Дисертації з теми "Dialogue – Dans l'art"
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Marinelli, Arous Hayet. "L'art de la langue dans le dialogue interculturel." Paris 8, 2012. http://www.theses.fr/2012PA083455.
Повний текст джерела"The art of language in intercultural dialogue" could be conceived as a genesis that is ongoing, for which continually contribute social and cultural, scientific, technological, economic and geopolitical events, and where intervene anthropological, philosophical, historical, artistic, sociological, psycho, psycho-cognitive, behavioral and paralinguistic facts and elements. The present work aims at illuminating the issues of intercultural communication by defining the anthropological components underlying this art and by deciphering the parameters that govern the interaction between language and culture, between the languages themselves and between cultures in the presence of the same territory in the exchanges between interlocutors of different cultural backgrounds. Through the study of the dynamics of language, is reflected its culture, one that strengthens language in its foundation and structure. Any individual brought his own world view by referring to common cultural assumptions that enroll him in a community, region, country or territory. The encounter with the Other is essential to enrich the human experience, because it necessarily leads to the confrontation of two or more distinct consciousnesses, thereby encouraging them to reflect actual or action for a reconstruction of themselves and their world. Thus the transformations take place even the smallest that affect primarily the art of language. Intercultural mediation plays an important role at this level of communication. It can restore the meaning of an utterance made on the merits of a common truth beyond saying that this would be a sham. This mediation is supposed to consider not only the explicit content of the message but also its implicit elements of context and paralanguage that accompanies it. This way it can ensure the realization of transactional intercultural dialogue. By putting himself first as consciousness and free opening then the difference of others, than later dialectically misunderstanding between them, the actors in this intercultural dialogue co-establish an original truth, thus contributing to the mutual enrichment of human experience. Globalization widen the gap between cultures of greatest economies and those in the Third World and contributes to the hegemony of the first across languages, cultures and habits in consumer aspects by the relocation of these exchanges and universalization. Paradoxically, this would produce a critical awareness and a spirit of rebellion of the people against their material living conditions and the consumer society. Conflicts generated by this form of intellectual liberation need to be overcome thanks to the use of intercultural dialogue as an implementation of a critical objectivity that allows to remove the mystery of the prerequisites for the establishment of a genuine dialogue transcultural based on mutual recognition of anthropological truths governing a kind of vase communicating between cultures in their complementarity. The purpose of this dialogue is to build an "All-World" that meets the aspirations of "Every-Man" as said Edouard Glissant, its realization may become effective from the time when cultural differences are targeted and the potential to go further and to be similar are listed in the starting cultures. In short, the main issue due to cross-cultural communication through language as art, art as language, culture prone to mutations, academic and philosophical speculation as trial, is now anthropological and transcultural. It relates to the need to restore an intercultural dialogue where hostilities arise between cultures, a dialogue capable of ensuring cross-cultural truths where there is war dispute
Jeridi, Sihem. "Les enjeux humanistes du dialogue entre poésie et peinture dans Les écrits sur l'art de Francis Ponge." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100064.
Повний текст джерелаFrancis Ponge undertook a dialogue with the painting to question the foundations of such interference such as it shows itself in the Parisian frame of the 20th century. This relationship conceived by the poet as an alliance participates of the institution of a humanist philosophy which cries out its attachment in the reality as the major principle of the artistic and poetic creation. The thematic and technical unity which governs texts relaying on systematic links which concern several aspects: parallelism of the practices, the convergence of the visions of the art, the uniqueness of the definition of artist... Ponge prepares the ground for a new turning point in its work which is the dialogue between the writing and the paint a thought which settled down definitively in the pages of The Workshop although it displayed throughout its texts in particular the first ones. Of a reflection which is outlined between the lines under the shape of a spun metaphor, the thought on the art dresses a major status in the poetics of Ponge
Harostéguy, Sébastien. "La référence à l'art ancien dans la peinture de Gérard Garouste et Martial Raysse : référence, dialogue, émulation rejet." Bordeaux 3, 2008. http://www.theses.fr/2008BOR30056.
