Дисертації з теми "Illustrations – Esthétique"
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Radha, Ramyar. "L’éternel retour de l’expressionnisme et la plasticité du devenir." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080036.
Повний текст джерелаThis work fits directly into a self-criticism of the flesh that is topical in my work. It opens with the question of the instantaneousness of the realization of the work and takes account of the mark of a whole history in order to prove the organic as the force animating the becoming-image, the becoming-body-creator and Becoming as the function of time. How? While searching the necessary palpitations, in the flesh of the work, among my lines, my colors and my letters. This study develops the meaning in order to prove the return of the pathos as a necessity. It is thus positioned in the name of a research on the plasticity of becoming in order to trace the imprint of “Nachleben” Warburgien (the continued life), in the expressionist landscape that takes up my creative enterprise. My first analytical field opens with the history of Warburgian art, to which the bases of iconology have been added, and secondly to the signals of life mutated in form. And thirdly, on the imperatives that give rise to the art form: taking into account the signs of pathos, my studies open at first to the Nietzschean untimely and becoming-form, where action is like the function of time And plasticity / fracture is inherent in the ratio of forces in the making. Then I discovered the thought of Bataille and his vision of art as a game. Returning to the prehistoric smile of the man-bird of the scene of the well of Lascaux and his art of the tragic game, I trace new itineraries with the image Of strangeness. Those who, through the annunciation of the Quattrocento, bring me back to my own Annunciation, which is the account of a victory over oneselfThe Bataille’s "game of art" thus guides me to the game of memory and forgetting Nietzschean where my affirmation takes its sources. Then opens a view on the foreign becoming in the blind owl of Hedayat where the power of drunkenness animates a new way of seeing, reveals a too full of forces and approaches a work of excitement. Image arises thus being a phenomenon in its becoming-form. It is a becoming that highlights the main features in a perception of the thingness of the thing, as the meaning that matters. In this transmutation of the visible to the plastic, the thing is no longer a unit but a set of quanta in a relation of the action-distance. The image is thus the narrative of a multiple becoming, of the inevitable splitting of the seeing that marks what the creator sees and what regards him, this worrying background of all time, the affirmation of the tragic joy and Wisdom in pain
Hétru, Jean-Michel. "Image et cinéma." Grenoble 3, 1990. http://www.theses.fr/1990GRE39006.
Повний текст джерелаThe motion picture art fits within the scope of a twenty-century-old process destructive of icons, in which it stands out as a compromise beetween a need of icons to provide man particulary with answers to the great mysteries of life and the denial of these very same icons by iconoclasm that can't admit them for fear of self-destruction. The seventh art then elaborates a deceptive mechanism that replaces the icon, acutely required by man's needs, with a substitute agreed to by the iconoclastic trend. At the same time, it carries out and expands the undermining process characteristic of iconoclasm : its pictures nose into an individual, pull his strings and manage to stand in for his own icons. Hence the cinema is a poisonous present from iconoclasm to man and his need of icons so as to soothe the withdrawal symptoms caused by the smothering of icons in the western world. But the iconoclastic weeding out the cinema has a hand in has reached such a stage that noticeably the constituent bearings of either the individual or society have been altered. This shortage of icons is no longer bearable and calls for some ground swell favorable to the existence of the latter, which will be observed on the level of the motion picture art as well as on the scale of our civilisation
Beguery, Jocelyne. "Esthétique contemporaine de la littérature d'enfance et de jeunesse : sublime et esprit d'enfance." Paris 13, 1998. http://www.theses.fr/1998PA131005.
Повний текст джерелаWe intend to show certain lines of force running through contemporary aesthetics by the analysis of some areas of children's and juvenile literature, more specifically that of the illustrated album (produced by a few so-called creative publishing houses) and the art book, and occasionally that of the novel. The illustrated album, seen as the theater of an aesthetic and artistic exprience, allows us to construct and theorize the notion of " friendship " between the child and the artistphilospher of today. This notion, coupled with that of the " spirit childwood ", cristallizes some of the crucial questions in contemporary art, its putting of itself at stake by its own game (open work), its taste and search for origins, its metaphysicals envolvement. Thus the meeting of artistic works and gestures with the childwood world manifest, in our time, an idea of art and an idea of childwood. It also gives evidence of the affinities between these ideas which shall be explained through the notion of the "sublime" both on historical and conceptual levels. Theoretical tools and fundamental concepts have enabled us to create a classification of the works : - they are the scene of a genuine aesthetic experience showing signs of supposedly avant garde pedagogy and aesthetics. - either they give examples of a post-modern baroque world through games and writing inventions. - or they update a "sublime" of childwood, hesitating between modernity and romanticism. - they thus, in their majority, concern a literature of limits, an attempt towards greatness, an utmost attempt to reach small children and their elders. It appears acquired that only the aesthetics of limits and, more precely, a theory of the sublime can allow, beyond the ideology of the child-artist, the conceptual justification of the idea of a natural "friendship" linking childwood and art today. This theory discusses the essential features of contemporary aesthetics, in creation, that are at work in children's and juvenile literature
Radha, Ramyar. "L’éternel retour de l’expressionnisme et la plasticité du devenir." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080036.
Повний текст джерелаThis work fits directly into a self-criticism of the flesh that is topical in my work. It opens with the question of the instantaneousness of the realization of the work and takes account of the mark of a whole history in order to prove the organic as the force animating the becoming-image, the becoming-body-creator and Becoming as the function of time. How? While searching the necessary palpitations, in the flesh of the work, among my lines, my colors and my letters. This study develops the meaning in order to prove the return of the pathos as a necessity. It is thus positioned in the name of a research on the plasticity of becoming in order to trace the imprint of “Nachleben” Warburgien (the continued life), in the expressionist landscape that takes up my creative enterprise. My first analytical field opens with the history of Warburgian art, to which the bases of iconology have been added, and secondly to the signals of life mutated in form. And thirdly, on the imperatives that give rise to the art form: taking into account the signs of pathos, my studies open at first to the Nietzschean untimely and becoming-form, where action is like the function of time And plasticity / fracture is inherent in the ratio of forces in the making. Then I discovered the thought of Bataille and his vision of art as a game. Returning to the prehistoric smile of the man-bird of the scene of the well of Lascaux and his art of the tragic game, I trace new itineraries with the image Of strangeness. Those who, through the annunciation of the Quattrocento, bring me back to my own Annunciation, which is the account of a victory over oneselfThe Bataille’s "game of art" thus guides me to the game of memory and forgetting Nietzschean where my affirmation takes its sources. Then opens a view on the foreign becoming in the blind owl of Hedayat where the power of drunkenness animates a new way of seeing, reveals a too full of forces and approaches a work of excitement. Image arises thus being a phenomenon in its becoming-form. It is a becoming that highlights the main features in a perception of the thingness of the thing, as the meaning that matters. In this transmutation of the visible to the plastic, the thing is no longer a unit but a set of quanta in a relation of the action-distance. The image is thus the narrative of a multiple becoming, of the inevitable splitting of the seeing that marks what the creator sees and what regards him, this worrying background of all time, the affirmation of the tragic joy and Wisdom in pain
Pauvert, Dorothée. "Félicien Champsaur et le modernisme : à la croisée des arts." Paris 7, 2010. http://www.theses.fr/2010PA070092.
