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Статті в журналах з теми "Corporéités":
Lenzen, Benoît, and Adrián Cordoba. "Fondements épistémologiques des activités physiques, sportives et artistiques et corporéité des pratiquants. Quels effets de la transposition didactique en éducation physique?" Swiss Journal of Educational Research 38, no. 1 (September 19, 2018): 109–26. http://dx.doi.org/10.24452/sjer.38.1.4973.
Lapeyre-Desmaison, Chantal. "Corporéités, gestualités, espaces dans Lauve le pur." Roman 20-50 53, no. 1 (2012): 37. http://dx.doi.org/10.3917/r2050.053.0037.
Mili, Isabelle, and Francia Leutenegger. "Approches didactiques de corporéités au service des apprentissages." Swiss Journal of Educational Research 38, no. 1 (May 4, 2016): 5–22. http://dx.doi.org/10.24452/sjer.38.1.4967.
Pradel, Benjamin, and Gwendal Simon. "Les corporéités de Paris Plages : de la surveillance institutionnelle à l’autodiscipline collective." Mondes du tourisme, no. 9 (June 1, 2014): 58–67. http://dx.doi.org/10.4000/tourisme.143.
Manço, Ural. "Corporéités, ascétismes et sécularisation dans le discours de la confrérie Naqshbandi turque contemporaine." Social Compass 57, no. 4 (December 2010): 479–92. http://dx.doi.org/10.1177/0037768610383369.
Aromatario, Aurélie. "Puissance des corps et capacité d’agir : le roller derby, entre pratique sportive et engagement féministe." Nouvelles Questions Féministes Vol. 43, no. 1 (May 14, 2024): 41–56. http://dx.doi.org/10.3917/nqf.431.0041.
Choinière, Isabelle. "De la médiation phénoménologique: le corps collectif comme forme poétique performative permise par la dissolution de la frontière psychocorporelle." Repertório, no. 28 (December 5, 2017): 134. http://dx.doi.org/10.9771/r.v0i28.25004.
Le Boulluec, Alain. "Corporéité ou individualité?" Augustinianum 35, no. 1 (1995): 307–26. http://dx.doi.org/10.5840/agstm199535119.
Şan, Emre. "Corporéité et existence." Studia Phaenomenologica 12 (2012): 133–56. http://dx.doi.org/10.7761/sp.12.133.
Florival, Ghislaine. "Corporéité et engagement." Philosophy, Culture, and Traditions 2 (2003): 1–18. http://dx.doi.org/10.5840/pct200323.
Дисертації з теми "Corporéités":
Marull, Mélodie. "Du corps transgressif au corps subversif : corporéités dissidentes dans l'œuvre de Pierre Molinier." Electronic Thesis or Diss., Université de Lorraine, 2018. http://www.theses.fr/2018LORR0338.
Pierre Molinier's (1900-1976) art is fundamentally transgressive, regarding as much the process he elaborates as the topics he addresses. The artist's experiments are built on a complex network of influences, and we will explore how some of its nodal points - such as fetishism - are metaphorized in his photographic and pictorial techniques. This thesis deals with an understanding of how the images and the discourses they produce nowa-days appear to us as a proto-queer idea of identity, embodiment and sexualities. Furthermore, our research interrogates the perception of his works and their contextualization. Our analysis methodology is quite similar to the one that William F. Edmiston develops in Sade Queer Theorist, and is based on a deep look inside of the works and texts taken out of the artist's mail. Our thesis is articulated in two parts, looking alike the artist's creative process. The first part aims to develop the analysis of an outgrowth beyond the artist's body. Masks and prostheses are employed as body modification tools and participate in expressing a kind of authenticity in trickery. The creatures that Molinier builds based on his own photographs point out the path from multiplicity to unity and offer us to look at dissenting anatomies. The second part answers to the first and matches a movement of contraction. On the one side, the artist's relationship with the other is established on an absorp-tion mode, he understands the bodies ductile nature and uses them as creation materials. On the other side, auto- erotical experimentations take a firsthand place in the molinian paradigm, which reclaim the visual vo-cabulary of BDSM. In Molinier’s work, the body is shown as a creative materiality, on which the artist-alchemist builds in order to give birth to hybrid creatures, that embody his ideal of identity and sexualities fluidity. Pierre Molinier disrupts binaries and normativity, through both his auto-erotical practices and their mode of representation. Developing a language of the intimacy and the body, he redesigns their form and functions, combining masquerade and transgression, toward new embodiments
Marull, Mélodie. "Du corps transgressif au corps subversif : corporéités dissidentes dans l'œuvre de Pierre Molinier." Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0338.
