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Статті в журналах з теми "Esthétique – Identification":
Zribi, Ahmed, and Jacques Faure. "Apport de l’analyse céphalométrique tridimensionnelle dans l’étude des déterminants morphologiques de l’esthétique faciale." L'Orthodontie Française 85, no. 1 (March 2014): 51–58. http://dx.doi.org/10.1051/orthodfr/2013071.
Fontanille, Jacques. "Le Couloir, la strate, le labyrinthe et le tableau. L’espace et l’observateur dans Passion de J.-L. Godard." Cahiers du Centre de Linguistique et des Sciences du Langage, no. 1 (July 14, 2022): 55–85. http://dx.doi.org/10.26034/la.cdclsl.1992.3107.
Wolf-Fédida, Mareike, and Svetlana Radtchenko-Draillard. "Le sport et l’esthétique du corps dans les pays totalitaires." Movement & Sport Sciences - Science & Motricité, no. 100 (February 27, 2017): 5–12. http://dx.doi.org/10.1051/sm/2016014.
Barros, Sebastián. "Lo político y los procesos de identificación." Clivajes. Revista de Ciencias Sociales, no. 13 (September 21, 2020): 1. http://dx.doi.org/10.25009/clivajes-rcs.v0i13.2646.
Alexandre, Didier. "Henri Michaux, le barbare." Revue d'histoire littéraire de la France o 95, no. 2 (February 1, 1995): 199–217. http://dx.doi.org/10.3917/rhlf.g1995.95n2.0199.
Gossmann, Marlène. "Traversée d’une œuvre : Sun Tunnels (1973-1976) de Nancy Holt." Texte et image, no. 1 (April 14, 2011). http://dx.doi.org/10.58335/textetimage114.
Karoline, Truchon. "Invisivilité et invisibilisation." Anthropen, 2017. http://dx.doi.org/10.17184/eac.anthropen.058.
Cortado, Thomas Jacques. "Maison." Anthropen, 2020. http://dx.doi.org/10.17184/eac.anthropen.131.
Дисертації з теми "Esthétique – Identification":
Hurtado, Ordoñez Nelson Adolfo. "Éléments d’esthétique anthropobiologique pour une esthétique critique." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080134.
Man has remained as a supposition at the very heart of scientific and philosophicalthought. Today still the anthropological inquiry seems quite redundant since man is3 considered a being who is able to internalize his life's value and meaning, that ofothers and of his surroundings, as far as he can rule everything by the diktat of social and political consensus. With that understanding, man's history has not been otherthan the history of a philosophical injustice which has lost him through the logic of discipline and domestication. It has plunged him into a devastating fight against thedesire that he is, a fight that presents itself under the form of a total experimentation of man's world and of himself. We owe to critical thought that the anthropologicalinquiry has become the inevitable path that leads man to his own life, that he can only live with his social partners. The political, ethical, moral, aesthetic and metaphysicalprinciples which conceive man as an available being, doped on the pleasure gained in a life ruled by the economy of action are dismantled by Arnold Gehlen and JacquesPoulain. Based on the discovery of communicative process which constitute human life, the latter has unveiled the dynamics of the aesthetisation of the world and of the self-destruction of individuals and groups that appear covered with the cheerful mask of the best possible ways of life. Thus, against all prognostics, Poulain'santhropobiological aesthetic opens both a new path to an objective and truthfulunderstanding of man's reality, as well as it gives access to the aestheticinternalization of theoretic life which is man's
Moizan, Julien. "Théâtre, psychanalyse et phénoménologie : des révélateurs de l'intériorité : un projet psychothérapeutique ?" Paris 7, 2010. http://www.theses.fr/2010PA070091.
A three-fold theatrical aesthetical, phenomenological and psychoanalytic approach places each one of these approaches under consideration, respectively since their emergence and in their historical developments. In theatre, which is the transgressive passage of subject's interiority (private world) towards the exterior (common world), mimèsis (imitation) activates the imagination in dialectic with negation. Characterised by its psycho-corporal limits, the envelope encompassing the outside or the inside is revealed through the introjective process. The outside is founded on the perceptive Spaltung (splitting), and instituted by the projection of intentionality. The fantastical and illusory nature of interiority is shown. Henceforth, the analyst embodies psychopathological determinants and processes to create the illusion of similarity and thus promote introjection
陳, 紅星. "Entité - Identité - Identification : ce que l'art contemporain fait à la philosophie." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0138.
What is art? What is art after and according to contemporary art? This PHD dissertation starts with the observation of a paradigmatic turn in artistic evolution, and tends to analyze the cause and the very nature of the so-called "crisis of contemporary art" in France in the 90s of the last century. All of the debates subsequently lead our research into the essential questions related to the definition of art, the existence modes of works, and the artistic function. It is an ontological approach with an analytic spirit on the identity of art and art after and according to contemporary art
Jeung, Sookhee. "Création et bonheur : Gaston Chaissac, un itinéraire artistique." Paris 8, 2008. http://www.theses.fr/2008PA082991.
