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Статті в журналах з теми "Réflexivité (philosophie) – Dans l'art":
Lacour, Philippe. "Signification et réflexivité dans la philosophie de Ricœur." Études Ricoeuriennes / Ricoeur Studies 11, no. 1 (July 22, 2020): 86–116. http://dx.doi.org/10.5195/errs.2020.497.
Fringant, Matthias. "Les usages contemporains de la réflexivité." Varia 62-1 (2024): 97–127. http://dx.doi.org/10.4000/11p5p.
Danto, Arthur C. "Le corps dans la philosophie et l'art." Cités 26, no. 2 (2006): 129. http://dx.doi.org/10.3917/cite.026.0129.
Charles, Syliane. "Réconciliation et dépassement de l’art par la philosophie chez Hegel : une analyse critique." Philosophiques 25, no. 1 (August 8, 2007): 49–61. http://dx.doi.org/10.7202/027471ar.
Ribeiro dos Santos, Leonel. "O Retorno ao Mito. Nietzsche, A Música e a Tragédia." Philosophica: International Journal for the History of Philosophy 1, no. 1 (1993): 89–111. http://dx.doi.org/10.5840/philosophica1993117.
Guérin, Michel. "La méthode du discours : la philosophie." Articles 22, no. 2 (August 7, 2007): 247–63. http://dx.doi.org/10.7202/027331ar.
Tremblay, Stéphanie, and Frédéric Dejean. "Religion, convictions et réflexivité en enseignement de la philosophie." Zeitschrift für Religionskunde, no. 11/2023 (May 15, 2023): 113–24. http://dx.doi.org/10.26034/fr.zfrk.2023.3638.
Paveau, Marie-Anne. "Pour une science humaine du discours. Des affects et des vertus dans la science réflexive." RUA 20 (July 13, 2015): 16. http://dx.doi.org/10.20396/rua.v20i0.8637519.
Andrieu, Bernard. "LA CONSCIENCE EXPÉRIENCIELLE DANS LA PHILOSOPHIE DE JOHN DEWEY." Dialektiké 1, no. 1 (June 26, 2015): 4. http://dx.doi.org/10.15628/dialektike.2015.2889.
Semlali, Mohamed. "Le roman du peintre dans Terre d'ombre brûlée de Mahi Binebine." French Review 97, no. 2 (December 2023): 95–110. http://dx.doi.org/10.1353/tfr.2023.a914282.
Дисертації з теми "Réflexivité (philosophie) – Dans l'art":
Brosseau, Lise. "Les propositions curatoriales de designers graphiques (2006-2016) : mutations et réflexivité d’un champ par l’exposition." Electronic Thesis or Diss., Rennes 2, 2024. http://www.theses.fr/2024REN20001.
During the 2000s and 2010s, after several decades of debates and considerations regarding the recognition of practice and culture of graphic design, and the importance to write its history, graphic designers from a same generation began to organize - mainly in Europe - temporary exhibitions dedicated to their own field of productions. These curatorial projects are characterized by a certain complexity that lies in their conceptual and reflexive approaches, often involving exploration or experimentation, and sometimes using fiction or speculation. What emerges from these graphic designers' proposals is a desire to promote the work of their peers who are mostly part of the same network of acquaintances - and a predisposition to mobilize different cultural sectors, such as education and publishing. More importantly, these approaches reflect an intention to generate discussion, to interrogate and reformulate the boundaries of graphic design from the perspective of practicing graphic designers. In the broader context of technological shifts that are challenging the role and status of graphic designers, this dissertation aims to examine the historical and theoretical significance of exhibitions that have been relatively understudied in France. These events were envisioned both as space for asserting the identity of graphic design and the professionals operating within this field, a place for expanding and extending the practices of said professionals, but also occasions during which they engage in the reflexive archaeology of their own discourses and specificities
Lepin, Franck. "L'animalité dans l'art contemporain." Rennes 2, 2002. http://www.theses.fr/2002REN20031.
At a time in which issues of animality have been the subject of many changes, this thesis provides a first study of his place and his part in contemporary art fro 1960 until the end of the nineties. From an unpublished historical and theoretical research, it analyses the work of about thirty artists among Joseph Beuys, Jannis Kounellis, Rebecca Horn and Rosemarie Trockel. Several topics are examined according to a thematic plan. It shows first how some artists have used animality to question human nature, his foundations and his boundaries. Then it explores the use of animality in works discussing art and creation. Several aspects of human identity are expanded afterwards, through the question of otherness, and next through gender identity and social identity. Finally, these survey comments on works offering a new experience of living and on others in which it is about our link to nature
Jaffro, Laurent. "Shaftesbury et l'art d'écrire dans la philosophie morale." Paris 10, 1994. http://www.theses.fr/1994PA100142.