Повний текст джерелаThe writer and journalist Félicien Champsaur (1858-1934) is the author of many literary works in which genres and arts come together. Inspired by the press and show, he establishes the hybridity as a model of his modernist writing (novels interspersed with ballets, collections of poems or songs). Champsaur incorporates themes from popular literature and distorts them by the influence of decadent literature. He composes for his "plastic novels" a pictorial writing at the junction between the "roman d'art", the "ecriture artiste" and impressionist painting. Champsaur's modernism also asserts itself editorially. As a true artistic director, the author positions his illustrated books midway between popular edition and bibliophile publishing. He also assumes the role of promoter of his works, by using pictures, advertising and cinema. Under the direction of this remarkable writer, iconography takes on a new dimension. Choosing illustrators trained in the aesthetics of painting and the media, he uses the image of the woman to rein vent the relationship between image and narrative and embody his modernist writing. In his "plastic novels", he exploits every whim permitted in page layout and typography to stage a book-show, which orchestrates text, pictures and their medium
Cardinali, Philippe. "Esthétique(s) de l'image et de la ville dans l'Italie de la pré-Renaissance et de la Renaissance : 1297-1580." Paris 8, 2008. http://www.theses.fr/2008PA082951.
Повний текст джерелаThis work focuses on two revolutions, one iconic, the other architectural and urban, which took place in Italy during the Pre-Renaissance and Renaissance periods. After Saint-Paul, sensitivity was considered as a complex cryptogram. These two revolutions gave it a new dignity. In the first revolution, the image of sign gives way to the image of representation, with the invention of geometric perspective by Brunelleschi. The second one sees the Middle-Age Hermeneutic City (a semiotic labyrinth in a world as enigmatic as the city) give way to the Optic City. The latter is characterized by its sensitive intelligence of which the inhabitants, who have become "operatore e speculatore delle cose" (the expression of the first perspective theorist Alberti), are witnesses. Our hypothesis is that these two revolutions are simply two dialectically connected phases of a single process, in which perspective plays a central role. We refuse to consider perspective as a simple figurative code, as illustrated in Panofsky and Argan's theories. In the first part of this thesis, I deal with the transition from image of sign to image of representation, using the images of the urban representation. In the art of Sienna, we understand how the geometrisation of the physical space through geometric perspective is the continuation of a republican management of urban terrritories. The second part focuses on the passage from the Hermeneutic City to the Optic City, viewed in the main urban creations from the Quattro and Cinquecento eras. The most significant repercussions of this double revolution up to the present time, will be discussed in the epilogue
Chéroux, Clément. "Une généalogie des formes récréatives en photographie : 1890-1940." Paris 1, 2004. http://www.theses.fr/2004PA010598.
Повний текст джерелаShim, Jiyoung. "Joan Miró, "illustrateur" des poètes : à la lumière de l'Extrême-Orient." Paris 7, 2009. http://www.theses.fr/2009PA070036.
Повний текст джерелаJoan Mirô dedicated an important part of his energy to creating illustrated books, unveiling a new relationship between text and image. For him, the poetry appears as the motor of renewal for his pictorial art and as that of his many collaborations with poets. The abounding creativity of his various books, which escape from any categorization for an illustrated book, allows us to sense the singularity of his art to illustrate the poetry. It comes more from the interpretation of the moment of his reading of the poetic text, than from the visual transposition of the textual content. His illustrations thus being far away from the literal representation of the poems, it is necessary to avoid ail analysis of the image based on a linguistic model, linked to the ideology of the mimesis. That is why we propose here a model of reading into this matter that is based on the Far-Eastern ideas of the visual, which is justified also by the affinity of Mirô with this aesthetics that manifests itself through his will to be a total artist (painter, poet and calligrapher) and his taste for ideogrammatical signs, as well as through even his creative principles. The concepts, proposed as a framework of reading include: the common creative principle shared among painting, calligraphic writing and poetry (Qiyun Shengdong)', the art of singular detour in the practices of painting from a poem-subject (hwaje-shi ); visual harmony between painting and poetic writing (shuhua tongyuari). The analysis reveals Miró as the illustrator of the poets, who proposes a visual interpretation of his reading experience and invites us to feel the union of his mind with the spirit of the poetry
Bernard, Caroline. "Problématique de la continuité filmique dans l'art contemporain." Paris 8, 2014. http://octaviana.fr/document/185098746#?c=0&m=0&s=0&cv=0.
Повний текст джерелаRelying on the specific material characteristics of the film medium, the works brought together in this study attempt to describe or depict the spacetime continuum. Filmic continuity is the continuity resulting from a camera recording and, in some respects, it resembles or is similar to the continuity of reality. Whenever a phenomenon is recorded, its spacetime coherence is at the same time transformed and preserved. By recoursing to filmic capture, the filmic devices of this corpus seek to appropriate reality as a material. Artists, when they cut and reorder filmic material, get around the inexorable quality of our spacetime condition and try to reveal otherwise inaccessible dimensionalities. Films supplant their original bidimensionality and take shape; they are tubes, ellipses, anamorphoses, sometimes to the point of becoming prehensible objects. This process of filmic transformation seeks to be as continuous as possible, with no breaks or tears, through topological distorsions. Filmic capture, being anchored in the territory, also makes it possible to appropriate time and space on a planet-wide scale. The viewing machine is sometimes globalized, and shooting is carried out remotely using a webcam with the operator thousands of miles away. The continuity paradigm is thus modified, for the filmic mechanism is pulled in two directions. Images become tools for measuring and deciphering the planet; films are then geodesic in nature, i. E. They contribute towards a poetic measurement of the globe
Chik, Caroline. "L'image paradoxale : les relations fixité-mouvement dans l'image optique, de la "camera obscura" aux animations interactives." Paris 8, 2009. http://www.theses.fr/2009PA083029.
