Дисертації з теми "Corporéités"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 дисертацій для дослідження на тему "Corporéités".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте дисертації для різних дисциплін та оформлюйте правильно вашу бібліографію.
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.
Le, Meur Anne-Sarah. "Création artistique en image de synthèse : expression de la corporéité." Paris 8, 1999. http://www.theses.fr/1999PA081650.
DIAS, RENATA CODECO. "LA CLINIQUE COMME TÉMOIGNAGE DEVANT LA CORPORÉITÉ DE L EXPÉRIENCE TRAUMATIQUE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34712@1.
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
La thèse évalue les changements possibles dans la formation de l expérience subjective contemporaine irreprésentable fabriqués à partir de nouveaux paramètres socio-culturels. La notion d expérience est présenté à partir de l intersection de la catastrophe et traumatisme et est considéré comme l ouverture de sens à parier sur les nouvelles façons d être. Des modifications sont proposées dans la gestion technique par le dispositif d analyse, et à cette fin, nous discutons de l accès à la dimension créative de l expérience à travers le corps de l analyste considéré comme domaine sensible de passage et témoignage qui offre corporéité pour l expérience traumatique.
A tese avalia possíveis mudanças na formação da experiência subjetiva contemporânea, tornada irrepresentável a partir das novas configurações socioculturais. A noção de experiência é apresentada a partir da interseção entre catástrofe e trauma e é considerada como abertura de sentido para aposta em novos modos de ser. São sugeridas modificações no manejo técnico por parte do dispositivo analítico e, para tal, discute-se o acesso à dimensão criativa da experiência por meio do corpo do analista pensado como campo sensível de passagem e testemunho que oferece corporeidade à experiência traumática.
Grenouilloux, Armelle. "Psychosomatique et corporéité : pour un abord phénoménologique de la question psychosomatique." Paris 1, 2007. http://www.theses.fr/2007PA010607.
Kuttler, Guillaume. "Corporéité des seniors, pluralité des demandes sociales et propriétés socio-culturelles." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAG022.
Seniors would have only recently broke the "taboo of Youth" (Rochefort, 2004) and seem to excluded from the more physical and bodily practices. Thus, the increasing of their age group (Richet-Mastain , 2007), re-examines the issues surrounding the corporeality of the aging individual, its relation to physical activity , but also to the body in general. The study's senior and his corporeality, defined by "all concrete features of the body as a social being" (Berthelot, 1983) is a relatively new research topic in the horizon of contemporary sociology, and allows to address the complexity of the scientific link nourish body practices with this group of individuals carrying plural frequently "the stigma of age" (Lebreton , 2006). Due to the critical issues arising from this social group, and the apparent diversity of these seniors, this question takes on their corporeality because of its demographic and social reality, its complexity but also its legitimacy . What then are the reasons for practices and the real motivations of seniors engaged in bodily practices ? Their physicality is it then suffered or chosen ? What are their personal demands and what meaning do they give them ?
Toulze, Marielle. "La communication sensible dans le monde urbain : corporéité et perception de l'intime." Bordeaux 3, 2010. http://www.theses.fr/2010BOR30072.
Contemporary societies are moved by profound changes. These shifts can be explained by the overwhelming presence of the media, but also by the strong proximity of bodies in the city. This phenomenon catalyses what we call erotic, that is to say a peculiar dimension that goes beyond eroticism. It modifies our links to the surrounding world. The erotic imagery of the urban area even alters the very structure of places as well as our intimate perception of the other. What are at stake in this research are not only the modalities of changes in the social area but also how our perceptions are modified. As regard to urban intimacy, perceptions are now to be redefined or at least interrogated. The unrest that characterizes perceptions, be it a collision, a clash or something disturbing, distorts our relation to reality and the other. The strength, the impact and even the violence of this unrest trigger a need to untie and un-read our relation to the world. It does not mean that we must understand these a-perceptions as a way to flee from reality and escape to an imaginary cocoon. It deals rather with creative explorations of new links to reality and the other. Our purpose is to analyze how these new communication structures work in urban places such as transports, housing. In other words, this research focuses on sensitive communication
Spampinato, Francesco. "Debussy et l'imaginaire de la matière : métaphorisation et corporéité dans l'expérience musicale." Aix-Marseille 1, 2006. http://www.theses.fr/2006AIX10063.
Braizaz, Marion. "L'esthétique de soi : individu(s), corporéité(s) et apparence(s) genrée(s)." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCB229.
Studying the relationship of individuals with their own body and appearance as a real sociological question, such was the aim of this thesis. Building on an intellectual astonishment - the difficult constitution that marked the field of the sociology of the body and the huge gap between the omnipresence of aesthetic issues in the social world (including media) and their modest consideration in the Social Sciences world - this aim has been materialized through the implementation of a qualitative survey, conducted between 2013 and 2014, with 60 individuals (32 women and 28 men), aged from 21 to 52 years. The common thread of this study was to outline the terms of the aesthetic experience of individuals (costs, benefits, experiences, relationship with oneself and with others) and we used the analytical tool of gender, real catalyst of the autonomy and aesthetic reflexivity injunctions ongoing in our society since the second half of the twentieth century. The two analytical axes that guide the frame of this thesis are as follows: (1) what are the issues of the two dimensions: "intra-gender", "cross-gender" in the construction of an aesthetic identity, (2) to what extent the dialectic between self-relation and relationships with others could be the base of the aesthetic appropriation of a gendered self? Indeed, studying the appearance as a dramatization of the gender of individuals, has enabled us to highlight how the consistency of the body and aesthetic practices represente essential modalities regarding the contemporary restructuring of gendered lives. Our investigation let us think that the most legitimate analytical posture for a sociology of appearance is the one considering this item "appearance" first and foremost as a reflexive experience to which each individual is faced, relationship with the body constituting a central identity support for the contemporary individual. In this sense, the study of "self-esthetics handiwork" of social actors is in our opinion a relevant guidance for sociologists to grasp the framework of what being an (embodied) individual today in our society represents for everyone
González, Castaño Héctor. "L'autre corps : le problème de la corporéité dans la philosophie de Jacques Derrida." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100117/document.