This study argues that the problem of philosophical authorship is the only way to unify Shaftesbury’s published (characteristicks) and unpublished writings. What does it mean for a philosopher, to become an author? The government of others requires self-government and what Foucault calls "subjectivation". The question is how to enable oneself, by the means of private askesis, to publish moral philosophy. The essay "soliloquy" is the published theory of the unpublishable askemata. Enthusiasm means a primitively undifferentiated state of communication. The development of communication implies the pragmatic presupposition of sensus communis, which is a form of civility open to improvement and decay. Philosophy necessitates an art of writing defined as a theory of styles and genres, as well as the classical art of writing: a technique of dissimulation and oblique communication. The private deist faith can't be openly published. Philosophy demands a practice of secret and the inward recesses of soliloquy. The relations between public sphere and philosophical authorship, between community and faith, are built to one pattern: that of the theologicopolitical scheme of occasional conformity. Shaftesbury's moral philosophy tries, through the religious and political languages of its time, to formulate the ethics of the communication of ethics
Kim, Hyeon-Suk. "L'esthétique du vide (空) dans l'art". Paris 8, 2007. http://faraway.parisnanterre.fr/login?url=http://www.harmatheque.com/ebook/9782343036670.
The origin of the word for vacuum in Buddhism is related to the Chinese ideogram, 空, which derives from Sanskrit Śūnya. Śvi, the root of the word of Śūnya, means at the same time swollen and empty inside, like a soap bubble which forms by our breath and disappears at once when it meets the air. From research on the origin of the vacuum, we appreciate the spirituality of the Asian wisdom of Buddhism, Confucianism, Tao of Tchouang-tseu (莊子), Tao of Lao-tseu (老者), Yi-King (周易), Just medium (中庸), and the Upanishads. The spiritual aspects of Asian wisdom evoke some Western concepts as well : the Visible one and the Invisible one of Merleau-Ponty, Being and Nothingness of Sartre, “The Existence and Nothing” of Bergson, “And, between” of Deleuze, and “the Origin” of Benjamin. In the East, for a long time, monks and well-read men devoted themselves to penmanship, Zen poems, and painting landscapes, as a practice of meditation, like the Mandala of Kalachakra of Tibet, to find the state of meditation and the state of the Zen which lead to the essence of the vacuum. This way of reflecting can be found by analyzing some works -- traditional, modern, and contemporary, those of the East and those of the Occident – with attention to key topics : the threshold of the vacuum (空), Zen (禪), the breath of the poem Zen (禪詩), the breath and the painting of the landscape (山水畵, 風景畵: the painting of the landscape of the wind), and the Mandala
Kim, Mi-Young. "Fluxus : une tentative d'insertion de l'art dans la vie." Paris 8, 1996. http://www.theses.fr/1996PA081139.
One of the main issues addressed by this work is the motivation of artists to participate in fluxus activities. Most of artists gather just for friendship when they are asked by maciunas. He is someone like a missionary for fluxus mission. Anyway, they do not feel nor think like an official member of the group. The great affinity between them is not aesthetic but existential; it is the only cement of fluxus. Artistical experiment by fluxus artists is located in the moving of art from its traditional place, towards anywhere else in the real world. It results into the fusion of art and life. As of this experiment, art works within real life circumstances. Fluxus gives a new definition to art that is life process while no boundaries are any longer recognized for art materials. Fluxus widens the anarchy spirit from its initial music aera, into a collective dream available for the whole society, allowing man freedom. This freedom coming from the art is wished to be raised up to entire life. So, fluxus gives a demonstration that changing attitude in front of art and life can come true
Paillard, de Chenay Célio. ""L'art numérique" : un nouveau mouvement dans le monde de l'art contemporain." Paris 1, 2010. http://www.theses.fr/2010PA010655.
Collet, Evelyne. "La création comme émergence du possible dans l'art et au dehors." Paris 1, 1989. http://www.theses.fr/1989PA010559.