Повний текст джерелаThis thesis aims to study the nature of links between fixity and motion that have been established all along the history of optical image, from its origins up to its most recent forms. In the digital era, the boundaries between image categories or states are opening up obviously. In particular in some artistic interactive animations, optical image is not necessarily a fixed picture or a moving picture anymore. Its seems to be, paradoxically and more and more, both at a time. The nature of image is not characterized by its state anymore since this one from now on is variable. Furthermore, it seems that the divide « fixed picture versus moving picture » has not always been in effect. A retrospective and panoramic look of optical image teaches us that it has always been questionned by close, specific and fecund links between both states. This hypothesis is borne out through a historical, aesthetic and technical study of photographic image in connection with movement, of optical moving picture in its constituent fixity, and at last of optical interactive image as fixed-moving picture. It relies on many pictures, works, devices, forms and figures that get from camera obscura to interactive animations, and that all tend to underline the paradoxical nature of optical image
Zoubouli, Maria. "L' image à Byzance : une nouvelle lecture des textes anciens." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0143.
Повний текст джерелаIn Byzantium eikon refers indiscriminately to all forms of representation and its use is a matter for multiple regimes, both conceptual and practical. The thesis starts from the first apologetic discourses produced by the iconoclast crisis and looks downstream, in the earlier literature, the Byzantine theory of the image, understood as a consequent system of thought that gives an account of the rationale, the constitution and the perception of plastic representation, and the types of discourse it generates. This theory is "ambiental", formulated through speculation within multiple contexts, from the dogmatic to hagiography; their juxtaposition allows us to see what the Byzantines' Idea of plastic arts is, through their interpretations of the process which transforms a physical object in an art image and their responses vis-à-vis the latter. Taking into account the antique conceptual heritage as well as the contemporary usage, proceeding by adjustment s, or even contradictions, the agents of this theory establish an original understanding of the image. Their positions, though fragmentary, reveal a breadth of subjects, supported by the fundamental Christian principles: a cosmology resulting from God's agnosia and the vertical split of the cosmos in created and uncreated, and the existential concept of hypostasis. The ratification of the form is absent and the focus is on content management, understood as a mutation of mimesis: the plastic image is not an apparent duplication, but participates actually in the being of the subject which is represented. It allows thus the passage from Theoria to Praxis and serves the will of the Byzantines to produce an experience from knowledge (visual or other). This confirms the thesis of Belting on the promotion of the image as presence vis-à-vis the image as aesthetic, at all levels, ontological, formal, functional or psychological. This ascertainment does not mean a lack of aesthetics; the later is now based on properties other than form, which probably are not aesthetic in the beginning, but they eventually become so
Madeline, Bertrand. "Les images vivantes à la Renaissance : légendes, discours et représentations." Thesis, Paris, EHESS, 2021. http://www.theses.fr/2021EHES0007.
Повний текст джерелаWhat could a Milanese dagger bearing the Latin inscription DANIELO ME FECIT / IN CASTELO MEILANO 1475 and the Hare drawn by Albrecht Dürer in 1502 have in common? What brings together an automaton, such as the mechanical monk of the Smithsonian Institution in Washington, dated to 1560-1570 and attributed to Juanelo Turriano, and the mutilated head of a bishop’s statue sculpted by Albrecht of Nuremberg between 1510 and 1520 and discovered in a mass grave in Bern? What do the following objects share: the Complaint of the Poor Persecuted Idols, illustrated by Erhard Schoen around 1530, and the unfinished Michelangelo’s Atlas, sculpted between 1519 and 1536; a pittura infamante and a painting by Titian; Leonardo da Vinci’s sfumato and a Renaissance anatomical illustration in which an animated flayed body reveals the mysteries of its corporis fabrica; an emphatic encomium of art discourse that exalts the illusion of life in a painting or a sculpture, and a votive counterweight from the late Middle Ages; the personification and prosopopeia that are fundamental to Erasmus’s Praise of Folly and the wax funerary effigy of Francis I that Jerome Cardan described as an imago viva?All these objects materialize a presence and have a close link with the topos, dear to the Renaissance, of the living image. During the Renaissance, the living image was a multiple phenomenon, with an anthropological dimension that this dissertation seeks to elucidate. For art historians today, it is also a theoretical object, that is to say a construct that can activate, as Giovanni Careri wrote, « a fruitful tension between the singularity of an object and the generality of a theory »
El, Sayed Madeha Mohamed Aly. "La création plastique inspirée du conte et son rôle dans le dessin des récits pour les enfants : recherche-action dans l'école élémentaire." Rennes 2, 2003. http://www.theses.fr/2003REN20051.
Повний текст джерелаTo sum up, we can say that the work realised here about drawings into tale books for children is a work based on the observation of the different kinds of illustrations, on the techniques used in the past or now. This global glance permits to travel through the history of this artistical work. This study is also about the child, the evolution of his visual perception in accordance with his age, and then, we can extract from it a way of drawing according to his taste. It led us to an experience in a primary school where we proposed to nine or ten years old children illustrations of three tales: "Aladin and the marvellous lamp", "The beautiful green partridge" and "The princess with a big nose". They had to tell us their favourite drawings and their way of choosing. In spite of their short answers, we succeeded in finding the ideal style for this age. Indeed the same type of pictures was chosen and almost always for the same reasons. Few years ago, the same work has been realised in Egypt with younger children. For the making of drawings, we took care about the difference of age between the two groups and their different cultures. However, we have noticed that the children who were questioned were open-minded because they chose surroundings, which weren't well known to them. All this work and researches we had to do for it have obliged me to be quite involved into an occidental culture, so different of mine, but I think it was a real enrichment in the personal field and I hope it will be the case in the professional field when I come back in Egypt
Zhang, Jing. "Prise en compte de l’esthétique dans la gestion des gammes de luminance des images." Electronic Thesis or Diss., Littoral, 2024. http://www.theses.fr/2024DUNK0704.