This dissertation analyses the ways in which Derrida considers the problem of the body. It takes as its central theme the deconstruction of the “body proper” (corps propre) concept, whose discussion dates back to Derrida’s first texts on Husserl’s phenomenology. Through Husserl, Hegel and psychoanalysis, Derrida questions the problem of “idealisation”, and in doing so, he shows that a form of “iterability” is both the basis of the relationship between body and “life”, and equally, the basis of the process of “auto-affection”. By considering the economic dimension of the “proper” through the problems of writing and the sign, Derrida takes into account the hetero-affection inseparable from the experience of the body and insists that we think of the body as a space of forces. The bodily experience of the “proper” turns out to be derived from an “originary” technicity. The relationship of technics and singularity allows us to think “the other body” which operates from within the so called body “proper”.In order to better understand these questions, Derrida’s position is compared to two important philosophers of the body, Maurice Merleau-Ponty and Jean-Luc Nancy. The experience of the body implies a relation to the other and the world, whose unity is presupposed by Merleau-Ponty’s “flesh” (chair) and put into question by deconstruction. By clarifying Derrida’s reservations regarding Nancy’s concept of “corpus”, as well as considering the experience of “untranslatability” that constitutes 'On Touching, Jean-Luc Nancy', it is argued that Derrida’s philosophy asserts a certain practice of translation which opens up a space through which the “each time other” of the body can be thought
Esta tesis analiza la forma en que Derrida considera la cuestión del cuerpo, tomando como hilo conductor la deconstrucción del concepto de “cuerpo proprio” (corps propre) esbozada desde los primeros escritos de Derrida sobre Husserl. Con este último, Hegel o el psicoanálisis, Derrida interroga el problema de la “idealización” para mostrar que una forma de “iterabilidad” se encuentra en la base de la relación entre el cuerpo y la “vida”, por un lado, y del proceso de “autoafección” que constituye la experiencia fenomenológica del “cuerpo proprio”, por el otro. Derrida analiza la dimensión económica del concepto de “propio” a través de los problemas del signo y de la escritura, para mostrar que hay una hetero-affección inseparable de la experiencia del cuerpo, que considera como un campo de fuerzas. La experiencia corporal de lo “propio” se descubre derivada con respecto a una tecnicidad “originaria”, cuya relación con la singularidad nos permite pensar “el otro cuerpo” que opera en el interior del llamado cuerpo “proprio”.Para desarrollar mejor estas cuestions, comparamos la posición de Derrida con la de dos grandes filósofos del cuerpo, Merleau-Ponty y Jean-Luc Nancy. Indisociable de la relación con el otro, el cuerpo nos obliga a interrogar el problema del mundo, cuya unidad, que la “carne” de Merleau-Ponty presupone, es puesta en duda por la deconstrucción. Las reservas de Derrida con respecto al concepto de “corpus” propuesto por Nancy y la experiencia de “intraducibilidad” que constituye el libro de Derrida 'Le toucher, Jean-Luc Nancy', nos llevan a considerar cierta práctica de la traducción como aquello que abre la vía a un pensamiento “cada vez otro” del cuerpo
Hemmi, François. "De procès en procédure. Avatars de la symbolisation de la corporéité chez l'hypocondriaque." Montpellier 3, 2000. http://www.theses.fr/2000MON30041.
Cordeau, Morales Valdés Valentina Paz. "Une corporéité de la solitude : pour une esthétique de la danse de Pina Bausch." Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080065.
As a dancer researcher, my point of departure is to comprehend Pina Bausch’s move and dancing corporeality in order to define the founding elements of her style. To improve my focus on the move I work on the figure of the choreographic “solo”.The first part of the thesis realizes firstly the biographical path and the source of Pina Bausch moves dating back to her training within Folkawangschule in Essen, from 1955 to 1960, and in New York, from 1960 to 1962, within Julliard School. In a second chapter, I propose a periodization of her work starting after she took charge of Tanztheater Wuppertal in 1973.In the second part, I analyze the only two soli dances by Pina Bausch with her company – Café Muller (1978) and Danzón (1995) – and in the third part, three soli dances by her interpreters , in : The Rite of Spring (1975), Nelken (1982), and ‘…como el musguito en la piedra ay si, si, si…’ (2009).From this, among all the elements of this dancing corporeality, emerges the question of solitude that problematizes the notions of solo, solitude, loneliness and being together in dance. Namely, how do “dancing-all-alone” and “dancing-together” become the possibilities to inhabit the scenic space beyond the number of interpreters on stage ? Under what condition, do Pina Bausch’s notion of solitude constitute not only a “topic” to explain her pieces but a sort of founding corporeality to her dance ? What are the particularities of her style that reside equally in Pina Bausch’s corporeality – as a dancer – and in each of her interpreters ?
Altieri, Lorenzo. "Eidos et pathos : corporéite et incarnation entre phénomènologie et sciences cognitives." Paris 4, 2006. http://www.theses.fr/2006PA040221.
This work is an investigation of the bodily structures and of the mind/body problem between phenomenology and the cognitive sciences. Through a parallel criticism of Husserl’s transcendental idealism and of neurological reductionism, I will seek relations between a kind of phenomenology of embodiment (Merleau-Ponty, Patočka) and the experiential realism of a particular current within contemporary researches in cognition (Lakoff, Johnson). This thesis has a three-part structure: in the first section, I will analyze the role of the living body (Leib) within the phenomenological tradition and, in particular, of the “I can” as the paradigm of the moving and feeling subjectivity; in the second section, I will attempt a genealogical criticism of the essences (eidos), along with an outline of a phenomenology of pathos and embodiment; in the third and last section, I will suggest a common theoretical framework for this kind of phenomenology of the living body and the cognitive philosophy of embodiment developed by contemporary cognitive linguistics (Lakoff, Johnson, Fauconnier, Turner, Talmy, and, up to a certain extent, Eco). On the basis of an analysis of the “linguistic turn”, of metaphor, of categorization, and of schematism within today’s debate on language and cognition, I will advocate an experiential phenomenology according to which the mind is embodied and Meaning originates and takes shape in the experiential interaction with the world
Arcos-Palma, Ricardo. "De la corporéité du langage : le corps comme pré-texte et comme texte en soi-même." Paris 1, 2005. http://www.theses.fr/2005PA010559.
Walon, Sophie Geneviève. "Ciné-danse : histoire et singularités esthétiques d’un genre hybride." Thesis, Paris Sciences et Lettres (ComUE), 2016. http://www.theses.fr/2016PSLEE026/document.