Повний текст джерелаThis essay concerns the reference to the ancient art in Gerard Garouste and Martial Raysse’s work. It focuses principally on painting and aims at investigating the role of ancient and classical models in the creating process of both artists. A first approach, the one of historiography, allows emphasizing how difficult was the acknowledgement of Garouste and Raysse’s painting in France. It took place in a post-modern quarrel context, dominated by the polemic notion of “retour à l’ordre”. The second part is dedicated to the quotation, intended, from a literary point of view, as the “degré zero” of the relation with ancient art. We will refer here to the theory of intertextuality, initiated by Julia Kristeva in 1969 and promoted by the structuralism in the following decade. Thirdly, we will emphasize the fact that considering classical tradition makes easier a larger evaluation of ancient art role in Raysse and Garouste paintings. Their strategy of gap besides classicism’s normative values manifests itself as a rephrasing of painting’s categories and as a reassessment of the iconographic tradition repertory. Finally, their work inserts in a more specifically literary reflexion whose model is the humanistic doctrine of ut pictura poesis. Pictures define a space of meaning verbalization between the reminiscence of a hereafter of painting and recourse to the play potential of words, between transcendence and immanence
Côté, Amélie. "Une histoire de résonnance : un dialogue entre texte et images." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29336/29336.pdf.
Повний текст джерелаBasile-Martel, Sonia. "Expérience artistique d'une jeunesse atikamekw : l'art comme médiation favorisant le dialogue et la communauté comme lieu d'affirmation identitaire." Thesis, Université Laval, 2014. http://www.theses.ulaval.ca/2014/30574/30574.pdf.
Повний текст джерелаDottin-Orsini, Mireille. "Les représentations de la femme à la fin du XIXe siècle - la figure de Salomé et le dialogue entre la littérature et les arts (1870-1914)." Paris 4, 1996. http://www.theses.fr/1996PA040091.
Повний текст джерелаIn the late XIXth century, the changing woman figure, from the romantic muse to the femme fatale cliché, triggers off a dialogue between literature and painting which pushes into the limelight the obsession of the ontologically threatening exacerbated feminity. Woman is ambiguously presented as both giving death and sentenced to death. Scientists, more particularly physicians, confirm and foster the current misogynous statements, helping to turn female vampirism into a natural fact. This obsession is brilliantly illustrated by the manifold representations of the literary and pictorial myth of a fin de siecle Salome which gives it an eternal value, as well as the artistic guarantee of contemporary painters like Regnault and Gustave Moreau or even of renaissance painters. It also endows it with decorative elements and, lastly, sums up the war of the sexes in a most striking and final way. The biblical account is tampered with to the point of turning the dancer into a near goddess laden with the haunting fears born from female otherness and fin de siecle Eros. A period myth, both important and repetitive, but kept at a distance and made trite by omnipresent parody
Park, ChanYoung. "La Bible illustrée par Marc Chagall (1887-1985) : un dialogue interculturel et son évolution." Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040141/document.
Повний текст джерелаThis study examines all of the Bible illustrations made by Marc Chagall. Once he started to work on the Bible by etching, the biblical theme became the major subject of his art, and these etchings have been largely used as a model for his other works. We analyse this Bible and all of the other biblical illustrated books of Chagall to find out their characteristics and their meanings in his entire religious art. In fact, we can notice in Chagall’s journey from his birth to his Bible illustrations that this artist has continually been moving between his own Jewish tradition and the outside world. These comings and goings make in him a duality and it becomes dynamic in his creations. His etchings for the Bible show especially this feature. They take root in Jewish tradition but also show various marks of different cultures known by the artist. Nevertheless, we can’t find this characteristic again in any of his other biblical illustrated books, because in appropriating the outside world as his own, the duality disappears and unites. As he works on stained-glass windows in churches, he develops a philosophical view of the universal peace and love based on his interpretation of the biblical message. Then he seeks this universality through all his religious works and biblical illustrations until his last days
Turri, Hoelken Amandine. "La photographie dialogique : entre démarches artistique, politique et anthropologique." Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAG009.
Повний текст джерелаDialogy was developed in the 1920s by the Russian literary theorist Mikhail Bakhtin. He developed the concept in order to study the works of Dostoyevsky, before extending it more generally to communication. In the artistic context, dialogy entails the representation of dialogues, favoring thick description and non-totalizing responses. In documentary photography, the author adopts a dialogic approach, recognizing the other as an autonomous subject. Dialogic works promote sustained interaction with the interlocutors in the field.This thesis explores the dialogic approach in documentary photography from an ethnographic, methodological and epistemological perspective. The first part focuses on my own fieldwork from 2012 to 2017 with a group of "zonard.e.s": the ZONE 54 project. The second part links the fundamental principles of dialogy, the ZONE 54 project, and other dialogic documentary works by such photographers as Allan Sekula, Susan Meiselas, Marc Pataut and Gilles Saussier
Blancard, Marie. "Les spectacles intérieurs de Leonora Carrington, Frida Kahlo, Gisèle Prassinos, Dorothea Tanning et Unica Zürn. : Dialogue entre écriture et arts plastiques." Cergy-Pontoise, 2006. http://biblioweb.u-cergy.fr/theses/06CERG0296.pdf.