Повний текст джерелаAesthetic analysis of digital images enhances the visual content's aesthetic quality. By analyzing aesthetic features that influence visual perception through image data, computers can perform tasks like assisted image editing, aesthetic quality enhancement, and filtering for the best image. This thesis merges aesthetic image analysis with high dynamic range (HDR) imaging. We consider both the properties of HDR and the aesthetic characteristics of images during HDR image processing. The aim is to maximize the preservation of the original aesthetic features of images when adjusting HDR image display results, thereby achieving a pleasant visual experience. In this thesis, we propose a composition leading lines reconstruction method and two HDR image auto-adjustment methods. Regarding automatic adjustment of HDR images, we are developing a model based on a neural network to predict the adjustment curve of HDR images, and a model using a convolutional neural network to estimate the exposure adjustment value, by analyzing potential features of HDR images. Both methods automatically enhance the aesthetic quality perception of HDR images on HDR display devices by training neural networls to learn expert editing parameters from an HDR database. In order to analyze the aesthetics of image composition, we propose to reconstruct the leading lines of the image. Just like color, lighting, or the grain of the image, the leading lines among the aesthetic features that need to be analyzed. The proposed method identified implicit leading lines in the image through a line regrouping algorithm. We initially carried out an inter-expert consistency analysis to demonstrate the feasibility of our method. In addition, we propose a metric for comparing the two sets of leading lines
Devigne, Nicolas. "Georges Bataille, une lecture iconographique de "Documents" : valeurs d'usage des images au sein d'une revue d'avant-garde." Valenciennes, 2003. http://ged.univ-valenciennes.fr/nuxeo/site/esupversions/9aff80ef-c4e8-40ad-b645-b2c41bca56ed.
Повний текст джерелаPublished between 1929 and 1931, the journal "Documents" was a short-lived experiment, with contributions from the editor himself, Georges Bataille. Along with Carl Einstein and Michel Leiris, among others, Georges Bataille used this "ethno-esthetic" publication as a vehicle for his crusade against received ideas. The purpose of this study is to provide a detailed analysis of the iconography used by the author to illustrate his texts. A comparison between "Documents" and the other contemporary journals [ "Bifur", "Jazz", "La Révolution Surréaliste", "Le Grand Jeu", "L'Illustration". . . ] serves to identify Bataille's literary friends and foes. It shows that "Documents", a mixture of autobiographical and social writing, was Bataille's main tribune in his feud against another branch of the avant-garde, Surrealism
Safta, Moez. "LAfrique du Nord dans l'imagerie coloniale : le cas de la Tunisie." Paris 1, 1996. http://www.theses.fr/1996PA010605.
Повний текст джерелаBy inverting the hourglass of history, and examining literature, architecture and other forms of iconography, we have tried to detect the origin of certain tenacious prejudices that are detrimental to the mutual inderstanding of the french and maghreb peoples, and to show that colonial imagery is an esthetic reponse to questions posed during a specific period. Today, this same reponse poses questions about our present time, as this imagery is not anachronistic. The imagery divides the maghreb self into an autochtonous substratum and a european veneer, creating, through a hierarchy founded upon the mutation of meaningless exterior traits into essentiel elements, a self foreign to itself. It also transforms this self by the processes of de-culturation and acculturation. "re-presentation" and a "shared birth" do not equal "representation" and "shared knowledge". This imagery instigates one to reflect upon the social function of images as it is, in a sense, a dialogue between the image of "self" and the image of "other". The dialogue is a fluctuation between self and the self mirrored in others, the self and the photocopy of the other, the self and the blurred other, as well as the self and the erased other. Each image always returns to the same referent : the colonizer. The dichotomy brings us to propose a rough solution : the reorientation of the discourse on the maghreb identity
Li, Bing. "Dispositifs et pratiques du montage chez Raymond Depardon." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0040.
Повний текст джерелаThis dissertation studies the practices of montage in the photographic and filmic work of Raymond Depardon. In choosing this artist, we are recognizing not only him as one of the most important actors in the history of contemporary visuals arts, but also the capacity of his work as establishing pertinent associations between images, between images and texts (in his photography books), and between images and sound (in his films). Two introductory chapters try to present Depardon's personality and personal history (from his first experiences as a reporter to his condition as artist), and then general considerations on the subject of montage. The next chapter is dedicated to the analysis of the device of montage implemented in three of Depardon's photography books : Notes (1978), Correspondence new-yorkaise (1981) and Errance (2000). Here, we attempt to understand what is in play between images and texts, between "fields" and "counterfields", etc. We assemble a history of the "photoreport" and of its evolution towards the "journal". We also address Depardon's journeys across the world. Another chapter follows the "cinematographic paths" in Depardon, through three examples : Les Annees declic (1984), Montage (1994), and Delits flagrants (1994). It is here that the problematic elements of photography are developed in the sense of an analysis that is formal but also institutional. Depardon appears, throughout our study, as the incarnation of the figure of "the author as producer", following Walter Benjamin's ideas. Three annexes transcribe interviews carried out by three film editors that worked with Raymond Depardon
Bourget, Virginie. "L'oeuvre d'art à l'épreuve de sa reproduction imprimée." Rennes 2, 2007. http://tel.archives-ouvertes.fr/tel-00267657/fr/.
Повний текст джерелаPrinted reproductions of works of art are a source of an ambiguity in the status of the artwork thus reproduced. We observe this duality through three types of articulation of the work of art in the form of its printed reproduction: evidence, derivation and re-use. However, in indicating a confusion these forms do not allow us to distinguish between the artistic and non-artistic statement. The intention of the person behind the reproduction should make it possible – their action, following their intention, will be aimed towards a particular horizon; it should therefore be simple for the viewer to classify a reproduction, and yet, confusion persists. The reproduction of the work of art takes it into unfamiliar worlds, constantly shifting the boundaries between art and non-art through the action of exchange, rupture, and decontextualisation. It disturbs the ‘habitus’ that allows us to recognise the work of art; it asks us to endlessly re-examine the relationships which define it, to accept a play of boundaries that modifies not only the definition of the work of art but also the values and the aesthetic experience that it produces
Le, Ru Bénédicte. "La réception du conte populaire russe en France." Rennes 2, 2002. http://www.theses.fr/2002REN20009.