Screendance is a hybrid artistic form which inextricably interweaves the technical and aesthetic properties of both dance and cinema. It is not a new genre: in a certain sense, screendance has existed since the very beginnings of cinema. It was first theorised, however, in the mid-1940s by Maya Deren, whose film-manifestoA Study in Choreography for Camera (1945) proved central to the recognition and development of this most transdisciplinary category of dance films. Nevertheless, it is only from the 2000s and even more-so from the 2010s onwards that specialisedfestivals have proliferated and that the genre has begun to receive theoretical attention. This dissertation is thus a contribution to the emerging field of screendance studies: it proposes a historical panorama of the genre and examines its formal and dramaturgical specificities, many of which have not yet been the object of in-depth analysis. This examination aims in particular to explore screendance from the previously unconsidered perspective of its hyper-sensoriality and the originalcorporealities it constructs.I begin by retracing the larger history within which screendance has grown that of dance in film and especially that of dance films. I then propose a more specific history of screendace proper. Next, I emphasise the fecundity of the artistic hybridisation which defines screendance by analysing certain of its formal and dramaturgical singularities. More specifically, I examine its sui generis usage of closeups, its (re)materialisation of bodies through a hyper-sensorial and synaesthetic treatment of images and sounds, as well as its strange corporealities and the critical implications they suggest. Finally, I focus on a crucial dimension of screendance: the places it investigates and its complex interrogations of the relationships between body and space. This dissertation paints a historical and aesthetic portrait of a hybrid art, an eminently corporeal and sensorial genre, a site-specific practice; it celebrates experimental works which explore the richness of an artistic cross-over and highlight the materiality of bodies as well as the sensoriality of dance and film
Saez, Gérard. "Le paradigme de la corporéité et l'actualisation des signifiants dans l'enseignement et dans la formation des enseignants." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30050/document.
After presenting the professional context in which this research registered (trainer "Body and Voice" in IUFM then at the Faculty of Education-ESPE of Montpellier), I will explain how have emerged the foundations of the problematic and the central objects of this study : the paradigm of corporeality and the signifiers actualization process. I will try to clarify the origin, the logic and the structuring process in the individual, showing the importance of these phenomena in the teaching communication, physiologically and prophylactically, relationally and pedagogically, and didactically (as a vehicle and as a learning object). Basing on the theory of praxématique I will then take interest to the Borel-Maisonny gestural reading method because this strange artifact will allow me to extend my investigations at the other end of the French school panorama, when teachers guide the first reflexive and normed language learnings. I will show what place is made for corporeality in the texts and practices, how teachers manage the process of signifiers actualization, and how their training on these issues appears to be lacunary. After making some explanatory hypotheses on this fact, I will intend to propose some ways of remediation and will clarify the issues for teacher training, and for teaching in France
Gomis, Aimé. "Écritures du corps dans la littérature sénégalaise. Esquisse d'une corporéité et implications plurielles : de Senghor à Ken Bugul." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030085.
Identity constitutes one of the fundamental themes of African literature. It takes on a resonance in the writing of Senghor and Ken Bugul as well as in the writing of many Senegalese writing. It allows the establishment of an epistemological footbridge with the body. Therefore, the discourses about the body help to understand what is at stake concerning identity which livens up the dramatic tension of the narrative structures. For example, in the work of Cheikh Hamidou Kane, the body becomes the motive for a metaphysical apprehension of the "esse". In Ken Bugul’s autobiographies, the affirmation of identity of the feminine "Me" refers to the existential condition, especially when the literatures show the conflicts of gender. However, we agree that the debate on identity and the body has its importance in the understanding in the psychology of the character. It also has its importance in the construction of meaning, through which society reveals its vices and virtues. Moreover, that is why in the works of Sembene, Abasse Ndione, Sanou Lô, Marouba Fall, Seydi Sow or still El Hadji Momar Sambe, the social implication of literary discourse fragments of meaning to which all writing about the body refers. The ambition of this thesis is to construct a comparative exchange between their richness of meaning
Mounsef, Donia. "À corp(u)s perdus, corporéité et spatialité dans le théâtre de Bernard-Marie Koltes et d'Hélène Cixous." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ56591.pdf.
Desnos, Yves. "Cognition, corporéité et situation de handicap de la personne adulte avec autisme et retard mental vivant en contexte institutionnel." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAG008/document.
We propose through this work of thesis a theoretical and clinical analysis in ecological context of the issue of the adult people, prone to the syndrome of autism with severe mental retardation, cared for within medico-social structures. These subjects constitute a specific population, because of the particular severity of their disabilities and of the great difficulty for others of reaching their subjectivity. According to a double ethical and epistemological approach, we worked out in a complementary way an understanding theoretical modeling of the cognition of these subjects, based on their developmental singularity, and a method of investigation of their experience and functioning, on several levels, adapted to the complexity of their issue and to their living environment. Following five case studies and an example of a psycho-educational systemic intervention, we present a synthesis of the factors likely to contribute to the disability situation of these subjects
Meidani, Anastasia. "Des médias aux centres de la remise en forme : jeux et enjeux de la construction sociale de la corporéité." Toulouse 2, 2003. http://www.theses.fr/2003TOU20091.
How does the passageway from a corporeity socially allotted to a subjectively suitable corporeity take place? Observation and analysis take into account physical activities, food, dress practices and esthetics which define the privileged stakes of the social construction of the body, as shown through a follow-up within a period of time. To seize the post-modern somatic culture, the examination of 274 press magazines enables to distinguish six body esthetic models. An ethnographic study of Health Centers makes it possible to objectify the types of institutional order which conveys these models. Thanks to 57 interviews, the heterogeneity of the body practices which play with these models (and play about it) takes the contours of a typology where fragile and anachronistic bodies (those of the disease or old age) are confronted with bodies in search of physical excellence (in which the sense breaks up according to the gender), without forgetting the body-symptoms (worked by the bulimia and the anorexia) and the bodies burdens (of which obesity is the typical figure)
Bénard, Michèle. "Apprendre à mourir à l'Âge des Sciences cognitives, vers un recours pédagogique informatisé pour s'approprier la psychologie constructiviste de la corporéité." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0016/NQ48087.pdf.
Sergent, Maud. "Recherche sur les modalités psychiques à l’oeuvre dans le métier d’acteur et l’art de l’interprétation." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC119/document.