Pierre Molinier's (1900-1976) art is fundamentally transgressive, regarding as much the process he elaborates as the topics he addresses. The artist's experiments are built on a complex network of influences, and we will explore how some of its nodal points - such as fetishism - are metaphorized in his photographic and pictorial techniques. This thesis deals with an understanding of how the images and the discourses they produce nowa-days appear to us as a proto-queer idea of identity, embodiment and sexualities. Furthermore, our research interrogates the perception of his works and their contextualization. Our analysis methodology is quite similar to the one that William F. Edmiston develops in Sade Queer Theorist, and is based on a deep look inside of the works and texts taken out of the artist's mail. Our thesis is articulated in two parts, looking alike the artist's creative process. The first part aims to develop the analysis of an outgrowth beyond the artist's body. Masks and prostheses are employed as body modification tools and participate in expressing a kind of authenticity in trickery. The creatures that Molinier builds based on his own photographs point out the path from multiplicity to unity and offer us to look at dissenting anatomies. The second part answers to the first and matches a movement of contraction. On the one side, the artist's relationship with the other is established on an absorp-tion mode, he understands the bodies ductile nature and uses them as creation materials. On the other side, auto- erotical experimentations take a firsthand place in the molinian paradigm, which reclaim the visual vo-cabulary of BDSM. In Molinier’s work, the body is shown as a creative materiality, on which the artist-alchemist builds in order to give birth to hybrid creatures, that embody his ideal of identity and sexualities fluidity. Pierre Molinier disrupts binaries and normativity, through both his auto-erotical practices and their mode of representation. Developing a language of the intimacy and the body, he redesigns their form and functions, combining masquerade and transgression, toward new embodiments
Pontal-Sanchez, Marion. "La danse salsa en France : Transmission de techniques et genèse de corporéités interculturelles." Electronic Thesis or Diss., Université Côte d'Azur, 2022. http://www.theses.fr/2022COAZ2041.
Salsa dancing is a hybrid multi-choroegraphical exercise which mixes technical and aesthetical properties from a dance, a cultural universe, a performing art but also a musical genre. The new concept of performing on stage in which this popular dance is evolving was crucial for the recognition and the development of the choreographic creation. The specialized salsa festivals have multiplied in the 2000s, inviting french dancers to appropriate a dance coming from a distant culture. Influenced by historical, commercial and political factors, salsa dancing has seen its practice and choreography change along the time. The basic fundamental elements of the choreographic generation like the body, the space, the time, the energy have been infringed by a diversity of contrasted styles and forms coming from imaginations, sounds or gestures. How stage performances engage into the evolution and the redesign of this practice ? What is left then from the "traditional salsa" ? From the field work in France and in the Alpes-Maritimes, this thesis will have as an objective to show that this international activity is marked by a myriad of discussions and questions between traditions and modernity because of the diversity of dance styles, cultures, transmission and broadcasting mediums and because of its practitioners and performers. The body engagement of the dancer depends on multiple factors : motivation linked to the context in which it evolves, its sensibility with respect to its musical choice, its capacity to execute body moves and, at last, its social and cultural identification
Acogny-de, Souza Patrick. "Les techniques des danses africaines et leur expansion en France : transmission et genèse de corporéités interculturelles." Paris 8, 2010. http://www.theses.fr/2010PA083419.
We know very little about the history of African dances on the continent and their arrival in France. However, there is a history of practices, with several discontinuities in the traditional dances practices that will come from Africa in a new era of dance concert. By producing new forms, the latest of contemporary African dance, African dances necessarily attract attention. The history of dance in Africa, because of his recent choreographic culture, gathers little research and knowledge on present practices. What are these practices? What are the thoughts behind them? Focusing on issues of transmission and teaching, our thesis has a dual perspective of the analysis of dancing gestures, observed in both the systemic and social anthropological aspects. Our review is based on the assumption of a mutation of the meaning and methods of transmission of African dances and, therefore, a transformation of their practices. It questioned these changes, and questions the poetic gesture in dance aesthetics and symbolism. From the emergence of the first courses in African dance highlighting the methods of diffusion or education, to aesthetic and kinesthetic of these dances, the investigation attempts to show how those modes of transmission and education, while having evolved and changed direction, keep the basic principles of African dance, while significantly altering the symbolic significance of the body, and kinesthetic dance. We are witnessing the emergence of original dancing body types, body types of cross-cultural shaping of African dance forms and unusual hybrids
Déchery, Chloé. "Corporéités quotidiennes : nouvelles pratiques du corps en scène dans la performance en France et en Angleterre, 1991-2011." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100172.