Повний текст джерелаThe reception of Russian folk tales in France is based on four types of audience. The Russian tale is translated by and for scientists at the end of the 19th century. If then enters the field of children literature. Diaghilev with the Russian Ballets (1909-1929) adapts it for the stage for a society audience. A few artists illustrate beautiful books for the literate adults. The emigration caused by the 1917 Revolution accounts for this Russian contribution. It includes avant-garde artists that contribute to the Russian Ballets, to art books and to the revival of the children books. The analysis of the translated tales reveals the translators' motives and choices. The fabulous fairy tales are the most often translated and the most appreciated. We tried to show problems linked to the translation of a narrative genre of oral origin, and the result of the stylistic effects peculiar to the Russian tale. The analysis of eight different translations of a same tale allowed to assess the proportion of interpretative reading of each translator. It led to stuuy Pierre Gripari who have appropriated some Russian tales, to bring them into his own literary work and thus, who gave new life to the tale genre. Illustrations have a particular place in the tale field. It is the first stage of the creation of the scenery and costumes of the Russian Ballets. The Russian illustrators achieved sumptuous books, deeply Russian, thanks to their talent, to their style and their faculty to bring out the structure of the tale to keep only the very heart of it. Non Russian illustrators were more concerned about representing Russia, and they built their illustrations on a few stereotypes meant to recall the oirigin of the tale. By the same token, the use of such clichés has contributed to turn into Russian a tale which was not (Goldilocks and the three bears, Michka) or to regard S. Prokofiev's musical tale Peter and the Wolf as a folk tale
Quine, Dany. "L'analyse phénoménologique et structurale de l'art sacré et la fonction sociale du mysticisme." Doctoral thesis, Université Laval, 1991. http://hdl.handle.net/20.500.11794/33515.
Повний текст джерелаMontréal Trigonix inc. 2018
Correia, Maria da Luz. "Intermitências na cultura visual contemporânea : o postal ilustrado e a imagem recreativa." Phd thesis, Université René Descartes - Paris V, 2013. http://tel.archives-ouvertes.fr/tel-00932174.
Повний текст джерелаCorreia, Maria da Luz. "Intermitências na cultura visual contemporânea: o postal ilustrado e a imagem recreativa." Doctoral thesis, Université René Descartes - Paris V, 2013. http://hdl.handle.net/1822/29216.
Повний текст джерелаCompreendendo a cultura visual contemporânea como resultante do jogo vivido entre as condições socioeconómicas, os avanços tecnológicos e as operações artísticas ao longo dos últimos dois séculos, perguntamo-nos: Quais as relações entre a imagem, a palavra e o real daí decorrentes? Quais as ligações entre os diferentes dispositivos do atual contexto mediático? Como caraterizar a interação entre as operações artísticas, o comércio social de imagens e os valores fundadores da instituição estética (arte/não arte, high/low, autor/espetador, original/cópia...)? Esta problemática encontra uma direção mais precisa na análise das imagens e dos usos do postal ilustrado ao longo das três primeiras décadas do séc. XX e dos anos 80, 90 e 2000 e ainda na recoleção das apropriações artísticas deste média, inseparável do advento da fotografia e da instalação de uma rede postal de comunicação mundial. Consideramos que, embora o arquivo científico em torno da iconografia coletiva se torne progressivamente extenso, nomeadamente com a afirmação de domínios epistemológicos que vão da sociologia do imaginário aos visual cultural studies, para apenas citar dois recentes exemplos, este não dispensa e pelo contrário torna premente uma persistente revisão da teoria da imagem, que tenha em conta diferentes aspetos do processo de tecnologização da mesma, iniciado no séc. XIX com a fotografia e o cinema, e que prossegue hoje com as realidades digitais e os ambientes virtuais da Web 2.0.... A revisão deste trajeto é elaborada no nosso estudo a partir das ideias de recreação e de remediação. A imagem recreativa corresponde a uma conceção paradoxal da imagem e da técnica enquanto entidades que seriam, por um lado, vocacionadas para “uma sensibilidade puxada à manivela”, retomando a expressiva fórmula de Moisés de Lemos Martins (2011), através de formas de alienação e de automatização, e por outro lado, favoráveis ao exercício da experiência e à afirmação da condição histórica, através de táticas de reinvenção, de rearranjo e de conserto. A noção de remediação, terminologia sugerida por Bolter & Grusin (2000) pressupõe um entendimento do complexo mediático contemporâneo enquanto um todo interdependente, unido por relações de colaboração e de hibridação não cronológicas, que entra em rutura com o linear esquema sequencial que distingue novos e velhos média. Uma cultura atravessada por táticas de recreação e de remediação é ainda, como o entreviu o visionário pensamento de Walter Benjamin (1991, 1992), uma cultura onde se instabilizaram as fronteiras entre as posições de autor e de espetador, os estatutos de original e de cópia, de high e de low, categorias artificiais de caráter normativo que se destinariam a legitimar o discurso da instituição estética, mas que se manteriam ausentes no âmbito da nossa travessia espontânea e quotidiana de polimórficas atmosferas visuais e que seriam, de resto, alvo das mais heterogéneas derisões artísticas, paradoxalmente hoje assimiladas por essa mesma instituição estética. O postal ilustrado, outrora protagonista das exposições universais, hoje omnipresente nos grandes centros policulturais de arte moderna e contemporânea – nas suas lojas, nas suas salas e nos seus espaços de ócio, como cafetarias, bares e restaurantes – insere-se na nossa problemática de modo especialmente pertinente: objeto entre a arte e o comércio, com imagens e palavras, veículo da fotografia e parente próximo do cinema, o postal presta-se tanto à exploração de uma estereotipia dos afetos como se oferece às artimanhas, aos truques e às montagens dos seus usuários. Não obstante o mal-estar generalizado que paira sobre as ideias de cultura, de imagem e de arte desde o início do séc. XX com a crítica às indústrias culturais até à atualidade com os ataques à sociedade do espetáculo de Guy Debord e à sociedade do simulacro de Jean Baudrillard, propomo-nos seguir a simples mas trabalhosa máxima proposta por Michel Maffesoli (1998) de “dire oui à la vie”, mapeando os intervalos de ação, os fragmentos de experiência e os pedaços de história coletados pelos mais conhecidos e mais anónimos, pelos mais excepcionais e pelos mais banais recreadores da imagem e refazedores do real.