Can creation be seen as a force ("what is possible") which expresses itself through an actualization which can't run out into the "effectuation" it produces ? therefore is emergence from creation or is it always internalized in its production which represents its possibility ? the relationship between the act of creation and creation itself may be marked by this transitory moment. The relation of the artist to his work establishes a "third space" which mediatizes the mode of reality in which it is implied ; he thus produces it. Does the conflict remaining between the known world and the "lived" world reveal a set hierarchical organization which maintains a separation of realities then antagonistic? is creation associated with what remains on the surface? if this representation is subtented by the thought of a one and static origin, does it not imply that the "represented" should be located in a position of anteriority in relation to it? furthermore has the emergence of "what is possible" got a teleological value, whose resonance seeks the determination of the analogy established between creation and the emergence of "what is possible"?
Crémézi, Sylvie. "L'élaboration du sens dans la danse contemporaine." Paris 4, 1990. http://www.theses.fr/1990PA040082.
For these past ten years, the most archaic scenic art has been again in the fore ground of the artistic panorama and has regained its function of major art today's dance, the geology of the human psyche and of the states of the body expresses this necessity of being bound again with the sacred. The dance movement is not only generator of meaning but also regenerative. Dance reminds one of the mythical virtue of the stage, so that man finally inhabits his body
Choi, Massart Young-Ju. "Perception et expression de la couleur dans l'art pictural moderne." Paris 1, 2012. http://www.theses.fr/2012PA010718.
Oh, Nam-Suck. "Le possible et la non-ressemblance dans l'art contemporain." Paris 1, 2000. http://www.theses.fr/2000PA010553.
Книги з теми "Réflexivité (philosophie) – Dans l'art":
Martel, Richard. L'art dans l'action/L'action dans l'art: Textes, 2001-2012. Québec: Éditions Intervention, 2012.
Delahaye, Jean-Paul, G. Wlodarczak, and Mohamed Bouazaoui. L'infini dans les sciences, l'art et la philosophie. Paris: L'Harmattan, 2003.
Ravalec, Vincent. Pour une nouvelle sorcellerie artistique. Paris: V. Ravalec, 2001.
Ravalec, Vincent. Pour une nouvelle sorcellerie artistique. Paris: V. Ravalec, 2001.
Mourey, Jean-Pierre, and Béatrice Ramaut-Chevassus. Miroirs, fragments, mosaïques: Schèmes et création dans l'art du XXe siècle. Saint-Etienne: Publications de l'Université de Saint-Etienne, 2005.
Michel, Christian, and Carl Magnusson. Penser l'art dans la seconde moitié du XVIIIe siècle: Théorie, critique, philosophie, histoire. Paris: Somogy éditions d'art, 2013.
Pieters, Corinne. Image, philosophie et médecine: Le corps en regards. Paris: Ellipses, 2000.
Rapaport, Herman. Is there truth in art? Ithaca: Cornell University Press, 1997.
Walravens, Daniel. De la peinture en général et de la couleur en particulier =: On painting in general and colour in particular. Bruxelles: Lettre volée, 2006.
Invent-L Conference: Imaging Place (2007 University of Florida). Imaging place. Kamloops, B.C: Textual Studies in Canada, Thompson Rivers University, 2009.
Частини книг з теми "Réflexivité (philosophie) – Dans l'art":
"Attention et réflexivité dans la Logique de 1812 et la dernière philosophie de Fichte." In Grund- und Methodenfragen in Fichtes Spätwerk, 267–76. Brill | Rodopi, 2007. http://dx.doi.org/10.1163/9789401205085_023.
Nascimento, Maria das Graças S. "Lumières et Histoire." In The Paideia Archive: Twentieth World Congress of Philosophy, 136–42. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia199811254.
Meira do Nascimento, Mílton. "Le Legislateur et L’Ecrivain Politique Chez Rousseau." In The Paideia Archive: Twentieth World Congress of Philosophy, 173–79. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia199841753.
Звіти організацій з теми "Réflexivité (philosophie) – Dans l'art":
Langlois, Lyse, Marc-Antoine Dilhac, Jim Dratwa, Thierry Ménissier, Jean-Gabriel Ganascia, Daniel Weinstock, Luc Bégin, and Allison Marchildon. L'éthique au cœur de l'IA. Observatoire international sur les impacts sociétaux de l’intelligence artificielle et du numérique, October 2023. http://dx.doi.org/10.61737/mdhp6080.