Дисертації з теми "Pratiques de beaute"
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Molina, Joaquim. "¿Necesidad física o demanda social? La construcción de la indicación médica en cirugía estética en Argentina (s. XX y XXI)." Electronic Thesis or Diss., Paris, EHESS, 2023. http://www.theses.fr/2023EHES0136.
The aim of this thesis is to reconstruct the history of medical indication in aesthetic surgery in Argentina in the XX and XXI centuries. The study is based on the analysis of historical documentary sources, including medical and popularization publications on plastic surgery, as well as journalistic notes and television broadcasts on the subject. In-depth interviews conducted in the period 2017-2018 to plastic surgery specialists andwomen who underwent breast augmentation surgery in Argentina are also used. The work arises as a contribution to an object of study that has not been explored by the social sciences at the national level. The research aims to make a theoretical contribution to the studies on medicalization processes, trying to carry out a micro-sociological reading of the historical sources through the category of medical indication. From this theoretical-methodological twist arising from the combination of the sociology of medical knowledge and the doctor-patient relationship, we seek to install a processual and relational view that places at the center the ability of the actors to articulate justifications to third parties, but also to institutionalize forms and reasons to do in the face of the uncertainty arising in the daily practice of the specialty.The research begins by considering a controversy that arose at the end of the 1920s in Paris as a result of a cosmetic surgery that led to the amputation of a patient's leg, tracing its derivations in the field of French and Argentine law. This controversy revolved around the therapeutic value of cosmetic surgery and the medical liability deriving from it. With this judicial controversy as a background, and prior to a review of the process of institutionalization of the specialty in Argentina, different types of written and visual narratives of cases are identified and analyzed. These narratives, while evidencing the therapeutic value of cosmetic surgery, establish technical, moral and practical precepts tending to categorize, select and modulate the expectations of candidates for these operations. From this we derive three types of indications: the economic indication, based on the evaluation of the capacity of plastic surgery to functionally and esthetically rehabilitate people with employment problems; the psychological indication, based on the evaluation of the possibilities of surgical intervention to prevent and reform deviant behavior; and the esthetic indication, based on the "objective" evaluation of the patient's body and on the management of his or her esthetic expectations. This theoretical framework is used to analyze the medical literature of the first half of the twentieth century in interventions on the face, and subsequently to account for breast augmentation surgery that began to take hold during the last third of the twentieth century
Brunoni, Hugues. "Les pratiques religieuses en Beauce, 1852-1940." Thèse, Trois-Rivières : Université du Québec à Trois-Rivières, 2002. http://www.uqtr.ca/biblio/notice/resume/03-2238797R.html.
Melançon, Anne-Marie. "Cultes et spiritualités de la beauté féminine au Québec : une anthropologie des pratiques esthétiques à risque." Master's thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/25171.
Schnebelen, Nathalie. "Analyse et modélisation de l'impact de la maîtrise des pratiques agricoles sur la pollution diffuse par les nitrates : application à l'aquifère des Calcaires de Beauce, site de Villamblain." Orléans, 2000. http://www.theses.fr/2000ORLE2058.
Sant'Anna, Denise Bernuzzi de. "La recherche de la beauté : une contribution à l'histoire des pratiques et des représentations de l'embellissement féminin au Brésil, 1900-1980." Paris 7, 1994. http://www.theses.fr/1994PA070073.
Study on practices and representation of feminine embellishment in brazil along a historical perspective. The developed reflectio follow a social history on appearance and behavior of women. These ones are influenced by a large spectrum of advice coming from the press and beauty books. This thesis is divide in four parts : the first one expose the theoritical and methodological approach chosen. The second gives an account of the methods and the beauty products prescript in brazil before 1950. In the third one is exposed the news methods created with the development of the cosmetology and by new values wich appears under the influence of american way of life and the development of the consumer society in brazil. The last part explain how the rignt to beauty becomes superfluous if it does not come from a preoccupation for the protection and the preservation of the body like an element of the environment
Delbende, Marion. "De la naturalité dans les risques perçus des pratiques de soins du corps : mise en regard Brésil, Chine, France." Paris 5, 2011. http://www.theses.fr/2011PA05H017.