La culture visuelle contemporaine ne peut pas être comprise sans avoir à l’esprit l’enjeu entre les conditions socio-économiques, les avancées technologiques et les opérations artistiques au cours des deux derniers siècles. C’est en considérant cet enjeu, qu’on s’interroge: Quels sont les rapports entre l'image technique, la parole et le réel? Quels sont les liens entre les différents dispositifs qui composent l’ensemble médiatique actuel? Comment peut-on décrire l'interaction entre les opérations de l’art, le commerce social des images et les valeurs fondatrices de l’institution esthétique (art / pas de l'art, haut / bas, auteur / récepteur, original / copie ...)? Ce questionnement prend une direction plus précise, par le biais de l’étude des images et des usages de la carte postale illustrée au cours des trois premières décennies du XXème siècle et des années 80, 90 et 2000. Concomitante à l'avènement de la photographie et à l’émergence d'un réseau postal de communication mondiale, la carte postale illustrée sera également analysée à partir d’une recollection de ses appropriations artistiques. Malgré l’étendue de l’archive scientifique dédiée à l'iconographie collective, notamment concernant des champs épistémologiques tels que la sociologie de l'imaginaire et les visual cultural studies, pour ne citer que deux exemples récents, il est à notre avis fort nécessaire de relire la théorie de l'image, tout en tenant compte des différents aspects du processus d’appareillement technique de l’image, qui s’ébauche au cours du siècle. XIX avec la photographie et le cinéma, et qui se poursuit aujourd'hui avec les réalités virtuelles et les ambiances numériques de la Web 2.0 ... La présente étude considère ce trajet à partir de deux notions fondamentales : l’idée de récréation et la conception de remédiation. L'image récréative traduit la reconnaissance de la nature paradoxale de l’image et de la technique : celles-ci seraient, d’une part, des entités douées d’”une sensibilité tirée à la manivelle” (Moisés Martins Lemos , 2011), qui se manifesterait sous les formes de l'aliénation et de l'automatisation ; d'autre part, l’image et la technique, une fois appropriées par des tactiques de réinvention, de recomposition et de réparation, deviendraient des instances favorables à l'expérience et à l'affirmation de notre condition historique. À son tour, la notion de remédiation, terminologie suggérée par Bolter et Grusin (2000), présuppose une affirmation de l’interdépendance des medias contemporains ; ceux-ci seraient un ensemble solidaire uni par des liens de collaboration non chronologiques, contraires au schéma séquentiel qui oppose les nouveaux aux vieux médias. Une culture traversée par la récréation et la remédiation est également, comme l’a constaté l’oeuvre visionnaire de Walter Benjamin (1991, 1992), une culture où se troublent les frontières entre les statuts de l'auteur et du récepteur, de l’originel et de la copie, de l’high et du low, statuts normatifs artificiels destinés à légitimer le discours de l'institution esthétique. Absentes de notre traversée quotidienne et spontanée de la polymorphie des ambiances visuelles, les dichotomies mentionnées seraient l’objet de nombreuses dérisions artistiques, aujourd'hui paradoxalement assimilées par l’institution esthétique. La carte postale, autrefois protagoniste des grandes expositions universelles, et aujourd'hui omniprésente dans les espaces polyculturelles de l'art moderne et contemporain - dans leurs magasins, leurs salles d’exposition et leurs aires de loisir tels que les cafés, bars et restaurants -, revêt un intérêt particulier pour l’approfondissement de ce débat: objet entre l’art et le commerce, avec des images et des mots, vecteur de diffusion de la photographie et proche du cinéma, la carte postale illustrée se prête tantôt à l'exploration d'une stéréotypie d’affects tantôt à la concertation d’astuces et de ruses, à l’expérimentation de truquages et de montages de la part de ses utilisateurs. Nonobstant le malaise général qui pèse sur les idées de culture, d'art et d'image, depuis le début du XXème siècle avec les critiques qui visaient les industries culturelles, jusqu’à nos jours avec les attaques contre la société du spectacle de Guy Debord (2006) et la société du simulacre de Jean Baudrillard (1988), nous acceptons de suivre la maxime simple mais laborieuse proposée par Michel Maffesoli (1998) de “dire oui à la vie", en cartographiant les intervalles d'action, les fragments d'expérience et les morceaux d'histoire collectés par les plus connus et les plus anonymes, les plus rares et les plus banaux recréateurs de l’image et refaiseurs du réel.
Understanding contemporary visual culture as a result of the game between socio-economic conditions, technological advances and artistic operations over the past two centuries, we ask ourselves: What are the relationships between image, word and the reality? What are the connections between different devices of the current media context? and the interaction between operations artistic, images’ social commerce and the founding values of the aesthetic institution (art / non art, high / low, author / viewer, original / copy ...)? This broad issue finds a more accurate direction in the analysis of images and uses of the postcard over the first three decades of the century XX and 80, 90 and 2000 and also in the recollection of this artistic media appropriation, inseparable from the advent of photography and installation of a network of world postal communication. We believe that, although the scientific archive about the collective iconography progressively becomes more extensive, particularly with the affirmation of epistemological fields ranging from sociology of the imaginary to the visual cultural studies, just to mention two recent examples, this does not make it unnecessary, on the contrary, it makes it urgent to persistently review the theory of the image, which takes into account different aspects of the same technologization process, started in the century XIX with photography and film, and which continues today with the realities of digital and virtual environments web 2.0 ... The review of this path is drawn in our study with the support of the notions of recreation and remediation. The recreational image corresponds to a paradoxical conception of image and technique as entities that would be, on the one hand, aimed at "a sensitivity pulled by the crank," retaking the expressive formula of Moisés de Lemos Martins (2011), through forms of alienation and automation and, on the other hand, the favourable to the exercise of experience and the affirmation of the historical condition, through reinvention, rearrangement and repair tactics. The notion of remediation, terminology suggested by Bolter & Grusin (2000), requires an understanding of the complex contemporary media as an interdependent whole, united by non-chronological relationships of collaboration and hybridization, which rupture with the linear sequential scheme that distinguishes new and old media. A culture crossed by recreation and remediation tactics is also, as the visionary thought of Walter Benjamin (1991, 1992) glimpsed, a culture where the boundaries between the positions of author and viewer, the status of original and copy and high and low have been weakened, artificial normative categories that were intended to legitimize the discourse of aesthetic institution, but which would remain absent within our daily and spontaneous route of polymorphic visual atmospheres and would be, moreover, object of the most heterogeneous artistic derisions, paradoxically today assimilated by that aesthetics institution. The picture postcard, once the protagonist of universal expositions, today ubiquitous in major policultural centres of modern and contemporary art - in its stores, in their classrooms and in their leisure spaces, such as coffee shops, bars and restaurants - fits our problem in a very particular way: object between art and commerce, with pictures and words, photography vehicle, close relative of cinema, the postal lends itself both to the exploration of a stereotypy of affects and it also offers to tricks, the tricks and the assemblies of its users. Nevertheless the general malaise that hangs over the ideas of culture, art and picture from the beginning of the XX century with the critic to the cultural industries up to the present day with the attacks to the society of the spectacle of Guy Debord and the society of the simulacrum of Jean Baudrillard, we propose the following simple and laborious maximum suggested by Michel Maffesoli (1998), "dire oui à la vie", mapping the intervals of action, the fragments of experience and the pieces of history collected by the best known and most anonymous, for the most exceptional and the most banal recreators of the image and the remakers of the real.