To play to be other than oneself, such is the work of the comedian. The complexity of the practice of drama lies in one of the paradoxes that constitutes it. The revelation of a great actor is made by his disappearance behind the character. It is thus about venturing into the exploration of the theatrical game, to try to approach the psychic modalities that allow the exploit to be another than oneself without losing oneself altogether. To open avenues for reflection on how a subject grasps the actor’s profession for its inherent creative power, as for the modalities of expression that it allows, it will be necessary to consider the whole practice. From the desire of a subject to become an actor, to the pleasure of going on stage, through drama training and the creation of a character, a journey begins to the heart of the theatrical universe begins, close to the word of the actor. Far from trying to explain an artistic practice by psychology, it is a question of considering what dramatic art would have yet to bring to the understanding of human nature. What is the specific nature of the process of symbolization at work in the art of theatrical interpretation?
Soiron, Mélanie. "La longévité politique : ou les fondements symboliques du pouvoir politique au Gabon." Thesis, Lille 1, 2009. http://www.theses.fr/2009LIL12006/document.
Based on an initial question related to the Gabonese President’s longevity, we have highlighted the symbolic foundations of the political power in Gabon. These foundations are present within the four major state’s institutions. A detailed study of the conditions that led to the creation and evolution of these institutions allowed us to discover the logic behind the autochthony in the Parliament, the seniority in the Senate, the filiations (real and fictive) in the Government and finally the various representations supporting the Presidency. On this last point, we can distinguish an analogy between the two presidential institutions that followed each other from the fact that the actual head of State incarnates dynamics that are anterior to him and beyond his control. These relationships with power have been integrated with the previously quoted institutions. So they became natural, legitimate and stable. As a consequence, various symbolisms related to territoriality, seniority or filiation founds the existing institutions and allow the Head of State to perpetuate his function leading to the political stability observed in the last four decades
Pitard, Eric. "Un "sujet-mal-dans-sa-peau" ou d'une éthique de l'Alter-ité : corporéité, affectivité et subjectivité dans "Autrement qu'être ou au-delà de l'essence" d'Emmanuel Levinas." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAK013/document.
The question of the subject. A fundamental question which is like a red thread for those who want to talk and move in Emmanuel Levinas’ philosophical thought. Move in an untimely and always moving thought that moves and progresses as wave motion, continuous and catchy. Intimate movement and constitutes a powerful thought that, from its inception to its peak, has stopped wearing as much as to be driven by it, the abyssal question of the subject. Querying dizzying, indeed, that intimately doubles intense reflection on otherness, both part of a single breath, a single philosophical movement that Levinas means unfold patiently for his early works to his master-piece, his most arid, confusing, broken and disturbing work, especially by its ethical radicalism writing syncopated style : Otherwise than Being or beyond Essence (1974). A work of maturity which is developed and gives page after page to see a new face of the subject, both extremely accomplished, carved into the rock and even chased oh questionnante and subjected itself to controversy. A fragile subject – free of any egological stance, of any substantial base – expatriate in short as far as possible, its ancient lands and ontological privilege. Ethical subjectivity is what Levinas precisely exposes in all its glory and in its lower ribs and possible downturns ; subjectivity autopsied somehow open, as in spite of itself, the enigmatic work of an intimate otherness that has always inhabited
Barnabé, Aurélie. "Corps, perception, déplacements : de l'expérience kinesthésique à la cognition linguistique : étude du schème du chemin en grammaire et sémantique anglaises et statut de ce schème en linguistique cognitive." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30063.
Linguistic structures are considered to be underlain by conceptual structures in cognitive linguistics. Image schemas belong to these structures. Schemas are shaped on the basis of bodily and socially-anchored experience, which gives them a cultural and sensor-motor status. The present study demonstrates that syntactic and lexical characteristics of image-schemas can be identified, on the basis of Lakoff and Johnson’s theories (1987), while examining language usages. This study specifically focuses on the PATH-schema, which will be investigated through two corpus-based analyses. The first sample of occurrences, made up of 500 examples, is a corpus-illustrated analysis, which exemplifies all the types of paths that have been elaborated in cognitive linguistics. The second sample of occurrences is a corpus-driven analysis, made up of 1000 examples, which are divided into four verbs’ usages, i.e. come, go, rise, and fall. We are aiming at detecting the syntactic and semantic patterns of the PATH-schema. Our goal leads us to examine the notion of « embodiment », namely the conceptualization and the evidence of the embodied link of the individual to the environment, left in lexical constructions. Our data display several verbs involved in abstract descriptions. These usages will lead us to explore the status of the PATH-schema, and focus on its syntactic and semantic specificities, particularly when this schema underlies semantic extensions of come, go, rise, and fall. Issues concerning the verbs’ polysemy, their prototypical definition, and their potential grammaticalization, will contribute to revealing the cognitive reality of the PATH-schema. Finally, the quantity of verbs’ « abstract » usages, will lead us to investigate the notion of « embodiment », as cognitive linguistics defines it
Roche, Christelle. "Corporéité, estime de soi et prise de risque dans le traitement de l'apparence physique chez la femme noire : Etude comparée au Mali, aux Antilles françaises et en France métropolitaine." Caen, 2011. http://www.theses.fr/2011CAEN1618.
This thesis deals with the relations between his body image, self-esteem and the risks attached to interventions to change his physical appearance in different cultural contexts. We have an interest in black women Mali and Caribbean women. The problem involves linking of individual, social and cultural characteristics reciprocal modes of action and the impact they can have on the actual lines. To highlight these relationships, we built a psychometric tool for international purposes: MAP (Modification of physical appearance) consisting of 3 scales: t. Case body self-esteem scale and two scales created, one on the motivations (inspired by the theory of the motivations of Mr. J. Apter) and the other on the dimensions of risk. This tool was sent to 476 black women (Malian and Caribbean) surveyed in their respective countries and metropolitan France. Statistical analysis highlights the links between the different components and the role played by the independent variables (age, socio-economic level, being a mother). A more descriptive level, the responses tell us about how women live their corporeality; Indeed, according to the culture they do not react the same way. Thus the need to take into account the culture in the report that women have with their body and understand how these differences of cultures have an important effect as such, in the report to their own bodies, but also in the use of cosmetics
Villard, Marie-Aline. "Poétique du geste chez Henri Michaux : mouvement, regard, participation, danse." Phd thesis, Université de Grenoble, 2012. http://tel.archives-ouvertes.fr/tel-00919040.