This work questions the perception and the experience of natularity in cosmetic practices as an answer to the risks by a comparison between Brazil, China and France. Unlike a media speech in which cosmetic practices are a source of well-being and hedonist pleasure, it put a deep analysis forward into the notion of risk. The imaginative world of risk shows a relation to the body split in focalization zones on which risks are concentrated. The cosmetic practices create both physical risks, impacting the individual on his bodyness, and social risks, impacting the individual on his interactions. This risk’s acknowledgement causes some strategies set-ups to reduce it. It clarifies then the concept of naturality by expressing it in both body care and cosmetic products. These basis finally allow a confrontation between these two notions. This confrontation highlights the perception and the experienced naturality as an answer to the risks according to different ways of commitment. This work allows as well a methodological contribution to the international comparison by the construction of a common model showing some cultural specificities
Buffet, Laurent. "Les pratiques intinérantes dans la littérature et l'art contemporains." Paris 1, 2009. http://www.theses.fr/2009PA010597.
Bordeleau, Lilianne. "Le blanchiment de l'apparence : enjeux identitaires et pratiques corporelles dans un contexte contemporain : étude chez des femmes d'origine haïtienne de Montréal." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29069/29069.pdf.
Grenier, Véronique. "La différence entre la réussite des garçons et des filles à l'école : représentations de sexe, solutions et pratiques éducatives des enseignant.e.s du secondaire." Thesis, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24351.
Sánchez, Filomeno Blanco Monteverde Laura. "Naturalia-artificialia, l'art baroque mis en oeuvre dans une pratique artistique contemporaine." Paris 1, 2011. http://www.theses.fr/2011PA010636.
Wang, Lei. "Les pratiques et les représentations des soins du corps en Chine." Thesis, Paris 5, 2014. http://www.theses.fr/2014PA05H001/document.
This work questions the constraints and triggers of cosmetic practices in China and Chinese people body conception. It consists in, firstly, studying diachronically the effects of generations that are influenced by cosmetic products on the market and the social norms of body care at different times. Secondly, the effects of life cycle are analyzed as triggers, levers, important to body care and makeup practices. Finally, synchronously, it aims to follow the itinerary of cosmetics in wealthy women families: from the information before the purchase decision, mobility, acquisition, use, storage to the fate of the product. In the next step, the survey with dermatologists of traditional Chinese medicine and modern Western medicine help to check if dermatologists are prescribers of cosmetics in China and dig further analyze the conception of the body and disease among the doctors applying traditional Chinese medicine. This work allows us to understand that Chinese women reinterpret the modern Western cosmetics by their Chinese body conception in everyday life
Boifava, Barbara. "Théorie, pratique et histoire de l'architecture : l'insegnamento di Louis-Hippolyte Lebas all'École des Beaux-Arts di Parigi, 1842-1856." Paris 8, 2003. http://www.theses.fr/2003PA082623.
The dissertation takes into consideration Lebas’ teaching experience at the Ecole des Beaux-Arts in Paris in a period characterized by the definition of methods and instruments necessary for a research meant as a deep reflection on modern architecture. Lebas’ teaching fits in a project aiming at a systematic classification of different periods and styles in the history of architecture. Basing himself upon sources and references, he defines and precisely identifies the professor of history of architecture’s role and the value of this discipline. The study of Lebas’ « entretiens » made an interpretation possible of his effort to write and illustrate a history of architecture. This interpretation also revealed the aspects of a multiple and extended teaching based on the integration of theorectical precepts and practical rules deduced from an absolute ancient model and from project experience, which is the expression of the search for a « new architecture »
Bouchard, Marie-Claude. "La féminité corporelle et consommée : regard anthropologique sur des pratiques de consommation chez de jeunes femmes québécoises." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/23879/23879.pdf.
Permanadeli, Risa. "La place de la femme dans la société javanaise actuelle : une étude des représentations sociales de la modernité, le cas des pratiques du soin de beauté et la consommation des produits étrangers." Paris, EHESS, 2000. http://www.theses.fr/2000EHES0037.
Hertz, Bénédicte. "Le Grand motet dans les pratiques musicales lyonnaises (1713–1773) : Étude des partitions et du matériel conservés à la bibliothèque municipale de Lyon." Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20041.