Fundação para a Ciência e a Tecnologia (FCT)
Programa Operacional Potencial Humano (POPH)
Quadro de Referência Estratégico Nacional (QREN)
Harel-Vivier, Mathieu. "Photographies, abstraction et réalité : l'agencement comme processus artistique." Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20025/document.
Повний текст джерелаDeveloped based on questions from the author’s artistic practice, this thesis examines the relationship between some artists, mainly contemporary, and the reality of the photographic picture, its ability to produce abstraction and to fit within a display. Considered here in a double perspective, the concept of display is seen, on one hand, as the process of the artist working with pictures and, on the other hand, as an organizational model that foster a variety of connections, like constellations do.Entitled “display’s conditions”, the first part deals with photographic acting-Out, the appropriation of a picture as well as the detachment that sometimes these two actions involve like in Christian Marclay’s and Wolfgang Tillmans’s practices. As an alternative to these various movements which spur on the artist’s impetus towards reality, photographic abstraction is considered for further study through the analysis of artistic works like Pierre Cordier’s, Michael Flomen’s or James Welling’s.The second part describes how the “display of pictures” is invested by a functioning that is a feature of editingand Warburg’s atlas. Several works are observed in which the display of pictures is delimited by the frame(John Baldessari and John Stezaker) scattered through the pages of a book (Hans-Peter Feldmann’s, LuisJacob’s, Gerhard Richter’s, etc.) and spread out in the exhibition space: on the walls, the ground and tables(Pierre Leguillon, Batia Suter, Wolfgang Tillmans). The interest is finally moved on the issue of displaytransmission, its aim of non-Hierarchy, especially in the context of public and private collections exhibited(Des images comme des oiseaux, Le Mur, Les Peintres de la vie moderne).As the outcome of this text that appears beside a series of plates, a new collection of annotated and captionedphotographs is developed, dedicated to the artistic practice of the author
Caliandro, Stéfania. "Le métavisuel dans l'art." Paris, EHESS, 1999. http://www.theses.fr/1999EHES0096.
Повний текст джерелаClévenot, Dominique. "Une esthétique du voile : réflexion sur la figure du plan dans l'art arabo-islamique." Paris 1, 1988. http://www.theses.fr/1988PA010590.
Повний текст джерелаOne of the main features of arabo-islamic art is its propensity to play on bidimensionality, to be a surface art. How can this caracteristic be understood ? To answer this question, three artistic domains have been evoqued : that of the hypostyle arab mosque architecture, that of figurative representation, particularly illustrative painting of the xiii cy. , and finally that of linear arts, which include vegetal arabesque, geometric interlace and calligraphy. In these three domains the importance of bidimensionality may be understood as the product of an artistic legacy. But if history may account for the origin of a given form, it is not sufficient to elucidate its fonction or signification. In order to do so, one must consider the cultural context, in this case the islamic system of thought. According to this approach, bidimensionality seems to fulfill in arabo-islamic art a major aesthetic fonction : what we call "the figure of the plain" shows itself to be the plastic equivalent of the islamic concept of "the veil" (hijab), a screen placed between the visible and the invisible, but a screen upon which are inscribed the (mystical) temptations to perceve
Galland, Jean-Michel. "L'édition illustrée de l'entre-deux-guerres à travers l'œuvre de trois de ses acteurs, Clément Serveau, Jean-Gabriel Daragnès et Daniel Henry Kahnweiler : une approche socio-esthétique." Thesis, Université Paris sciences et lettres, 2021. http://www.theses.fr/2021UPSLN001.
Повний текст джерелаThe purpose of this thesis is to understand and explain the literary illustration, a major artistic practice in France between the world wars. The careers and the publications of three actors of the illustrated edition in that period, Daniel Henry Kahnweiler, Jean-Gabriel Daragnès and Clément Serveau, are first closely examined in order to offer a first level of explanation of these bodies of works, viewed at this stage through the lenses of personality and context. A socio-aesthetic analysis of this activity as a whole is then developed, based on the theories of Pierre Bourdieu. The structures, during the period between the wars, of the fields of illustration, art and literature are described. A model, both conceptual and experimental, of the literary illustration is proposed. This tool, able to explain the characteristics of the works and the careers of the illustrators, is used to revisit the interpretation of the three studied corpora
Nadeau-Bernatchez, David. "Le documentaire : rétrospective critique d'un genre cinématographique et applications dans le cadre académique contemporain." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/24084/24084.pdf.
Повний текст джерелаChautard, Paul. "Essai sur une problématique et une systémique des images, dans "Le Palace" de Claude Simon." Clermont-Ferrand 2, 1989. http://www.theses.fr/1989CLF20022.
