Дисертації з теми "Scénarios critiques"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-31 дисертацій для дослідження на тему "Scénarios critiques".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте дисертації для різних дисциплін та оформлюйте правильно вашу бібліографію.
Gatti, Filippo. "Analyse physics-based de scénarios sismiques «de la faille au site» : prédiction de mouvement sismique fort pour l’étude de vulnérabilité sismique de structures critiques." Thesis, Université Paris-Saclay (ComUE), 2017. http://www.theses.fr/2017SACLC051/document.
The ambition of this work is the prediction of a synthetic yet realistic broad-band incident wave-field, induced by strong ground motion earthquakes at sites of strategic importance, such as nuclear power plants. To this end, an multi-tool platform is developed and exploited to simulate the different aspects of the complex and multi-scale phenomenon an earthquake embodies. This multi-scale computational framework copes with the manifold nature of an earthquake by a holistic local-to-regional approach. A complex case study is chosen to this end: is the MW6.6 Niigata-Ken Ch¯uetsu-Oki earthquake, which damaged the Kashiwazaki-Kariwa nuclear power plant. The observed non-linear site-effects are at first investigated and characterized. In the following, the 3D source-to-site model is constructed and employed to provide reliable input ground motion, for a frequency band of 0-7 Hz. The effect of the folded geological structure underneath the site is quantified by simulating two aftershocks of moderate intensity and by estimating the spatial variability of the response spectra at different locations within the nuclear site. The numerical outcome stresses the need for a more detailed description of the incident wave-field used as input parameter in the antiseismic structural design of nuclear reactors and facilities. Finally, the frequency band of the time-histories obtained as outcome of the numerical simulations is enlarged by exploiting the stochastic prediction of short-period response ordinates provided by Artificial Neural Networks
Aurouet, Carole. "Les scénarios détournés de Jacques Prévert." Paris 3, 2001. http://www.theses.fr/2001PA030101.
In addition to a few well known and highly regarded great movies, suh as "Le crime de M. Lange" (The crime of Monsieur Lange), "Le quai des brumes" (Port of shadows), "Remorques" (Stormy waters), "Les enfants du paradis" (Children of paradise) and "Les portes de la nuit" (Gates of nignt), the filmography of Jacques Prévert includes a large number of "diverted scripts", i. E. Scripts which remained on the printed page or were modified by others, leading to films more or less different from the original material (so that Prévert eventually refused to see his name appear in the credits). .
Koné, Tchoya Florence. "Contribution à la démonstration de la sécurité du véhicule autonome, basée sur une stratégie de génération de scénarios, modélisée par niveaux d’abstraction et orientée par la sensibilité du VA, pour une validation par simulation." Electronic Thesis or Diss., Université de Lorraine, 2021. http://www.theses.fr/2021LORR0182.
This CIFRE thesis, carried out within Stellantis, provides a scenario generation strategy, modelled by levels of abstraction and oriented by the sensitivity of the AV, for a simulation-based validation process. This work is within the scope of the ISO PAS 21448 /SOTIF (Safety Of The Intended Functionality) standard.To do this, the approach followed is based on five contributions: (1) An analysis of the functional architecture of the AV and the highlighting of the challenges related to its safety validation: normative aspects, simulation chains, the presence of uncertainty in the operational environment of the AV. (2) The proposal of a conceptual framework (knowledge model) on which the scenario generation methodology to be proposed later will be based. (3) A summary of the indicators used in the literature, as well as those that we will use in our final generation strategy, including the sensitivity indicator. It also gives a structure of the system of scenario generation and simulation based validation of the safety of the AV, as well as the way in which the indicators will be exploited in this structure. (4) The proposal of a scenario generation heuristic and the estimation of the risk indicator associated with the AV. This fourth contribution is based on the elements developed in the previous contributions: the proposed conceptual model (contribution 2), the structure of the generation and validation system and the associated indicators (contribution 3). (5) Finally, the last contribution is an implementation of the previous proposals via a case study.Keywords: Autonomous Vehicle (AV), Safety Of The Intended Functionality (SOTIF), Functional performance limitation, Functional insufficiencies, Critical scenarios, Sensitivity metric, Scenarios generation strategy, Simulation-based Validation process
Gerber, Adam. "Planification par scénarios, une étude critique à la découverte de facteurs endogènes oubliés." Paris, CNAM, 2008. http://www.theses.fr/2008CNAM0644.