The contemporary performance scene, in both France and England, can be distinguished by a common interest in the ‘everyday body.’ Discarding principles of representation, narrative logic, and characterisation, many of today’s practitioners choose instead to reflect a deliberately fallible and ordinary sense of their own corporality. This results in a notion of presence in which the presented body can somehow disappear and where a certain complicity with the audience is founded on a sense of common incompetence. The use of real time (as opposed to theatrical time) the restriction of movement, and a questioning and dismantling of the traditional ideas of theatrical presentation and reception, all form ways of resisting the accelerated and intensified production cycle imposed by the cultural economy in which the work is produced. Refusing to be seduced by notions of grand spectacle or perfect technique, these performers produce less within their performance and therefore embrace an “anti-productive” creative pattern. At the same time, inventing new ways of working together (ephemeral collaborations, meetings happening upon a project-based logic, micro-communities), they create, in the theatre, a democratic space based on an equality of status between performers and spectators. Without seeking revolution or utopia, they enable a critical investigation of the theatrical space that can, for the duration of an event, create new ways for all those present to experience being together within that space
Tadier, Elsa. "Les corps du livre, du codex au numérique. Enjeux des corporéités d’une forme médiatique : vers une anthropologie communicationnelle du livre." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL010.
In today’s digital age, this Ph.D. thesis focuses on books defined as a form of media. Reconsidering the western idea of the communication conveyed by this medium, it juxtaposes the physical form of books and their symbolic role. This thesis is built on a history of the forms a book can take to analyse the transformations related to the rise of the « e-book ». Books fulfil a role of mediation between the partners of an exchange, who are irreducibly absent from each other. This absence is envisioned as a driving force, shaping the communication process of books, which incarnation would constitute the presumption of an encounter. To what extent are the mediation function played by books and the foundation of their symbolic efficiency built on the very same bases as those of bodies? Although generally considered as being immovable objects, we revolutionize the way books are perceived, and we examine the dynamic process of their acceptance in social life. Accounting for their “composite” features, we attempt to fully apprehend the implications of the corporealities of books, including language, text and physical object. Our hypothesis is that a book may be viewed as a substitute of a body, nourished by the thought of the co-presence of its contributors, in that it constitutes a form in which they are alternatively present. It is therefore necessary to investigate the corporealities of the media and to analyse the role of books in the construction of the cultural and social concepts of the body. Reconsidering the implications of the mediation, this thesis raises the prospects of an anthropology of communication, inviting to re-evaluate the medias from the perspective of a restructuring of the relations between nature and culture
Bouldoires, Alain. "Usages du multimédia et corporéité : l'exemple de l'éducation." Bordeaux 3, 2001. http://www.theses.fr/2001BOR30053.
This research work deals with both technology and the body. First, we aim not only at establishing a historical viewpoint but also at highlighting what is presently at stake in the field of multimedia at school. We attempt to throw light on the subject of the body by suggesting different approaches. Finaly, we make a link between the use of multimedia and the notion of corporeity. The second part describes and analyses uses. This work is based on the duality of the virtual and the body. We chose school as field for our study. To what extent and under what conditions does the body disappear in the process of using multimedia at school , Such problematics is closely linked with notion of school ? Such problematics is closely linked with the notion of school as an institution responsible for contemplating the future of a society and preparing its future actors. Our interest lies not in the class but in the pupil as a user and a strategist
Abdellaoui, Amor. "Altérité et corporéité dans l'oeuvre de Jean-Paul Sartre." Nice, 2008. http://www.theses.fr/2008NICE2025.
This thesis is the study of the two major topics of Sartre's work: otherness and corporeity. The first part is devoted to Sartre’s refutation of solipsism in The Transcendence of the ego and Being and Nothingness and to his critique of Heidegger's notion of Mitsein and Huserl's notion of intersubjectivity. In the second part we have tried to show that the notion of otherness appears already in the young Sartre, in his short stories and novels which are the proof of his interest for individualism and the theory of “the man alone”. Afterwards we have brought to light the major turn of his thought in 1943 with his ontological analyses of the notion of the look and being-for-others which lead to the description of a negative dimension and fight between consciousnesses. The third part deals with the notion of corporeity and concrete behaviours towards others in his phenomenological ontology. The question in this part is to analyse the three ontological dimensions of corporeity: body-for-oneself, body-for-others and alienated body. In our last part we have followed the evolution of Sartre's thought since the beginning of the Second World War which is characterised by the appearance of the notion of inter-subjectivity and morals of solidarity in his 1945 lecture and his Notebooks on morals
Tenenbaum, Yvonne. "Vision du monde et corporéité : ou danse et corps dansant." Paris 1, 1996. http://www.theses.fr/1996PA010585.