Costa, Tarcísio Duarte da. "Educação popular e corporeidade: um estudo na perspectiva das pessoas que vivem com HIV/AIDS." Universidade Federal da Paraíba, 2012. http://tede.biblioteca.ufpb.br:8080/handle/tede/4671.
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Cette étude a porté sur la contribution de l'éducation populaire dans le développement de l'aspect sur la redéfinition de réalisation dans laquelle a permis aux gens vivant avec le VIH / SIDA quitter la condition de l'invisibilité et a agi dans certaines dimensions de leur vie. Le locus de la recherche était le Programme de Prévention et de Soutien pour les Personnes Vivant avec le VIH / SIDA, Caritas Archidiocèse de Paraíba et l'objectif était d'analyser les activités d'un groupe de théâtre populaire dans les MST / VIH / SIDA, mis au point par ce programme, entre les années 1999 et 2004, afin de comprendre la contribution de l'action éducative pour l'appropriation d'un mode d'émancipation. Les catégories théoriques: la corporéité, le sida et d'éducation populaire ont été développées par des auteurs tels que Le Breton (2007, 2011), Dussel (1977, 2012), Parker (1994, 2000), Freire (1992, 1997, 1999) et Gonçalves (2010) ainsi que des articles, des thèses, mémoires et journaux autour des thèmes. Ce fut une qualitative, descriptive et analytique, qui permet de systématiser l'expérience - basé sur Holliday (1996) - développé avec le théâtre, la recherche documentaire et entretiens semi-structurés avec 05 (cinq) personnes vivant avec le VIH / SIDA qui ont participé théâtre. Les entrevues ont été organisées, comparées et analysées par la méthode de l'analyse du contenu proposé par Bardin (1988). Les unités d'analyse ont été divisés en 03 catégories: le processus de création théâtrale, le théâtre et la dimension éducative de la perception du corps, et complétée par les cadres théoriques utilisés dans l'étude, avec l'interprétation critique de l'expérience systématisée, et les réflexions de la chercheur. Les résultats ont révélé que des principes tels que le dialogue, la sensibilité, le respect et l'appréciation de la connaissance, la perception et la compréhension de la réalité, et de surmonter les difficultés d'une importance majeure pour les répondants étaient présents dans le programme et la méthodologie qui étaient importants pour les personnes vivant avec le VIH / SIDA de découvrir l'importance de votre corps le monde.
Este trabalho tratou da contribuição da Educação Popular na ampliação do olhar sobre a ressignificação da corporeidade a qual permitiu que as pessoas vivendo com HIV/AIDS saíssem da condição de invisibilidade e agissem em algumas dimensões das suas vidas. O lócus da pesquisa foi o Programa de Prevenção e Apoio às Pessoas Vivendo com HIV/AIDS, da Cáritas Arquidiocesana da Paraíba e o objetivo foi analisar as atividades de um grupo de teatro popular na prevenção às DST/HIV/AIDS, desenvolvidas por este Programa, entre os anos de 1999 e 2004, na perspectiva de compreender a contribuição educativa dessa ação para a apropriação de uma corporeidade emancipatória. As categorias teóricas: corporeidade, Aids e Educação Popular foram aprofundadas por autores como Le Breton (2007, 2011), Dussel (1977, 2012), Parker (1994, 2000), Freire (1992, 1997, 1999) e Gonçalves (2010), além de artigos, teses, dissertações e revistas em torno das temáticas. Tratou-se de uma pesquisa qualitativa, descritivo-analítica, que utilizou a sistematização da experiência baseada em Holliday (1996) desenvolvida com o teatro, a pesquisa documental e a entrevista semiestruturada com 05 (cinco) pessoas vivendo com HIV/AIDS que participaram do teatro. As entrevistas foram organizadas, confrontadas e analisadas através do método de análise de conteúdo, proposto por Bardin (1988). As unidades de análise foram distribuídas em 03 categorias: o processo de criação teatral, a dimensão educativa do teatro e a percepção sobre a corporeidade; e complementadas com os referenciais teóricos utilizados no estudo, com a interpretação crítica da experiência sistematizada, bem como pelas reflexões do pesquisador. Os resultados revelaram que princípios como diálogo, sensibilidade, respeito e valorização do saber, percepção e compreensão da realidade, e superação das dificuldades de reconhecida importância para os entrevistados estavam presentes na metodologia do Programa e que foram importantes para que pessoas vivendo com HIV/Aids descobrissem a importância do seu corpo no mundo.
Ciocan, Cristinel. "Heidegger et le problème de la mort : approches génétiques et systématiques." Paris 4, 2009. http://www.theses.fr/2009PA040007.
The purpose of this thesis is to clarify the meaning of the phenomenon of death in the philosophy of Martin Heidegger. The first chapter underlines the place of the problem of death in the analytic of Dasein, explaining the significance of the concept of Existenzial. The second chapter elucidates the conceptual relationship between the phenomenon of death and several essential dimensions of the fundamental ontology: totality, being-with, understanding, affectivity, discourse, truth, conscience, temporality and historicity. The third chapter depicts, on the one hand, the genesis of the problem of death in Heidegger’s writings before Being and time and, on the other hand, the evolution of this problematic after the turn of the 1930s. The fourth chapter contrasts the problem of death with Heidegger’s antivitalism, explained on three related levels: life, animal being, and body. Finally, the fifth chapter shows the critical reception of the Heideggerian problem of death in the context of the French contemporary phenomenology, more precisely in the works of Jean-Paul Sartre and Emmanuel Lévinas
El, Alami Yasmine. "La consommation des objets connectés : une approche par la théorie de l'assemblage." Electronic Thesis or Diss., Aix-Marseille, 2021. http://theses.univ-amu.fr.lama.univ-amu.fr/211129_ELALAMI_962eqf797f166riw699vyq_TH.pdf.