Scenario Planning is a collaborative methodology situated in the domain of decision science whose aim is to assist decision-makers by modeling possible future realities in narraive form, and it is among the boldest attemps to reconcile both deductive and inductive reasoning. There is a strong preference in Scenario Planning for exogenous factors at the expense of endogenous ones. These endogenous factors include strengths, weaknee, core competencies, and knowledge about the organization itself. One of the goals of this thesis is to demonstrate this lack of endogenous focus by evaluating a representative set of contemporary Scenario Planning approaches. In addition, this thesis will examine the chronology of Scenario Planning, deconstruct various ideological influences on Scenario Planning, and finally identify promising areas for future research in order to remediate the lack of endogenous focus in Scenario Planning with a particular focus on the possible applications of anlytical/depth psychology
Guimond, Guylain. ""Marin & Fils" (scénario) : Suivi de "Le concept de gag et son utilisation dans le scénario comique" (Essai)." Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26642.
Cherifi, Laakri. "L' écriture audiovisuelle dans le cinéma féminin au Maghreb : scénario original et scénario adapté." Paris 13, 2012. http://scbd-sto.univ-paris13.fr/secure/ederasme_th_2012_cherifi.pdf.
My essay’s topic is new in the way that it deals with women’s representation in North African feminine cinema. Today’s North African women directors were mere editors or script writers before and right after the independence of their countries and they had to fight to reach the status of directors, the latter being monopolized by men until the 1960’s-70’s. First, we need to resituate this women’s screen conquest into the general evolution of author’s status. Since the 1940’s, North Africa has witnessed women’s participation to the important literary and cinematographic trends that made their mark. Women writers got to be noticed first. After the decolonization, some of them switched from writing to directing while remaining faithful to the topic they were interested in: the fate of North African women. They started directing because cinema is today’s best way to convey, through its language and audiovisual devices, the deplorable position of arabo muslim women since the mists of time. Our corpus is made up of selected films showing a quasi-archaic North African society enclosed within a rigid arabo islamic identatary code and locked up inside the circle of fixed traditional values. The different heroines of theses films have a lowered social status, most of them suffering from servitude, caging and sorrow, and shutting themselves away in their daily silence. The majority of films directed by North African women are inspired by revolt. As they pay a tribute to the grandeur of these humiliated women, the films reveal their lowered position in the arabo Islamic society and denounce their submission to male autoritary. It is also a depiction of desire, frustration and feminine sexuality. Although these subtle films are the reflect of perennial patriarchal societies and the survival of barbarian manners and customs, they still are fully sensual. In any case, they constitute a wonderful plea for arabo muslim women’s emancipation. The films I chose to deal with are: Les Silences du palais and Satin rouge (Tunisia), La Nouba des femmes du Mont Chenoua and Rachida (Algeria), Une Porte sur le ciel and Les Yeux secs (Marocco) and L’Enfant endormi and Inch’Allah dimanche (immigration)
Topia, André. "Modèles et écarts : scénarios d'écriture de Dubliners à Ulysses." Paris 8, 1995. http://www.theses.fr/1995PA080917.
This thesis analyses the writing strategies in three works by james joyce : dubliners, a portrait of the artist as a young man and ulysses, and this according to the notions of scenario, model and deviation. In a scenario, writing becomes a variable programming displaying possible deviations from a model. Dubliners offers programmatic narratives whose unfolding seems to conform to a virtual matrix. We examine successively the question of perturbed cyctes ("the sisters"), of perverted mediation ("an encounter"), of the figure of the loop ("eveline"), of emblematic mimodrama ("two gallants"), of programmatic time ("the boarding house"), of copy as subversion ("counterparts"), of writing as a warping process ("clay"), of cliche as scenario ("a painful case") and of the ego as frontier ("the dead"). The portrait shows both a liturgical model based on rites of incarnation and a dialogical model based on a dynamic exchange of words and gestures. In ulysses the gaps widen : conductivity and circulation in "calypso" ; blurring of the bodily functions by the fluidity of music in "sirens" ; montage of vocal repetition and stereotyped reproduction in "cyclops" ; contrast between gerty's trompel'oeil text and the experiments in the bloomian laboratory ; constitution in "circe" of a fantasmic texte gigogne ; subversion of catechistic questioning by scholastic clarificatio in "ithaca". We conclude that in ulysses the bloomian figure of the loop involves a dialectic of deviation
Belaubre, Yves. "Le scénario dans l'intention du film." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20074.