This research, "Creation and happiness: Gaston Chaissac, an artistic itinerary", aims at discovering happiness through the clumsiness and the dissonance which strikes profoundly the work of Chaissac. From the encounter between the art and the non-art, between reality and unreality, the role of Chaissac's art questions itself. In the composition of pell-mell, the order is suggested. While staying on the fringe of society, its heart addresses her. Thus pushing us to think about our habits, its work gives a message of love. Through the transmigration of objects whose lives seem to have come to their end, he suggests another version of life and happiness. Creation is considered as a time of convalescence before being a creation. Art as the vital force leads man to life. This life, recalling love and past, dedicates itself to the present and the future. Thanks to art, the life of Gaston Chaissac topples over on the other side of the river and he finds the taste of life. And finally, thanks to his art, we find the soul of the child hidden in us
Droin, Nicolas. "Paysage et dépaysement dans l’œuvre de Michelangelo Antonioni : de "Blow Up" à "Identification d’une femme"." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100175/document.
The work of Antonioni is a fertile field to study landscape in cinematographic art. This study focuses on Antonioni's cinematographic disorientation, from Blow up (1966) to its come-back in Italy with Identification of a woman (1982). My work aims at showing the importance of a changing and cineplastic vision of landscape which integrates the question of editing, motion (of image and inside the image itself), in order to highlight the rhythmic, metamorphic and plastic strenghts of the image-landscape in the cinema. Having shown these strenghts, I intend to interrogate the question of landscape from the notion of disorientation. Disorientation represents an operating materiel to think the cinematographic image, its deterritorialisation, its motion. Disorientating landscape in Antonioni's work leads to a dialogue with art history, which implies to rethink the major aesthethic questions of the 20th century (from abstraction to informal art, by Land-Art and performance) in the context of a cinematographic study. The question of disorientation requires new tools to rethink landscape in the cinema. I suggest to name « inter-landscape » the constitution of a landscape which integrates peculiar to image in its plastic processes relying on notions suchs as interval and inter-images. A cinematographic « inter-landscape », as can be define from the work of Antonioni, offers a plastic mobilisation of the image-landscape which allows to interrogate, in turn, contemporary artistic practice
Combette, Charles. "Héros de bande dessinée : entre présence et absence." Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30053.
What is a comic book hero? How does it work? Why is it so? These are the three main issues that we intend to cover in the pages of this thesis. This is mainly the study of the relationship between the reader and the hero that will allow us to respond. This relationship, we call identification, it is both recognition and projection. It is in this double movement - the hero to the reader, the reader to the hero - that we find our purpose. Our journey will take us to define the hero so diachronically, but to focus on its origin and historical development (with particular attention to the production and reflections Rodolphe Töpffer) as synchronically by comparing the heroes of other mediums. Defining the hero by identificatory function, we will study it by analyzing the graphic strategies implemented by the authors of comics for it to happen. This will allow us finally to draw aesthetic and ethical conclusions of this operation, and to specify the nature of the experience of the comic. This research will therefore appeal to be completed, tools from various fields such as plastic analysis, semiotics, aesthetics, philosophy, literary studies, etc
Efone, Ekemi Shella. "La question de l'originalité dans le roman contemporain : Identification des caractéristiques stylistiques dans trois oeuvres : La Place d'Annie Ernaux, Lac de Jean Echenoz, La Place de l'étoile de Patrick Modiano." Thesis, Tours, 2015. http://www.theses.fr/2015TOUR2015.
The subject of originality in the contemporary novel: identification of stylistics caracteristics in the three works of Annie Ernaux, Jean Echenoz and Patrick Modiano. This work consists in a relevant analysis of the stylistic features of the French novel these days. This work is based upon three approaches whose the first consist in identifying the relation of influence and intertextuality which link the texts of ours authors with the texts of their predecessors. The novel takes its roots in the literary heritage, and then it transforms itself progressively through the writing act. We have seen that Annie Ernaux, Jean Echenoz and Patrick Modiano are atypical authors who have been able to extract from the literary heritage its very substance in order to produce a masterpiece. In addition, we have conducted an analytical study of the writing methods used by each one of these authors
Crombet, Hélène. "L'expérience d'oscillation identitaire dans des dispositifs lectoriels." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30046.