This research addresses wearables’ consumption. Wearables are endowed with interactive capacities and autonomy, providing users with feedback regarding their body’s activity. This feedback constitutes a data double that permeates individuals’ embodiment. In so doing, it prompts tensions regarding the understanding of practices, especially when bodily sensations do not match with the data, which can affect the harmonious unfolding of practices. As such, wearables, individuals, and practices form an assemblage that represents their interactions. In this context, we investigate the following question: How do wearables, individuals and practices form an assemblage? To answer this main research question, this PhD dissertation consists of two parts. In the first part, we build on a literature review on the Internet of Things and wearables, individuals and practices to propose a conceptual framework, the Triad of Connected Practices (TCP) that assembles wearables, individuals, and practices. We anchor the TCP within assemblage theory, and build on the concepts of agency embodiment and performativity, to examine the relationships between wearables, individuals, and practices. In the second part, we present our fieldwork and results. A . Our findings shed light on how the TCP navigates tensions related to individuals' feelings of emancipations vs alienation; and to a paradox associated to technology, namely freedom vs control. We suggest four orientations to describe the TCP’s alignment that can help marketers build their positioning strategy as well as inform wearables’ design
Barbisan, Léa. "Le corps en exil. Walter Benjamin, penser le corps." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040161.
The body constitutes a discreet but persisting leitmotiv in Walter Benjamin's work. The question of the body is a privileged approach to Benjamin's anthropological thought, of great importance for the epistemological, ethical and political issues which structure and give consistency to his work. The first part of my thesis is about the theory of knowledge. I describe how the body, gradually leaving Benjamin's philosophy of language, becomes the matrix of an intention that cannot be reduced to subjectivity and is capable of subverting its categories and hierarchies. The body, neither subject nor object, close and disquieting at the same time, a place for suffering and desire, blurs the borderline between the ego and the world. This observation leads Benjamin to a reassesment of the division between the human being and nature. The second part puts into evidence the role played by the body in Benjamin's ethics which, starting from a reflection about somatic vulnerability, examines the separation between autonomy and heteronomy. As the part of nature that we cannot dispose of, the body is what gives us the feeling of time and enables us to understand our own historicity. The third part deals with Benjamin's thought upon the interpenetration of nature and history, as he witnesses the way technology affects the bodies of his contemporaries. Hence, he reflects on the emancipation of the masses, defined as excentric collective bodies without a precise identity or outline, threatened by capitalist exploitation and fascist domination
Hemery, Edgar. "Modélisation, reconnaissance du geste des doigts et du haut du corps dans le design d’interaction musicale." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEM075/document.
This thesis presents a novel musical instrument, named the Embodied Musical Instrument (EMI), which has been designed to answer two problems : how can we capture and model musical gestures and how can we use this model to control sound synthesis parameters expressively. The EMI is articulated around an explicit mapping strategy, which draws inspiration from the piano-playing techniques and other objects’ affordances. The system we propose makes use of 3D cameras and computer vision algorithms in order to free the gesture from intrusive devices and ease the process of capture and performance, while enabling precise and reactive tracking of the fingertips and upper-body. Having recourse to different 3D cameras tracking solutions, we fully exploit their potential by adding a transparent sheet, which serves as a detection threshold for fingerings as well as bringing a simple but essential haptic feedback. We examined finger movements while tapping on the surface of the EMI and decomposed their trajectories into essential phases, which enabled us to model and analyse piano-like gestures. A preliminary study of generic musical gestures directed our interest not only on the effective gestures operated by the fingers - in the case of keyboard instruments - but also on the accompanying and figurative gestures, which are mostly characterised by the arms and head movements. Consequently, we distinguish two level of interactions, delimited by two bounding volumes. The micro bounding volume includes the micro-gestures operated with the fingers, while the macro bounding volume includes larger movements with the upper-body. Building from this, we extend our piano-like model to a 3D interaction paradigm, where higher-level musical parameters, such as sound effects, can be controlled continuously by upper-body free movements. We explored a set of real-world scenarios for this instrument, namely practice, composition and performance. The EMI introduces a framework for capture and analysis, of specific musical gestures. An off-line analysis of gesture features can reveal trends, faults and musical specificities of an interpret. Several musical works have been created and performed live; either solo or accompanied by a string quartet, revealing the body gesture specificities through the sounds it synthesises. User experience feedback shows that the instrument can be easily taught - if not self-taught - thanks to the intuitive gesture paradigms drawn from piano-like gestures and other metaphorical gestures
Dock, Samuel. "Un signe à la surface : traversée psychanalytique d’un fétichisme contemporain." Thesis, Université de Paris (2019-....), 2020. http://www.theses.fr/2020UNIP7104.
Fetishism is part of an epistemological lineage made up of borrowings and assimilations, in which the disciplines that appropriate it are transvalued, in both their methodologies and dogmas, as they use it to consider phenomena that are internal to their field. “Paradigm of perversions” for Freud, “perversion of perversions” for Lacan, fetishism plays a decisive role in the constitution of the theoretical metapsychological frameworks that renders possible the analysis of the erotic variations, but also the subject’s relationship with the object in a more universal sense. When fetishism is no longer an object determined in space, but a surface in which the subject encases himself in order to experience his body differently and modify its image, do these models retain their relevance? What happens when the vocation of the fetish is no longer merely to promote enjoyment, but is used as an additional epidermis mobilized on a daily basis, in contexts beyond the sexual sphere? This research questions the use of artificial materials in a fetishism of a new aspect, made possible by recent industrial developments, not exclusively erotic. Productions that engage corporeality as a whole, from sensoriality to its representativeness. Our methodology relies on a series of clinical interviews and a comparative reassessment of Freudian, Post-Freudian and Lacanian corpora. The specificity of the concept of fetishism, at the intersection of the individual and the collective, will require us to return to its sociological and anthropological origins, all the more so since it is these disciplines which are nowadays reinvesting this object of study abandoned by contemporary psychoanalysis, in order to historicize it, to designate its current forms and their cultural and political underpinnings, and to thwart its normative instrumentalization. The hypothesis of a neo-fetishism, the fates of which we note in the psychic life of the singular subject as well as in postmodern society, therefore allows us to reflect on the future of the concept of perversion, particularly in the approach to minorized sexualities
Bierhanzl, Jan. "L'itinéraire de la signifiance éthique dans "Autrement qu'être ou au-delà de l'essence" d'Emmanuel Levinas." Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL024.