Повний текст джерелаThis dissertation intends to study the creative imaginative worlds of five twentieth-century artists linked to the Surrealist movement : Leonora Carrington, Frida Kahlo, Gisèle Prassions, Dorothea Tanning and Unica Zürn namely. By focalizing on their double practice, i. E. Their literary and visual art practice, our study aims to define the originality of their “inscapes”. Their works, which are focused on self-representation, question the notions of reflection and identity and the fact of belonging to a particular gender. Deeply influenced by traditional or conventional codes and models, these artists emphasize the difficulties to define one’s position in a world still largely dominated by patriarchal discourses
Tschech, Christina. "Devenir paysage : dialogues corporels avec la nature dans l'art des années 1960-1980." Paris 1, 2010. http://www.theses.fr/2010PA010709.
Повний текст джерелаGorisse, Marie-Hélène. "L'art du point de vue : étude dialogique du pluralisme Jaïn dans le Prameya-kamala-martanda." Lille 3, 2011. http://www.theses.fr/2011LIL30030.
Повний текст джерелаThis dissertation investigates the notion of context in Mediaeval Jain theory of knowledge, within the perspective of contemporary discussions in the field of philosophy of logic. The selected corpus in the last chapter of the PrameyaKamalaMartanda, The sun that grows the lotus of the knowables, written by the end of the tenth century of Christian area by Prabhâcandra. This chapter has not been translated in a European language yet, and our work contains a edition as well as French translation of it. The aim of the translated chapter is to present three approaches dealing with the notion of context. Among them, the first is referred as the "theory of standpoint", according to which one might acquire partial knowledge, that is to say knowledge dependent on a theoretical context and hence express but a subset of the numerous aspects of a given object of knowledge. The second approach is the theory of the modes of assertion, which enables one to make explicit the parameters implicitly present in every assertion. And the third approach is the theory of "cryptic inferences", which is a method to present inferential statements in a hidden way. From this, the comprehension of the meaning of an inferential statement calls for a work on its linguistic for, which reveals a range of deeper meanings. The aim of this presentation is to provide with an understanding in contemporary terms of the notion of context in Jainism. We chose to develop this reading within the frame of Dialogical logic, since this logical frame enables one to handlea pluralitu of sets of norms
Crousier, Elsa. "Marta Traba ou l'art en écriture : recherches sur les dialogues entre littérature, critique d'art et arts plastiques dans l'oeuvre de Marta Traba." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2125.
Повний текст джерелаMarta Traba (1923-1983), an Argentinian-Colombian writer and art critic, is most famous in Latin America for her critiques, her commitment to develop modern art in Colombia, and, more generally, for her “theory of resistance” which advocates the defence of the many cultural Latin-American identities in fine arts. Her literary work, however, is far less well-known. And yet, not only is it very rich, but it also constitutes the narrative counterpart to her critiques – a collection of tales innervated, to different degrees, with Traba’s notions on and knowledge of art. It is consequently about reconsidering these two sides of her written production as a consistent whole, and identifying the influences and interactions between her art critiques and her literary work, as well as between the fine arts which make up her artistic culture and her fictional writings.It then appears that Marta Traba devises and practices her critical writing “literarily” as she does, above all, her literary work “artistically”: the constant enhancement of the aesthetic eye on the world and of an intensified sensory experience shape an ideal of contemplation throughout her literary work; the continuous inserts of a critical terminology and of references to art works, sometimes in a clearly didactic mode, sometimes in a subtly playful manner, invite the reader to read her fiction stories and poems in the light of the artistic subtext which enriches their meaning; finally, the tale becomes the place where Traba’s theories of “resistance” are tested, at the crossroads of the re-affirmation of the place of Latin America on the map of international art, of the defensive distancing from North American influences, and of the local re-appropriation, by “transculturation”, of the foreign artistic models. The study of the artistic mutation of Traba’s literary work is therefore far from boiling down to the analysis of a mere formal process: from our point of view, it reveals an authentic style, Traba’s style, which is the mirror of the writer and her convictions
Kieffer, Félicie. "Étude par analyses protéomiques du rôle de SUMO et de FMRP dans la régulation de la diversité protéique de la synapse." Electronic Thesis or Diss., Université Côte d'Azur, 2022. http://theses.univ-cotedazur.fr/2022COAZ6016.