This thesis is founded on the corpus of french “grands motets” which are part of the collection of the Lyon public library, and tries to explain the question of musical practice in Lyon in the 18th century. The ninety-nine manuscripts and engraved sources conserved in the collection are scores and material which come mostly from the ancient “académie des beaux-arts”, also known as Concert. The first part of the thesis presents the context of Grand motet performances in Lyon, namely the Concert, which was active from 1713 to 1773, the short-lived “académie des Jacobins”, the yearly ceremony of the vow for salvation of the king Louis XV, and also public festivities and spiritual concerts. The corpus of motets conserved in Lyon is the subject of a rigorous analysis: the second part is dedicated to the catalogue of the Concert, the musical support (music papers, watermarks and musical handwritings) and to musical elements which appeared in the sources. The third part presents Lyon’s repertory of the motet genre. Half of the corpus is made up of Lalande’s works; most of the composers are from the Court or the capital, but there are musicians from other French provinces (Pétouille, Valette de Montigny, …) and also from Lyon (Estienne, Bergiron du Fort-Michon, Belouard…). The specific nature of the treatment of the motet in Lyon is brought to the fore by a comparison of the sources, while local particularities appear, like the composition by “fragments”. This study shows that if Lyonnais music belonged to its time, it nevertheless developed its own characteristics
Joly, Frédérique. "Formation et socialisation des adolescents et des étudiants en écoles d'art de pratiques amateurs et supérieures." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080058/document.
This thesis consists in a field study realized by studying students in ten schools of art practices and seven upper level art schools in the Nord-Pas-de-Calais and Île-de-France regions. Questionnaires and interviews with students but also with parents and heads of institutions were used in order to analyze several themes such as the possible development of a typology of students through the analysis of the parents social belonging, or via the concepts of vocation or gift. This study also presents the various aspects of family influence in this type of art practice through the influence of “prescribers” and the real motivations of the parents of the students of these two types of art schools. Moreover, this thesis sheds new light on the concept of gender through the game of numbers but also through interviews with students. Moreover, instead of Education in the study of our public deserves special attention, as new tools and media that shape a particular type of creation as much as they create specific artistic relations. A chapter is also devoted to the representations of being an artist. Finally, the study also reveals possible links between art schools of amateur practices and upper education schools, including similar missions in the training, evaluation and attraction of an identical public in terms of social origin
Hoffman, Sheila K. "L'histoire de la documentation des oeuvres d' art du 17e au 21e siècle : les impacts des technologies optiques et numériques sur les pratiques documentaires des galeries nationales à Londres, Ottawa et Washington D.C." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H014/document.
This research examines the divergences and convergences across the histories of three national galleries, in England, Canada and the United States, providing evidence of a common model that emanates particularly from two types of institutions that appeared in England during the 17th century: public museums founded on scientific and populist principles, and private art galleries anchored in elitist traditions. The national galleries compared in this study constitute hybrids in conflict with the original antagonistic models. But their most striking similarities reside in the evolution of their respective documentation practices. The continued struggle to truly integrate technologies in the documentation of art betrays the difficult heritage between these two opposing models. Throughout the unique historical trajectories of these institutions, there was little proof that optical or digital technologies had had important repercussions on the methodologies or the philosophies of the documentation of works of art. On the contrary, it was observed that documentation, even in digital form, continued to rely on minimal standards of data gathering, restricted groups of persons trained to collect data, and limited access to any data captured. This research reinforces the need to redefine museum documentation in order to rethink its strategies and guiding philosophies, to enable new research into museum collections, and to enlarge the integration of digital technologies into the process
Adot, Lerga Álvaro. "Construire les archives. Du temps des Foix-Béarn à celui des rois de Navarre. Pratiques de l'écrit et enjeux de pouvoir." Thesis, Pau, 2017. http://www.theses.fr/2017PAUU1033/document.