The paper here presented attempts to retrace the course of the ethical signifying. Although the main characteristic feature of this movement of signifying is the « for-the-other », we show that following the double phenomenological method called concretisation-and-emphasis, Levinas accomplishes this movement by means of other features: « unique sense », « starting from the self », « despite oneself », « the other in the same », « I am an other », « for nothing » and « by the other ». The chapter II brings a borderline feature « one-for-all-the others » which articulates ethics with justice. Eventhough, this list is not exhaustive, but simply indicative. This paper is not anything more than a digression in the movement of ethical signifying, an infinite movement, which precedes diachronically every attempt to give an account of it and interrupts the sense that the author believes putting in words. Then the investigations here presented can be interpreted as different modalities of the Un-saying (Dédire in french) of the Said which consists in putting in evidence the exception of the excluded third – our only acces to the Saying. In this perspective, chapter I tries to exceed the dichotomy lived significance / thematised significance, chapter II the dichotomy langue / parole, chapter III the distinction between sense and non-sense. The alternance of sense defines the status of the first three chapters: to thematise the « before » of the ethical signifying is impossible without thematising the « after » of the ontological signifying, which is always already interrupted by the « after the after » of the alternance of sense, and so on
Godfroy, Alice. "Ecrire, danser : prendre corps et langue : étude pour une 'dansité' de l'écriture poétique." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC012.
This study meets poets who don’t properly write about dance. Immersing ourselves in the works of Henri Michaux, Paul Celan, André du Bouchet and Bernard Noël, we try to perceive beneath the thematic silence of dance, the quest for a more elementary form of convergence. This quest is also a confluence out of which expressive gestures are born, before words are formulated; soulful movements which invite dancers and poets to enjoy a common experience of the inner body, its infra-motile stirrings, its inchoate motion. This gives rise to a new comparatist horizon, paving the way for a different experience of reading poetry. For a poem indeed does not dance, but is supported by a certain « dansité » -dancity-, which alludes to the corporeal movement underlying the poem and which appeals to the reader's own motricity. Following this trajectory at the limbo and origin before movement happens, transports us to the root origin of every act of creation, and enables us to envision a poetics for the arts, one which would have the choreographic experience at its core
Ribeiro, Tânia Cristina Costa. "NOS BASTIDORES DA DANÇA CONTEMPORÂNEA: Estudo sobre a corporeidade e formas de sociação." Universidade Federal do Maranhão, 2008. http://tedebc.ufma.br:8080/jspui/handle/tede/594.
La danse comme une construction sociale et d'exprimer une culture symbolique. Conçu comme une langue universelle et les approches unit les individus, communiquant à travers le corps. Cela consiste en une vie de matérialité dans un contexte social particulier, avec lequel il interagit de façon dynamique. La recherche a pour objectif d'étudier le corps, l'élection de la danse contemporaine comme un espace de discussion. Comprendre la danse comme un ensemble de techniques spécifiques, nous supposons que les corps tournoyant apportent avec eux des attitudes et des comportements qui diffèrent de ceux qui ne la pratiquent pas. Face à la proposition de cette étude se propose de comprendre les formes de discipline corporelle développée par des pratiques spécifiques qui sont détenus par des règles intériorisées, en montrant comment la formation de l'habitus en tant qu'organe Hexis (Mauss: 2003), définie comme acquis. Sur le plan méthodologique, le débat repose sur la description de l'expérience sur le terrain de deux groupes de danse sélectionnés pour d'autres recherches, en utilisant des questionnaires, des entrevues et des documents écrits ont été faites par les images et l'observation directe. Il ya deux expériences qui ont permis de percevoir la danse comme un phénomène symbolique, formes individualisées d'expression et la manifestation des critères d'appartenance dans un contexte de relations complexes.
A dança como uma construção social e simbólica expressa uma cultura. Entendida como uma linguagem universal aproxima e une indivíduos, comunicando através do corpo. Este constituído por uma materialidade vive em determinado contexto social, com o qual interage de forma dinâmica. A pesquisa tem como objeto de estudo o corpo, elegendo a dança contemporânea como espaço de discussão. Compreendendo a dança como um conjunto de técnicas específicas, partimos do princípio que os corpos que dançam trazem consigo posturas e comportamentos que se diferenciam daqueles que não a praticam. Diante da proposição este estudo propõe compreender as formas de disciplinamentos corporais desenvolvidos por práticas específicas que se realizam através de regras interiorizadas, revelando como se constitui o habitus como uma hexis corporal (MAUSS:2003), entendidos como adquiridos. Metodologicamente, a reflexão é pautada na descrição da vivência de campo de dois grupos de dança selecionados para o aprofundamento da pesquisa, utilizando aplicação de questionários, entrevistas gravadas e foram realizados registros através de imagens e a observação direta. São duas experiências que possibilitaram perceber a dança como um fenômeno simbólico, singularizado em formas de expressão e manifestação de critérios de pertencimento, num contexto de relações complexas.
Batézat, Batellier Pascale. "Analyse des pratiques effectives de l'enseignement apprentissage d'un instrument de musique à l'école : entre individuel et collectif." Thesis, Brest, 2017. http://www.theses.fr/2017BRES0085/document.
This thesis aims at a qualitative study of the teaching of an orchestral musical instrument and of a small group at two primary schools and one conservatory. The aim is to compare these configurations with that of individual teaching in order to know if they are opposed, complementary, and convergency.Our theoretical is on the Joint Action Theory in Didactics. We take support on the notions of learning games, the double dialectic contract/milieu and reluctance/expression, devolution. We also convene the following sociological concepts: concept of configuration, social habitus, didactic habitus. Our Methodology is based on the transcripts and photograms taken from the lecture sessions filmed during the three years of observation.Initial results show that students do not play in tuttis fifty percent of the time in the orchestra class. This teaching configuration of course influences the teaching practice and the content taught, as well as influencing the students’ relationship to knowledge through the choice of modes of privileged knowledge transmission. The relationship to the body, both in the students’ instrumental play and in the meaning they give to the teacher's gestures and mimics, is complex. The skills acquired by the pupils and described in the didactic analyses show that collective, restricted and individual teachings are complementary on certain points (collective playing, gestural understanding of conductors, collective listening, synchronization and/for instrumental courses, technical and musical play). They are convergent on other points (e.g. listening to the corrections, working on the sensations). They are complementary and inseparable
Métais, Fabrice. "Toucher l'autre par le monde, approche phénoménologique, éthique et érotique de la technologie." Thesis, Compiègne, 2013. http://www.theses.fr/2013COMP2081/document.