Since about twenty years, the American screenplay stood out as model of the script of fiction into cinema and TV production for its narrative performance and its rationality. Designed to insure public success to fiction movies, it subordinates the audiovisual creation to the narrative device, insuring identification of the spectator and its emotional satisfaction. But, in consideration of the artistic ambition of the cinema, its legitimacy is problematic. The present research develops an alternative in the narrative formalization of the movie through a mode of « scénarisation » which subordinates the story to the cinematic discourse. The identification of spectator to the character matters there less than the expression of a vision-hearing of the world
Amâncios, Santos Maria Angelica. "Scénarios littéraires : genres et médias chez Alain Robbe-Grillet et Marguerite Duras." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC073.
This thesis analyzes the text which provides the basis for most cinematic works: the screenplay. My aim is to increase the visibility of this genre in the field of Comparative Literature given the relative lack of attention it has received in literary and film studies. I intend to demonstrate that the script is naturally an intermedial genre, because it promotes numerous "intermedial references" when it uses the filmic language, which anticipates, in the reader's mind, images that he will experience as a spectator - when the movie is screened. Additionally, I intend to examine the possibilities of exchange between the script and various literary forms, such as the poem and the novel, in a dialogue that is not only intermedial but also intergeneric. In order to achieve this aim, I shall focus on the hybridization experiments, particularly of novel and screenplay, made from 1959 to 2002 by the writers and filmmakers Alain Robbe-Grillet and Marguerite Duras. Such works should be highlighted in this study because they present, besides some intergeneric peculiarities, a remarkable diversity in their intermedial references that go beyond the film and also evoke ostensibly the fields of theater, music, and painting. To support our research, we use several theories, such as the ones by Dominique Combe, about literary genres, Irina Rajewsky, on Intermedial Studies, Alain et Odette Virmaux, about the cine-novel
Beaulieu, Renée. "Le poids des autres, suivi de La cohérence des personnages dans les scénarios de films." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ53922.pdf.
Başol, Öktem. "Jean-Loup Dabadie : un auteur à part entière ?" Paris 1, 2004. http://www.theses.fr/2004PA010501.
St-Gelais, Marie-Eve. "L’homme qui murmurait à l’oreille des morts (scénario) : Suivi de 81 ans plus tard : la figure du zombie, renouvelée ? (réflexion critique)." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/30077/30077.pdf.
Rojas, Amador Paula. "Les médias numériques dès une écriture intermédiale : suivi de Le monde n'arrête pas, scénario dramaturgique." Doctoral thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/34123.
Our research-creation addresses the problematic of adapting a narrative text to the theater when it comes to incorporating the possibilities offered by the digital media, and adopting the expanded text that follows. For this adaptation process, which is moving away from the traditional process, we opt for an intermedial approach. We focus more particularly on the hypermedia theater, which allows us to question the connections that occur between the visual, sonic, spatial and textual writings, as well as on their dynamics of co-presence in the theater scene. An essential part of the methodology of this research-creation rests on the development of a series of scenic research laboratories in which videographic, sound and spatial devices have been created. These devices have been integrated into the dramaturgical creation presented in the form of an intermedial script. Chapters 1 and 2 touch on the conceptual framework. In the first chapter, we present the concepts of intermediality, theater as hypermedia, intermedial writing and other concepts that allow us to discuss adaptation and its relationship with the media. In the second chapter, we study video, sound, space and text in relation to digital media. In addition, we reflect on the dramaturgical composition of each of these expressive elements and the points of reference that can contribute to the conception of dramaturgy. Chapters 3 and 4 discuss the practical and creative aspects. In the third chapter, we describe scenic devices in the four scenic research laboratories and creative processes. We make an intermedial analysis. We also discuss the working protocol that emerged from these practical experiences in the Laboratory of New Technologies of Image, Sound and Scene (LANTISS). Finally, in the fourth chapter, we present the dramaturgical work entitled “The World Does Not Stop” and its process of creation.