This international-wide thesis(theory), has not only the objective to restore a history(story) of the family Foix-Béarn-Navarre from their archives. It is rather a question of highlighting the complex links between the royal family of Navarre and its archives in particular between XVth century and the XVIIth century, by envisaging the status and the role of archives established(constituted) in the construction of the history(story), the identity and the memory of this house between the end of the Middle Ages and the beginning of modern period.For the realization of this thesis(theory), we studied, among others, two voluminous inventories realize in the XVIth century who allowed us to know the evolution of the history(story) of archives kept(preserved) in the time(period) in the treasure of the castle of Pau. Concretely these two inventories mark an important time(period) of auto-assertion of the power of the royal family of Navarre, because the first one of these inventories was of a big interest for this family in the process of creation of a modern State with Béarn, under Henri II de Navarre's reign, and the second (realize by 1580-1582) was the last inventory of the sovereignty, because from the arrived of Henri III de Navarre in the throne of France, the archives of the treasure of this castle fossilized.We have to underline at the beginning of this summary the international dimension(size) of the subject of this thesis(theory) because a part(party) of the archives of this royal house, kept(preserved) at present in the ADPA is in narrow relation with documents kept(guarded) at the moment in Archivo General of Navarre, situated in Pamplona. This subject was little studied as well as the history(story), the identity and the memory of the royal family of Navarre under the reigns of Catherine de Foix ( 1483-1517 ) and Henri II ( 1517-1555 ).The organization of archives is a part of the political construction of kings of Navarre, of a political identity in which Béarn (with Navarre) exercises since the end of the XVth century a leading role as independent territory in margin of France. It is the politics led by these kings, that explains the process of centralization in the chartrier of Pau of archives proceeding of their diverse domains (even if most of them are territories dependent on the Crown of France).Finally, we want to quote the study realized by the evolution of techniques or archive systems of the documentation of the treasure of charters of Pau in the long lasting: as regards first of all the evolution of the models of preservation, classification(ranking) and the archival description between the end of the Middle Ages and the modern time(period), is set up an organization of the more and more clear and effective archives. The inventory of the first half of the XVIth century is divided by the diverse domains station wagons but shows us a poor poor organization which follows no thematic and methodical order in the way documents had been listed. On the other hand, the register developed at the beginning of decade 1580 follows a more methodical organization, as proves him(it) the division of every title by thematic chapters, and subdivision of every chapter in bundles numbered. Besides, unlike the numerous systems of documentary quotation used by the archivists in the first half of the XVIth century, those who developed the inventory of the beginning of decade 1580 opted for the standardization of a system of digital quotation in Roman numerals.As regards the evolution of the models of preservation, classification(ranking) and archival description, this study also explains us the successive systems of quotation of the documentation of the treasure of charters of Pau according to the contexts in which they were realized in the modern time(period) and more particularly in the XIXth century, at the time of the birth of the called(mentioned) as archival modern
Esta tesis de dimensión internacional no tiene como único objetivo restituir une historia de la familia Foix-Bearne-Navarra, a partir de sus archivos. Se trata más bien de poner en evidencia los complejos lazos entre la familia real de Navarra y sus archivos, principalmente entre los siglos XV -XVII, abordando el estatus y el papel de los archivos constituidos en la construcción de la historia, la identidad y la memoria de esta casa real entre el final de la Edad Media y el comienzo de la Edad Moderna.Para la realización de esta tesis, hemos estudiado, entre otros aspectos, dios voluminosos inventarios realizados en el siglo XVI, que nos han permitido conocer la evolución de los archivos conservados en el "trésor" del castillo de Pau. Ambos inventarios marcan una época importante de autoafirmación del poder de la familia real de Navarra, ya que el primero tuvo un gran interés para dicha familia en el proceso de creación de un Estado Moderno en Bearne, bajo el reinado de Enrique II de Navarra, y el segundo (realizado hacia 1580-1582) fue el último inventario de la soberanía, ya que a partir de la llegada de Enrique III de Navarra al trono de Francia, los archivos de Pau se fosilizaron.Hemos comentado al inicio de este resumen la dimensión internacional del sujeto de esta tesis, ya que una parte de los archivos de esta casa real, conservado actualmente en los ADPA está en estrecha relación con documentos custodiados en el Archivo General de Navarra, situado en Pamplona. Este tema ha sido tan poco estudiado como la historia, identidad y memoria de la familia real de Navarra bajo los reinados de Catalina de Foix (1483-1517) y Enrique II (1517-1555). La organización de los archivos forma parte de la construcción política de los reyes de los reyes de Navarra, de una identidad política en la que Bearne ejerce desde fines del siglo XV un papel preponderante (junto a Navarra) en tanto que territorio independiente al margen de Francia. La política desarrollada por estos reyes explica el proceso de centralización en el cartulario de Pau de archivos procedentes de sus diversos dominios (incluso si la mayor parte de los mismos son territorios