Повний текст джерелаSynapses are highly specialized structures that interconnect neurons to form functional networks dedicated to neuronal communication. Synapses undergo numerous rearrangements including constant changes in their protein composition. In order to create protein diversity, several processes come into play, from transcription to translation local to the synapses. Indeed, from the same gene, several proteins can be synthesized under the action of different stages of mRNA maturation. Moreover, once synthesized, proteins can also undergo post-translational modifications such as methylation, ubiquitination or SUMOylation, which can modify their stability, their localization or their ability to interact. Thus, many processes are involved in protein diversity, themselves involving many actors. During my thesis, I studied the role of two actors in the regulation of protein diversity at the synapse: SUMO and FMRP. These studies allowed me to gain a broad view of the importance of SUMO and FMRP in neuronal physiology through proteomic analyses.SUMOylation is a post-translational modification that consists in the covalent but reversible attachment of the SUMO (Small Ubiquitin-like-Modifier) peptide to a target protein. Although mostly present in the nucleus, SUMO is also an important regulator of synaptic functions. To obtain a comprehensive view of endogenous SUMO-modified synaptic proteins, we combined subcellular fractionation of rat brains with immunoprecipitation coupled to mass spectrometry analysis. Our screen identified 803 SUMOylated candidate proteins, which represents approximately 18% of the synaptic proteome. Our dataset includes neurotransmitter receptors, transporters, adhesion molecules, scaffolding proteins as well as vesicular trafficking and cytoskeleton-associated proteins, defining SUMO as a central regulator of synaptic organization and function. Furthermore, many of the proteins identified in our screen are directly involved in neurological disorders, suggesting a participation of SUMOylation in the etiology of brain diseases. The identification and characterization of these SUMOylated proteins highlight that SUMOylation participates in protein complexity at the synapse, regulating many neuronal functions.Another important player in synaptic protein diversity is the FMRP protein. It is an RNA-binding protein that is absent in patients with Fragile-X Syndrome (FXS). This neurodevelopmental disorder is the major cause of hereditary intellectual disability and the first monogenic cause of autism spectrum disorders (ASD). FMRP is a predominantly cytoplasmic protein known to control local mRNA translation at the synapse. Interestingly, FMRP has both nuclear import and export signals. However, the functions of the protein in the nucleus remain poorly documented to date, particularly in mammalian neurons. By co-purification experiments coupled to mass spectrometry analysis, we have characterized the nuclear interactome of FMRP. This includes several proteins involved in transcription, splicing or nuclear export of mRNAs. Our work suggests that FMRP is a regulator of protein diversity by controlling not only local translation at the synapse but also by participating in the diversity of the transcripts repertoire modulating for example, splicing or editing
Rascle, Floriane. "Écritures dramatiques et romanesques des XXe et XXIe siècles à l’épreuve des arts non verbaux. Modèles et dispositifs." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA110.
Повний текст джерелаThe observation of the presence of non verbal arts within the works of Marguerite Duras, Lawrence Durrell, Elfriede Jelinek and Péter Nádas leads us to examine the musicality and the iconicity of contemporary dramatic and novelistic writings in terms of model, pattern and devices. Dialogue, hybridization, polyphony, dialogism, intermediality, and what Jacques Rancière calls “impurification” within the “Aesthetic Regime of Art”, display the dreams, desires and longings of verbal art for other arts, but also for representations whose artistic content is arguable. The fact that contemporary writings produce an organic, sexual, erotic, even pornographic body invites us to focus on the interactions between arts and non-arts with regard to their performative devices and to propose a queer reading of the works. In Postmodernism, the fact that writings draw on non verbal forms can be understood as the expression of the failure of Logos – both language and reason – and of representation. Moreover, what is also at stake is an aesthetic and political reform of literature. Whether they tend to impose new verbal models or break into them, non verbal arts contribute not only to reshape literary forms but also to emphasize their political substance and renew their fictional content. This dissertation aims to investigate the crossroads between aesthetics and politics that the various relationships between verbal and non-verbal arts display, from mid-20th century to the beginning of the 21st century, within Literature, the verbal art par excellence
Martinez, Eloy. "Le plaisir de créer : élaborer des stratégies pour engager un dialogue philosophique interactif sur la notion de plaisir dans la création artistique chez les étudiants en arts plastiques au collégial." Mémoire, 2009. http://www.archipel.uqam.ca/2642/1/M11196.pdf.
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