Terrisse, Bénédicte. "Figures et fictions de l'auteur, scénarios de la vocation poétique dans l'œuvre de Wolfgang Hilbig." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040266.
Wolfgang Hilbig’s prose and poetry bring into play a large number of topoï, clichés and scenarios of the poetical life and of theartistic calling, both in a critical and in a legitimating way. They function as a response to the unlikely vocation as a writer of a selftaught,East German proletarian. In Hilbig’s work, poet or writer characters convey an authorial poetology that appear as a legacy of Romanticism and Modernity, which the paradoxical figure of Kaspar Hauser particularly stands for. Interpreted as a literary, phantasmatic and mythical construct resulting from the work itself, authorship consists here in a theory of literature embodied by models of art-dedicated lives. The figures of the loss of balance, the motif of the letter and the narratological device of the authorial metalepsis are read as means of staging the situation of the poet, the text/author relationship and the fictionalization of the author.Those are the bases of Hilbig’s existential project of self-literarization. Finally, Hilbig’s texts sketch life scenarios that thwart the predestination model, exploring the unlikely vocation through figures such as the circle, the explosion, the jump and the event, all of which go against the linear model of redestination that rely on temporality. As an alternative to this outward biography, this exoteric life, Hilbig’s work tracks the movements of a secret, unreadable and nameless esoteric life where vocation develops as a promise of eternity. The question of authorship in Hilbig’s work cannot be separated from a meditation on time and an idealistic perception of the world
Abdellatif-Kaddour, Olfa. "Contribution au test orienté propriété pour des systèmes de contrôle-commande : construction incrémentale de scénarios de test sélectionnés par la méthode du recuit simulé." Toulouse, INPT, 2003. http://www.theses.fr/2003INPT037H.
Biserni, Marcella. "Le polyèdre de Magritte : Reflets littéraires de l’objet peint, filmé et scénarisé." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3082.
This thesis aims at analyzing Magritte’s multifarious artistry in the light of its interdisciplinarity. The first chapter starts from the philosophical and linguistic côté that can be found in his work in order to deeply explore its figurative and semiotic aspects. The use of rhetorical forms in Magritte clearly shows the importance of the graphemic character of the word, dominated by the mimetic sign. The encounter, or rather the coincidence, between the two opposites (mimesis and semiosis) discloses the space that separates them: the nowhere we tried to define through various instruments. From a comparative point of view, this space of separation shows various literary ties (especially with Baudelaire and Mallarmé) inherent in the titles and in the representations of Magritte work. The words become images and the role of memory and dream attuned to the thought of R. Caillois. The artist constructs a network with the past, the present and the future, which suggests a parallelism with Warburg’s Atlas. In this mosaic, the gesture of writing mixes with the painting; similarly in Magritte the distinction between the two actions is cancelled through the free re-signified association of the visible.The painter destroys and builds at the same time, superimposing appearances, so to move away from a faithful description of reality. This rejection produces a gap in which the content of words and images fuses into a single element: page–canvas–screen. This is what some of Magritte’s creations reveal in their illustrative and film transposition, in which we see the assembling and disassembling of distant realities through the use of humor that reveals their thin divide
Questa tesi si propone di analizzare i molteplici punti di vista di Magritte alla luce della sua interdisciplinarità. Il primo capitolo si basa sul côté filosofico e linguistico rintracciabile nella sua opera, per esplorarne nel dettaglio l’aspetto figurativo e semiotico. L’utilizzo delle forme retoriche in Magritte mostra con evidenza l’importanza del carattere grafemico della parola, sovrastato dal segno mimetico. L’incontro, o meglio la coincidenza, tra i due contrari (semiosis e mimesis) lascia apparire lo spazio che li separa: il non luogo a cui abbiamo cercato di dare una definizione. Da un punto di vista comparatista questo scarto mostra vari legami letterari (soprattutto con Baudelaire