dependientes de la Corona de Francia).Finalmente, queremos citar el estudio realizado de la evolución de las técnicas de archivo de la documentación del "tresor de chartes" de Pau en el tiempo : En primer lugar, en lo concerniente a la evolución de los modelos de conservación, clasificación y descripción archivística entre el fin de la Edad Media y la época moderna, se lleva a cabo una organización cada vez más clara y eficaz. El inventario de la primera mitad del siglo XVI está dividido por los diversos dominios familiares pero nos muestra una pobre organización que no sigue ningún orden temático ni metódico en la manera en la que los documentos son clasificados. Por el contrario, el registro elaborado a inicios de la década 1580 sigue una organización más metódica, como lo prueba la división de cada título en capítulos temáticos, y la subdivisión de cada capítulo en legajos numerados. Además, a diferencia de los numerosos sistemas de signaturas utilizados por los archivistas en la primera mitad del siglo XVI, quienes elaboraron el inventario de comienzos de los años 1580 optaron por la uniformización en un único sistema de signatura (utilizando las cifras romanas).En lo que concierne a la evolución de los modelos de conservación, de clasificación y de descripción archivística, este estudio nos explica también los sucesivos sistemas de signaturas de la documentación del "trésor de chartes" de Pau, en función de los contextos en los que fueron realizados en la época moderna y más particularmente en el siglo XIX, época del nacimiento de lo que conocemos como la archivística moderna
Charrieras, Damien. "Trajectoires, circulation, assemblages : des modes hétérogènes de la constitution de la pratique en arts numériques à Montréal." Thèse, Paris 3, 2010. http://hdl.handle.net/1866/4293.
This thesis examines the paths and practices of digital artists navigating within the multimedia sectors of Montreal. Through the study of the paths of eleven digital artists based in Montreal we found that production practices in digital arts cannot be reduced to the logic of production specific to a single place, whether a private company, a digital arts center or a university. The issue of maintaining these practices leads one to pay attention to the plurality of elements that inform their perpetual (re)constitutions. This requires new ways of theorizing digital artists' paths and practices. We propose a new way of conceptualizing these paths - as trajectories - to highlight the plurality of ways the digital art practices are articulated. They are thus considered in terms of their co-constitutive mediations with different elements. We have identified three sets of elements to account for the maintenance of the practices in digital arts and through which these unfold their multiple effectivities. The first set covers the technologies involved in digital art practices. The second set relates to the digital arts community and the organizational modes characteristic of those locales. Finally, the third set deals with the relationship between the worlds of business and practices in digital arts. These three sets of elements contribute in various ways to the establishment, maintenance and singularity of digital arts practices that deploy their effectivities far beyond a circumscribed or specialized social space.
Réalisée en cotutelle avec l'université Sorbonne Nouvelle - Paris 3
Cinquini, Philippe. "Les artistes chinois en France et l’Ecole nationale supérieure des beaux-arts de Paris à l’époque de la Première République de Chine (1911-1949) : pratiques et enjeux de la formation artistique académique." Thesis, Lille 3, 2017. http://www.theses.fr/2017LIL30003/document.
The presence of Chinese artists in France during the first half of the Twentieth Century was an exceptional and enduring phenomenon at the National School of Fine Arts of Paris (École nationale des Beaux-Arts de Paris). Based on the analysis of the documents from the French National Archives, the number of Chinese students was so substantial that it deserves to be called as the 'Chinese phenomenon at the École des Beaux-Arts'. Between 1914 and 1955, more than 130 Chinese students enrolled at the 'Galeries' (preparatory training in drawing) and at the painting and sculpture studios called 'Ateliers'. This situation at the École des Beaux-Arts essentially reflected the movement of Chinese artists in France and more widely in the West. It played an important role in the changing field of the modern Chinese art, socially, technically and artistically ,through a process of "Cultural Transfer" and was made possible by the privileged relationship between France and China at the beginning of the Twentieth Century (the "Dialogue between two Republics"). Nevertheless, the École des Beaux-Arts also became an area of competition between the various modern Chinese artistic tendencies, as many leaders of different groups studied at the workshops of the École des Beaux-Arts. Amongthem, Xu Beihong (1895-1953), who developed a coherent social and artistic strategies, was especially significant. Xu received fundamental academic artistic training at the École des Beaux-Arts in Paris. Xu’s experience, enriched by his mastery of academic drawing, artistic anatomy and history painting, made his artistic production unprecedented in many respects of Chinese art, in oil and in ink. In addition, after a consensual period from the 1910s to the 1920s, it seems that from the 1930s, the Chinese phenomenon at the École des Beaux-Arts in Paris mainly fostered Xu’s central position in educational and artistic camps inFrance and China. This Chinese phenomenon at the École des Beaux-Arts in Paris, which is attached to academic training and to French academic art, was a dynamic element in the elaboration of artistic modernityin Twentieth Century China
Guengard, Marianne. "Formation des chefs de choeur. Approche descriptive et compréhensive de l'enseignement-apprentissage de la direction de choeur. Un exemple "la levée"." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040001.
