the Arts' Curriculum followed by the project method presentation, considering and introducing the theory developed by the author Bruno Munari, as a key-method of creativity development in school environment. The colour theories from Newton, Goethe, Munsell, Itten, Kandinsky, Klee and Albers are mentioned in this study, being the four last authors mentioned related as Bauhaus teachers. The Orphism is also introduced, as well as the artists’ lifes and art work: Robert and Sonia Delaunay, Amadeo de Souza-Cardoso and Eduardo Viana. In terms of historical context, the work focus the period of time Delaunay couple lived in Portugal, for being the time they had developed art projects together with the other two artists mentioned above. The work developed with the eighth grade classroom is presented and mentioned as the result of the study, that is concluded with a project based on the art work of the four modern artists already mentioned, proving this kind of educational art projects allows the students to develop new skills in terms of arts and culture knowledge as well as opens new paths in their education
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Ntali, Konstantina. "Face as landscape / landscape as face : from line to sculptural form and back." Master's thesis, 2021. http://hdl.handle.net/10451/51696.
Повний текст джерелаАнотація:
O trabalho de projeto intitulado “Rosto como Paisagem / Paisagem como Rosto: ida e volta da linha à forma escultórica” pretende explorar a aplicação da relação que pode ser estabelecida entre as presentes noções de paisagem e de rosto - face humana – e de como se pode expressar esta relação, tanto na sua abordagem visual como na sua tradução em conhecimento. A problemática decorrente da pesquisa realizada na concretização do presente projeto é reveladora da multiplicidade e complexidade da investigação artística observando-se algumas dificuldades no plano da sua teorização. Antes de estudarmos a relação entre a linearidade e os meios escultóricos de concretização artística, foi necessária a definição da figura humana e, inerentemente, da face humana nas suas múltiplas dimensões, i. e. o rosto humano. A presente abordagem visual e escultórica consiste numa série de figuras humanas, na sua maioria restringidas ao rosto, e principalmente baseadas no conhecimento anatómico. É através da sua prática que o artista reconhece o corpo humano como único e singular mas também como recipiente através do qual a existência humana se desenvolve e leva a cabo. É também através do seu entendimento como uma via de acesso à expressão dos movimentos clássicos e contemporâneos – sendo matéria viva que se torna forma escultórica e dinâmicas do traçado – que a figura e corpo humanos se tornam o principal objecto de estudo do artista.[...] Dada a importância que encontramos na associação e relação interpretativa que naturalmente decorre da articulação com o trabalho prático, considera-se a linguagem artística como inseparável e reciprocamente ligada à pesquisa e análise aqui conduzidas. Parece-nos inviável a completa apreensão deste projeto sem que se tome em consideração a própria obra escultórica a que se refere e para a qual se remete. Por este motivo, analisamos a linha, e a linha na escultura, ao longo deste estudo. Na arte plástica – especificamente na escultura – a linha é frequentemente resultante da convergência de duas ou mais faces, o que nos leva a pressupor a presença de duas ou mais superfícies. Esta característica leva-nos a considerar que apenas o delineamento possa dar origem a uma escultura linear e que, nesta, a linha recorre à simetria, à qual acrescem cada perfil - contorno linear percebido a cada ponto de vista - que igualmente contribui para a percepção de ambas forma e figura. Assim, dentro do âmbito desta relação entre rosto e paisagem, o nosso interesse recai sobre o estudo da linha como meio de representação escultórica. O corpo de trabalho agora apresentado procura uma abordagem sintética da figura humana, no limiar perceptível da sua representação tridimensional. As esculturas apresentadas resultam da composição de linhas curvas, contínuas e contrastantes. Expandindo as noções de linha e espaço, estas esculturas oferecem-nos uma sensação semelhante à de um vislumbre de breves desenhos suspensos no ar. A linha que percebemos é gerada pelo olhar que se move sobre a forma, ao mesmo tempo que nós próprios (observadores) nos deslocamos no espaço. Ou seja, a passagem para a percepção da tridimensionalidade é operada pelo movimento, simultaneamente gerado pela linha e resultante dela.[...] Tomamos por certo que as influências e referências do artista consistem em tudo o que vê, sente, e experiencia, pelo que o principal objetivo que nos guia é tornar mais acessível o que podem ser os recursos criativos do artista, que contribuem com conhecimento e técnica para a criação artística.
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Lérias, Inês Carrilho. "Aspetos da perceção visual aplicados ao design de produto." Master's thesis, 2020. http://hdl.handle.net/10451/44191.
Повний текст джерелаАнотація:
Visual perception and product design; an intrinsic relationship where the human component is the connecting link. The need to understand and define the mechanisms and processes that determine the existence of perception and its visual component as individual characteristics, leads to the need to relate these factors to inseparable issues of human activity and interaction, where design is an integral part. Once it is up to the designer the ensurance that each person sees his or her needs bridged by tools designed for this purpose (whether it is within the field of objects, or services), the need for visual factors and man's interactive ideas to be well known and understood, is the way to find that “optimal solution”. Transposing the perceptive aspect into the context of this work: within the question of the relationship with the object and its evolution, we must focus on the period between the industrial revolution and the present, through the point of view of design. Given the task of identifying needs and finding their solutions, it is about understanding, on the one hand, how methodologically and procedurally the designer facet of the designer has evolved in the pedagogical and practical fields, and on the other, the impact it has had at the social level and vice versa. For this, the understanding of the main perceptive theories studied over the last century is a crucial reference to understand this evolution. Once this path is identified, it becomes necessary to establish the “state of art” about these issues. Given its indispensability for a designer, it is crucial to keep this knowledge updated so that it can be managed during design activity, once its role is based on the knowledge and understanding of the human component about his surrounding environment.
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Monteiro, Maria Sarreira Ferrão. "Esboço: a procura da forma no design." Master's thesis, 2019. http://hdl.handle.net/10451/40699.
Повний текст джерелаАнотація:
The central subject of this work is how the drawing can be fundamental and crucial as a tool for product and service development in design. The work starts with a historical analysis of the drawing theory to achieve a clear view of how sketch and drawing can stimulate creativity. This work passes through three stages. First, a historical review where is investigated the drawing as a project aid; the unique value of him; and also the differences and resemblances between sketch and drawing. Secondly, the contemporary utility given to him in the design world, where the concept of design is defined; the way drawing entered in the fine arts landscape; and the primordial functions of the drawing in the creative process used by the designer to create. Third, the elaboration of a graphic exploitation of three objects, that puts in practice some of the investigated theoretical questions, such as the use of the sketch in the first phase of a project – Discovery – when the record is as ambiguous as the own concept; and the achievement of the total definition of a project only using drawing. Based on the theoretical investigation and in the practical exploration is possible to claim that the sketch helps to define the problematic of the issues proposed to the designer and that the drawing defines the solution. In other words, the drawing provides the discovery of new forms and meanings that can result in an innovative object. The practical project revealed the possibility of drawing and sketching the same three objects with countless approaches with only one starting point. The movement and gesture were the fundamental elements to make that happen. It can confirm that the drawing benefits from a personal language, expressed by point and line. The necessary information used to the elaboration of this investigation can be found in the bibliographical list at the end of the work. All the information was analyzed and filtered to guaranteed the veracity of the work.