The relation to the Other takes place in the concreteness of ethics and erotic relations ; in addition, this relation is quite generally mediated through technological devices. Here, we will confront the phenomenology and ethics of Levinas with a vision of technology as anthropologically constitutive and constituting. In particular, we will seek to set up a dialogue between the revelation of the face, on the one hand, and on the other hand a functional description of embodiment that takes into account its technological augmentation through the use of tools. The technological augmentation of ethical bodies will be described as involving an irreducible gap between the appeal from the other and the possibility of responding, a gap within the very domain of responsibility itself. Finally, by means of a comparative reading of Levinas with the existential analytics of Heidegger, we will arrive at a description of subjectivity as consisting in the accomplishment by a being-in-the-world of existing for-the-other
Piccione, Caterina. "Être un autre : l'idée de personnage dans l’oeuvre de Luigi Pirandello, de Carmelo Bene et du Teatro delle Albe." Thesis, Tours, 2019. http://www.theses.fr/2019TOUR2001.
The philosophy of character looks at the identity through the mirror of the alterity. Considering the history of the ideas of vision, presence, representation and mimesis, it is possible to describe the expenence as a theatre. The world’s theatre concerns, at the same time, the Dionysian “one”, complete ecstatic fusion, and the Apollonian “two”, consciousness of the representation.“Being someone else” is an expression that aims to resume the central role of characters in the subjectivity’s formation. Since it is a paradoxical mix of βίος and Ζωή’, the character contains several possible lives. Therefore, it is an important element in processes of subjectivation: it shows an idea of life which develops in a body, in a certain space and time, but which also expands in infinity.The ontological characterisation of character, in Pirandello’s theatre, is related to the reflexion on the character that everybody has to wear in the world’s theatre. Because life doesn’t coincide onty wil.h onc form of individuation, there’s always a rupture between the Self-perception and Others perception. The rupture can be solved, in pirandellian conception, when the subject abandons his own identity, in order to fuse with the nature. This perspective is radicalized in Carmelo Bene’s theatre: his processes of de-subjectivation are essentially an oblivion of the individuation. The Teatro delle Albe gets across the desert of subject and object opened by CB, inheriting bis work on the chasm of the voice. Nevertheless, in the company poetics, there is the possibility to think the subjectivity according to new borders and new desires
La filosofia del personaggio pensa l’identità attraverso lo specchio dell’alterità. Alla luce della storia delle idee di visione, presenza, rappresentazione e mimesi, si delinea una teatralità dell’esperienza al limite fra l’uno dionisiaco, totalità della fusione estatica, e il due apollineo, percezione della scissione rappresentata. “Essere un altro” è un’espressione che intende riassumere il ruolo centrale del teatro nella genesi della soggettività. Intreccio paradossale di βίος e ζωή, il personaggio è un ricettacolo di vite possibili e si rivela, perciò, una figura decisiva nei processi di soggettivazione. Esso racchiude un’idea di vita che si sviluppa in un corpo, in uno spazio e in un tempo, che sono, al contempo, puntuali ed infiniti
Hattori, Yukihiro. "La duplicité de l’apparaître : recherches sur la phénoménologie matérielle de M. Henry." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100101.
The duplicity of appearing phenomenologically classifies appearances according to their modes of appearance: immanence and transcendence. By analyzing Michel Henry’s analysis of the history of philosophy, this study examines the fundamental presupposition that conditions this doctrine of duplicity of appearing and plays an important role in Henry’s material philosophy. The following question arises: how can we understand the essence of duplicity, which makes it difficult to comprehend the relationship between transcendence and immanence? To answer this question, we focus on Henry’s two major works: Philosophy and Phenomenology of Body and The Essence of Manifestation. By analyzing Henry’s interpretation of the works of Maine de Biran, Kant, Fichte, and Heidegger, we inquire whether the Kantian distinction between formal and transcendental logic serves as the condition that determines the duplicity of appearing and leads to the distinction of immanence from transcendence to eliminate the possibility of a relationship between them. This analysis leads to an understanding of a fundamental issue regarding the exclusive commitment of immanence to the principle of analytic judgments, with the commitment lending a paradoxical character to the duplicity of appearing
Bourdeau, Marion. "Espaces et interstices dans l'oeuvre fictionnelle de Colum McCann : éthique et esthétique de l'équilibre." Thesis, Normandie, 2019. http://www.theses.fr/2019NORMC033.
This thesis uses a hybrid theoretical approach mixing cultural geography as well as literature and stylistics in order to study the various spatialities that can be found in Colum McCann’s fictional work. It focuses on the writing of space, place and landscape, as well as on its ethical and aesthetical aspects. It analyses the way representing these spatialities forces the texts to try and find some sense of balance while the realities they describe and the world they were written in are characterised by in-betweenness and hybridity. These notions are at the core of this corpus, which is defined by an impetus that is both irrepressible and kaleidoscopic and that can be defined as a quest for balance in which ethics and aesthetics play a most essential role.The forms those spatialities can take, the bond the characters have created or create with them as well as the way they are inscribed in the contemporary world are analysed. This study also examines the writing of in-betweenness and hybridity, which can be factors of both balance and imbalance. This intermediarity encourages the development of an impulse which means creating dynamic trajectories towards the Other. This impetus interrogates relationships to Art and Otherness, as well as the (im)balance between aesthetics and ethics. It is therefore particularly relevant to scrutinize the latent contradictions between these two poles but also the creative, sometimes even democratic potential of their interactions
Fang, Xiaoling. "Enseigner la créativité ? : introduction à une approche mésologique de la formation des paysagistes." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0074.
What is the creativity of a landscape architect ? Is it possible to teach ? In the landscape professional teaching, the project workshop holds the central place. The "Doing" that we question is closely related to how to create and realize the idea through the design process. However, we usually neglect that the lived experiences of a man necessarily affect his vision and his way of acting. In other words, the lived experiences of the designer outside the project's context influence his ability to projectation and establish a pre-reflexive stage upstream of the creative act. In our study, we propose to add a "body" teaching to the knowledge and the practice learning. The idea is to expand the project teaching to the lived life of designer, based on the principle that the accumulation of body experiences plays a creative ability generator and trainer role. Our reflection leads us to consider the creativity of landscape architect as the ability to "weave with" sensible reality, aiming at the middle position (mesological) of the subject (designer) between the outer and the inner, natural and artificial, theoretical and practical worlds. This definition is similar to the knowledge of the act ("savoir de I'agir"), a term we propose in this thesis, referring to the basis of specialized knowledge, not only to the landscape project, but also the architecture project. We finally can try teaching the creativity by considering it in a mesological approach