My thesis deals with “the experience of identity fluctuations in reading devices“ : from a pragmatic and interactionist approach of reading, I regard the novels of my corpus as “devices” which allow the reader to experience a period in between. Given that certain “ways of reading“ may raise “ways of being“, I let an ontological perspective of the subject emerge, which is included in a process of dual subjectivation that alternates moments of pendular intervals between dispossession and repossession of oneself. My corpus of novels drawn from the French literature of the 21st century has the distinctive feature of relating the Algeria War in a narration setting which tends to project the reader into the minds of fictional characters, building up supports for his identification. The reader is thus brought to undergo the test of two identity fluctuations. The first would be characterized by a form of relative alteration with the reader going through a mere “disquieting queerness”. The reader may thus experience a process of “paradoxical hallucination”. The second one should be conceived as an experience of radical alteration : in some of my corpus novels, the subject is induced to project himself into the minds of sadistic fictional characters. This projection categorically disturbs the introductory boundaries of his identity, for he is brought to apprehend himself through a process of “negative hallucination”. This second degree in the alteration causes a dual emotion to emerge, abjection, half way between fascination and revulsion. One might consider that this feeling of revulsion would protect him, by enabling him not to annihilate himself in these unbridled inmost depths that he is brought to discover in himself ; and this phenomenon of reappropriation seems all the more tangible as these “eccentric” novels arouse a phenomenon of distanciation on the reader’s part. Thus he must make the effort to reconfigure by himself the apparently informal construction which is delivered to him, everything occurring as if the act of reconfiguration of the layout of the narrative seemed to happen before the layout of the narrative itself. Thought out as devices, these novels allow the reader to experience a period in between. This experience might send back to one single phenomenon of original acknowledgment. However the experience of these novels, regarded as “transitional spaces” taken up by characters as “transitional subjects”, would also raise a process of dynamic and permanent “personation” of the subject with himself
Trudel, Alexandre. "Une sagesse qui ne vient jamais : esthétique, politique et personnalité dans l’œuvre de Guy Debord." Thèse, 2010. http://hdl.handle.net/1866/5069.
This thesis offers a critical reappraisal of the work of Guy Debord through a close study of his literary and cinematographic self-portraits. The research offers a reading of Debord that sheds light on the author’s attempts at a “writing of the self”. Such writing, according to Debord, is intimately connected to the creation of a legend. The introduction shows how Debord’s unique trajectory blurs the traditional boundaries that divide aesthetics and politics. It explores the various means through which Debord attempts to redefine the status of the artist and the function of writing through a transformation of everyday life. In this context, artistic production becomes entirely subservient to Debord’s character, to his singular personality that manifests itself through the creation of a “Grand style”. By emphasizing the importance of lived experience over that of the work itself, Debord’s maneuvers are entirely within the modernist tradition. Indeed, chapter II shows how Debord attempts to participate to the politicization of aesthetics, a project that is also central to that of the historical avant-garde. Special emphasis is placed on how Debord’s work was constructed on the ruins of surrealism. To distinguish himself from his immediate predecessors, the Situationist movement substituted the Surrealist infatuation with dream states with a poetics of intoxication based on dérive (urban drifting) and on the intensification of the self. The last section of this chapter explores how both Surrealism and Situationism attempted to create modern forms of myths. Chapter III deals specifically with the mythological construction of Debord’s character. It situates Debord’s late memorialist project in a distinct French tradition of the “writing of the self”. It also explores the economy of Debord’s classical sources, underlying his fascination with the aristocratic ethics of the “Grand Siècle”. Finally, the question of the baroque worldview is analyzed in relation to Debord’s various strategies of manipulation. Chapter IV considers the question of identification. Whenever Debord speaks of his life, he only ever does so by using external elements, through the “détournement” of various literary and popular sources. We look specifically how such “détournements” participated to a complex revealing of the self. We then explore the question of Debord’s political imaginary, which constantly conjures up images from the nineteenth century (the so-called “dangerous classes”, conspirators, bohemians). This last chapter concludes with an interpretative analysis of Debord’s recurring allusions to well-known criminal figures (such as Lacenaire) in his work, in order to explain the preeminent function that crime and transgression play in the author’s sensibility.
Strohm, Kiven. "Impossible Identification : Contemporary Art, Politics and the Palestinians in Israel." Thèse, 2012. http://hdl.handle.net/1866/10211.
This thesis explores what it means for the Palestinian indigenous minority in Israel to produce art in a setting that has simultaneously controlled their movements and excluded them from full citizenship. It takes on the question of how Palestinian artists face discrimination within a monolithic state structure that defines itself primarily along religious and ethno-national lines. Most writing about art in colonial and postcolonial contexts tends to see art as a resource for asserting repressed ethnic, racial and indigenous identities in the face of ongoing control and domination. Art, in other words, is considered a political act of recognition through the assertion of a counter identity. The central question of this thesis concerns what happens when artists contest the colonial conditions within which they live without having recourse to identity-based claims about equality and rights. Based on intensive ethnographic fieldwork in the region, this research demonstrates that for Palestinian artists the political aspect of art is not related to claims about identity and that the relationship between art and identity is not homologous. Specifically, it explores artistic processes within a context in which spatiotemporal regimes of identification are being disrupted by an indigenous national minority. It establishes that politics in the case of Palestinian artists in Israel is a form of disidentification that is articulated through the figure of the present absentee. The central tropes found within the works of these artists can be seen as disruptive aesthetic acts, a “taking place” of politics that is between art and non-art, and outside of given identities; that is, a scene for the rupture of the “sensible order” of Israeli society through the affirmation and verification of an already existing equality.
Книги з теми "Esthétique – Identification":
Reu, Johann Michael. Anthology of the theological writings of J. Michael Reu. Lewiston: E. Mellen Press, 1997.
Частини книг з теми "Esthétique – Identification":
Maltèse-Milcent, Marie-Thérèse. "L'œuvre d'art : un ailleurs familier." In L'œuvre d'art : un ailleurs familier, 205–21. In Press, 2014. http://dx.doi.org/10.3917/pres.barre.2014.01.0206.