"Dance", that ancient human dream, exists through the different styles signifying it in each culture. But they can do it only because sometimes in this framework, however symbolic, can appear a pure, singular and impersonal presence characterizing only true dances, not even beautiful or well danced ones. We call it "dancing body" : "body" because the dancer's body becomes so real that all meanings vanish ; "dancing" because such a human being's metamorphosis results from this act. But : 1. How can the "dancing body" be built on a stage, within western theatre structure, although it is contradictory to its essence ? 2. How can a human being become pure presence, a kind of dasein outside of the sphere of meaning ? Analysis of Carlotta Ikeda's solos (Buto) teaches the way : the fading of the "I" submitting to the desire of dancing. For it is a fundamental human desire : by withdrawing from words, man seeks to overcome the splitting of his being to which language condemns him, to solve the riddle his mortal body, that other in himself, creates for him. Such a presence is made possible by the continuity produced by dancing and by the process of abstraction achieved by the structure itself (including at least a special place, a technic and an audience physically present). But this structure's settings, always particular, also express the attitude of authorities towards this dangerous desire, which threatens their control over individuals. So "dance" will always be the field of a continuous battle between institutions on one hand, which must allow the desire of dancing to take shape while controlling it and, on the other hand, dancing body's recurring revival - as proved by dance history in XXth century
Morency, Joël. "La création de personnages numériques : réalisme perceptuel, corporéité et monstruosité." Master's thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/25382.
Книги з теми "Corporéités":
Guillo, Dominique, Olivier Martin, and Dominique Memmi. La tentation du corps: Corporéité et sciences sociales. Paris: Editions de l'Ecole des hautes études en sciences sociales, 2009.
Puig-Vergès, Nielle. Aux sources de la psychose: Corporéité et pensée psychotique. Paris: Hommes et groupes, 1987.
Spampinato, Francesco. Debussy, poète des eaux: Métaphorisation et corporéité dans l'expérience musicale. Paris: Harmattan, 2011.
Laku, Félicien Mpuku. Merleau-Ponty face aux défis du monde contemporain: Corporéité et solidarité. Paris: L'Harmattan, 2013.
Altieri, Lorenzo. Eidos et pathos: Corporéité et signification entre phénoménologie et lingusitique cognitive. Bucharest: Zeta Books, 2009.
Bolens, Guillemette. Le style des gestes: Corporéité et kinésie dans le récit littéraire. Lausanne: Editions BHMS, 2008.
Catherine, Garnier, ed. Le Corps rassemblé: Pour une perspective interdisciplinaire et culturelle de la corporéité. Montréal: Éditions agence d'arc, 1991.
Bendjelid, Faouzia. Corporéité et marginalité dans le roman algérien contemporain: Al-Jasad wa-al-hāmish fī al-riwāyah al-Jazāʼirīyah al-muʻāṣirah. Oran, Algérie: Editions CRASC, 2016.
Частини книг з теми "Corporéités":
Theobald, Christoph. "La signification ecclésiologique de la corporéité." In Exploring the Boundaries of Bodiliness, 251–60. Göttingen: V&R Unipress, 2013. http://dx.doi.org/10.14220/9783737001977.251.
Thiel, Marie-Jo. "La corporéité face à la maladie et la mort." In Exploring the Boundaries of Bodiliness, 139–54. Göttingen: V&R Unipress, 2013. http://dx.doi.org/10.14220/9783737001977.139.
Swiezawski, Stefan. "Le problème du corps et de la corporéité dans la philosophie du XVe siècle." In Historia Philosophiae Medii Aevi, 967–77. Amsterdam: B.R. Grüner Publishing Company, 1992. http://dx.doi.org/10.1075/zg.142.55swi.
Brohm, Jean-Marie. "Métapsychologie de la corporéité." In Ontologies du corps, 381–450. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.7136.
Zambrano, Scheherazade. "La corporéité, une posture politique." In Le Jeu d'Orchestre, 206–25. Presses universitaires du Septentrion, 2015. http://dx.doi.org/10.4000/books.septentrion.12991.
Barbisan, Léa. "Chapitre II. Intime étrangeté – Identité et corporéité." In Le corps en exil, 79–122. Éditions de la Maison des sciences de l’homme, 2020. http://dx.doi.org/10.4000/books.editionsmsh.24939.
"C. Libre arbitre et notion origénienne de corporéité." In Monothéismes et Philosophie, 124–40. Turnhout: Brepols Publishers, 2002. http://dx.doi.org/10.1484/m.mon-eb.4.000542.
"6. … pour souligner la dimension de notre corporéité." In Corps dansé, 95–104. EDP Sciences, 2021. http://dx.doi.org/10.1051/978-2-7598-2586-8.c008.
Tralongo, Stéphane. "Promenades monnayées : flânerie, corporéité et cinéma au music-hall." In Le triomphe de la scène intermédiale, 29–46. Les Presses de l’Université de Montréal, 2017. http://dx.doi.org/10.1515/9782760637696-002.
Emond, Geneviève, and Karine Rondeau. "Accompagner l’apprentissage de la conscience de la corporéité des enseignants." In L'accompagnement du développement personnel et professionnel en éducation, 69–86. Presses de l'Université du Québec, 2019. http://dx.doi.org/10.2307/j.ctvggx4d4.9.