Повний текст джерелаImagery is undeniably the typical key-word in the vocabulary used by claude simon in his various commentaries on his art, in view of both its potency and frequency. Imagery, in fact, creates a problem of methodology : since it is a vague concept, it needs to be analysed on different levels. When applied to a romanesque universe, moreover, it is inevitably a limiting factor, and appears even more inadequate in mastering the specific problems of literary innovation. In spite of these contradictions is it not then likely to lead to other interpretations through its own subversion? what fields of analysis is the reading process capable of covering? we attempt to show the mechanisms of this simonian concept through empirical and practical procedures. We situate it in a double perspective : firstly that of phenomenology and secondly that of structuralism. A gradual exploration of the text referring to different levels of the image is progressively defined. This vague concept will lead us precisely to the logic of ambiguity, founded on problematical reality and textual variants. The image becomes the mainspring of a variational art associating a critical function with a poetic one. This function of imagery becomes rooted in the preponderant descriptive apparatus of the novel
Cohen, Corentin. "Politiques des images dans les conflits armés contemporains : cas de l’insurrection de Boko Haram et de la violence urbaine liée au Primeiro Comando da Capital à Sao Paulo." Thesis, Paris, Institut d'études politiques, 2017. http://www.theses.fr/2017IEPP0043.
Повний текст джерелаThis thesis aims at understanding the visual dimension of contemporary armed conflicts. To do so it presents empirical datas on the pictures, their production, circulation and reception during two armed conflicts. The first case is the urban conflict around drug trafficking and the Primeiro Comando da Capital in Sao Paulo. The second one is the Boko Haram insurgency in Nigeria, Chad and Cameroon. This approach shows that contemporary conflicts are entangled in controversies about their meaning and definition. The actors of theses conflicts try to impose their own framing and their interpretation of the conflict using pictures. When the actors do not produce images, they are forced to advance some interpretations of the pictures. To identify the role of images in controversies relating to armed conflicts the thesis develops two concepts. The first one is the « regime d’images ». It underlines the modes of functionment of these images and makes it possible to explain their power over the controversies. This concept is used to show the different dynamics in the two cases. Regarding the Boko Haram insurgency, one of the « regime d’image » contributed to the internationalization of the conflict. In Sao Paulo the regimes of images reinforce the different positions of the actors in the controversy. The thesis also develops the idea of aesthetic capital of armed groups. This aesthetic capital can be transformed into military capital. We validate this hypothesis showing how this capital worked for the PCC and Boko Haram. The two groups are forced to adopt the visual codes and the aesthetic of the Islamic State to manifest their political antagonism
Guillot, Catherine. "Histoire et poétique de l'image du théâtre en France (1600-1651) : contribution à l'histoire de l'illustration." Paris 3, 2003. http://www.theses.fr/2003PA030155.
Повний текст джерелаThis study realized during the era of illustrated editing in the 17th century examines how images are the product of a number of factors suseptible to multitude of analysis. This illustrated editing crosses several fields of expertise : literary, editorial, political, artistical. The first idea given by Horace in the Ut pictura poesis enables the image to become complementary to the written material at every level : internally with the icon context of the frontispiece, externally in relation to the introductory elements or, in its link to the dramatical text that it represents, in a litteral and allegorical level that aims for the uplifting enlightenment of the reader. There exists as intimate a connection between painting and poetry (Ut pictura poesis) as there is between painting and drama (Ut pictura theatrum). The parallism is made is three ways : metaphoric (comparative mode), esthetical (crossed thoughts between drama and painting) and scenic (scenography based on pictoral models)
Le, Guen Laurence. "Littératures pour la Jeunesse et photographie, mise à jour et étude analytique d’un corpus éditorial européen et américain, des années 1860 à aujourd'hui." Thesis, Rennes 2, 2019. http://www.theses.fr/2019REN20029.
Повний текст джерелаLiterature for the young is often illustrated by drawings, but what happens when the illustrations are photographs? Only recently has the corpus of photographically-illustrated children’s literature begun to be examined. It is proving to be much more extensive than had previously been imagined, and necessitates a study from several different angles. The aim of this thesis is to highlight the close links between children’s books and photographic illustration and to measure the implications of the relationship between these two arts (considered ‘minor’ from a broad historical or geographical perspective) Covering European and North American literature from 1860 to the present day this thesis shows that photoliterary production for children is in fact a publishing genre in its own right, although today many such productions are still filed under the label “Picturebooks” or in French, “Littérature de jeunesse” [children’s literature]. By invoking the field of photoliterature, this study brings to light the layout of various phototextual devices and examines how text and photographs combine to create meaning for a young reader. It also retraces the relations between certain pedagogical theories and the critical reception of these works, revealing the manner in which both are inextricably bound up with particular publishing decisions
Daniel, Hugo. "Les Voies du dessin : statut et redéfinitions du dessin dans les avant-gardes occidentales des années 1950-1960." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010547.
Повний текст джерелаDrawing is hardly studied in works of art history focusing on the 1950s and 1960s. This fact is all the more surprising that many artists, such as Rauschenberg, Hesse, Tinguely, Twombly, Michaux or Lebel, but also critics, gallerists and curators took notice of the medium at that time.Drawing must be defined according to its operations and analyzed in its relationshipwith other media. It is approached as a practice. This project is based on a material, culturaland social understanding of art history, it relies on the study of drawings, but also on archive documents and interviews with major figures of the period. From the working process of artists, to the changing discourses of critics and therenewed interest of curators and gallerists, drawing is redefined as a complex object. It allows artists to deal with the flow of images that characterizes the 1950s and 1960s. It also takes on an experimental quality because of its association to the thought process. Psychiatrists andartists have used the practice of drawing to better understand the mind. Whether it is used as an origin of art or as a marginal space implying specific experiences, drawing in the 1950sand 1960s is multi-faceted and is studied as such
Stentz, Barbara. "Les représentations de la douleur dans les arts graphiques en France au XVIIIè siècle." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG032.
Повний текст джерелаThis study aims to examine the forms and the issues of pain in graphic arts during the 18th century, as drawings and engravings take on an experimental aspect and constitute precious evidence of patterns diffusion. It considers the conventions, the debates and the codifications determining its figurative representations, in relation to aesthetic, médical, social and political matters. In a time when pain tends to be obscured by people who are supposed to be in charge of it, it seemed important to appraise its occurrences and its past depictions. Seen from this perspective, the French figurative arts through the second half of the 18th century offer a remarkable field of study. The aesthetic debates about the sculpted group of Laocoon and the veil of Timanthes, or, on a medical level, concenring pain persistence in persons convicted and decapitated, reveal that this passion was of great interest for the theorists at that time
Lachapelle, Elysa. "L'invention dans les oeuvres de Johann Heinrich Füssli sur le thème du poème The faerie queene d'Edmund Spenser." Mémoire, 2012. http://www.archipel.uqam.ca/5143/1/M12617.pdf.
Повний текст джерела