This thesis has the purpose investing in the research of musical education in France. It isfocused on specialised teaching for choir conductors and hence studies the practicesundertaken by both the student and the teacher interdependently, by analysing the conductinggestures in a real teaching-learning situation. The research specifically takes an interest in theteacher's work, and seeks to highlight the role of the latter in the building of knowledge linkedto a particular technical element: « the upbeat ». Of particular importance is the way in whichthe teacher structures the lessons, organises the layout, in terms of “the environment” in orderto direct the students towards targeted learning
Légaré, Denyse. "L'enseignement de l'architecture à l'École des beaux-arts de Québec : ses antécédents, son dévelppement et son apport à la profession." Doctoral thesis, Université Laval, 2000. http://hdl.handle.net/20.500.11794/28535.
Chartrand, Mélanie. "Commercialisation des produits de beauté, pratiques esthétiques et représentations du corps de la femme à Montréal, 1870-1915." Thèse, 2004. http://hdl.handle.net/1866/14822.
Bouchard, Marie-Claude. "La féminité corporelle et consommée : regard anthropologique sur des pratiques de consommation chez de jeunes femmes québécoises /." 2006. http://www.theses.ulaval.ca/2006/23879/23879.pdf.
HSIUNG, SIN-YI, and 熊心沂. "La tyrannie de l’apparence et l’aliénation du corps féminin ideal dans les sociétés contemporaines : Analyse théorique et pratique des publicités de produits de beauté françaises et taïwanaises." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/5vreft.
國立中央大學
法國語文學系
105
Every era, every culture has its conception of beauty. The standard of beauty has evolved over time but will never disappear. It is an eternal topic which is at once simple and complicated. The aim of this study is not to define the norms of beauty of our time, but to observe them, and to analyze the phenomena of the “tyranny of appearance”, the ideal image of beauty and the “alienation of the perfect female body” in our contemporary societies. This study specifically discusses issues related to the body as a social construct. First, what is the context in which these phenomena develop? What are the characteristics of the context? Secondly, with regard to sexual objectification, why do women and their body always occupy a special place and are more likely than men to be judged by a perceived sexual attractiveness? What is the definition of the tyranny of appearance and the alienation of the ideal female body? Finally, by introducing some popular ways practiced by women to be beautiful, such as clothing, beauty products and cosmetic surgery, we will analyse how these phenomena are reflected in French and Taiwanese advertising images and how the image of women is represented.
Fexa, Leduc Isabelle. "L'art contemporain à l'ère des glissements du privé vers le public : pour une relecture de la vie privée." Thèse, 2014. http://hdl.handle.net/1866/11584.
This Master’s thesis deals with the works of artists Sophie Calle, Sylvie Cotton, Donigan Cumming, Martin Dufrasne, and Marc-Antoine K. Phaneuf. The objective of this research is to observe the back and forth explored by the artists in their practices between the private and the public sphere and how these problematize our relationship with intimacy. In the first chapter, I will determine the elements that respectively characterize the public and the private space, and then find the places and forms that define intimacy. In the second chapter, I will examine the private sphere's appropriation gestures and methods employed by the artists through a study of collecting, ethnographic, and surveillance practices. I will underline the impact of such practices on the artists' investment in time and their implication in contextual art. Finally, I will deliberate on my very own practices, considering how they differentiate or resemble the practices of the artists studied in this memoir.