e Mallarmé) insiti nei titoli e nelle rappresentazioni delle produzioni magrittiane. Le parole diventano immagini e il ruolo della memoria e del sogno trova un raccordo con il pensiero di R. Caillois. L’artista costruisce una rete con il passato, il presente e il futuro, che fa pensare a un parallelo con l’Atlas warburghiano. In questo mosaico il gesto di scrivere si mescola a quello di dipingere, cosicché in Magritte la distinzione tra le due azioni si annulla nella libera associazione risimbolizzata del visibile. Il pittore distrugge e costruisce al contempo, sovrapponendo le apparenze, in modo da annullare la mimesis stessa, nel senso di descrizione fedele della realtà. La negazione e lo scarto sorgono dalla loro fusione in un unico contenitore, che da una parte esalta la differenza ma che dall’altra vi costruisce sopra la propria appartenenza. È ciò che certe creazioni magrittiane rivelano in ambito illustrativo o filmico, dove assistiamo alla decomposizione e poi alla ricomposizione delle realtà distanti attraverso l’humour, che lascia intravedere lo spessore sottile di separazione
Mottet, Annie. "Martin du Gard, Renoir, Lang et La Bête humaine : la fabrique d'une adaptation." Paris 1, 1994. http://www.theses.fr/1994PA010572.
This thesis aims at studying three cinematographic adaptations of Zola' s novel, the human beast: Martin du Gard unpublished screenplay (1933), Renoir's film (The human beast, 1938) and Lang's (Human desire, 1954). The thesis consists of two parts. The first one is a genetic analysis of the different reamaining drafts. The first chapter deals with martin du gard's cinematigraphic ideas. In the second one, the differences between Renoir's drafts and his film have been listed to determine which scenes have been rewritten. In the third chapter we have shown how the scriptwriters (hayes, boehm) progressively distanciated themselves with renoir's model and how lang, through his film direction, tried to assert his personal vision of Zola's novel. The second part of the thesis is a comparative study of the french adaptations only. We have established the differences between the story and the narration in the first chapter and between the characters in the second chapter in order to find out the methods of adaptation characterising Martin du Gard and Renoir in the last chapter we have shown how both authors tool great liberties with the novel so as to be more faithful to their personal aesthetic ideas. Therefore, through a study of cases, the aim of the thesis is not to propose a theory of adaptation but to analyse different types of praxis, using to this purpose the. .
Roy, Martin. "Écriture d’un scénario original de genre western mettant en scène un antihéros québécois et sa réalisation en format court-métrage suivi d’une réflexion sur l'antihéros dans le cinéma québécois." Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26157.
Gravel, Anne-Sophie. "Figures de meurtriers célèbres dans les séries télévisées Bates Motel (2013-2017), et Hannibal (2013-2015) ainsi que dans le film Seven (1995) ; : suivi de : Les leçons de Gillian (Scénario)." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/40300.
Gignac, Melissa. "Du "scénario" au film : la création du long métrage de fiction aux Etats-Unis et en France dans les années 1910." Paris 7, 2014. http://www.theses.fr/2014PA070087.
My research focused on both American and French feature-length movies from the 1910s. This work relied on three different complementary approaches: industrial, narrative and aesthetic. I focused on three different societies : the Triangle Film Corporation for the American cinema ; the Films Valetta and the Albert Capellani's movies in the S. C. A. G. L. For the French cinema. The first approach concerns screenwriting practices in the film industry in the 1910's (policy of acquiring literary materiel, creation off specific departments - scenario department, lecture department -, etc. ). The second approach - the narrative one - deals with cultural studies and demonstrates how the feature-length movie leads cinema to develop itself in both discursive and political ways. The hypothesis is this one: the feature-length movie permitted the cinema to develop the power of the movie as a social component. Some case studies about drug-films (dealing with opium), colonial films and also melodramas showed how both French and American societies used cinema to represent themselves and tried to employ films to solve their conflicts and contradictions, by a narrative way. The third approach deals with aesthetic and filmic forms
Cherqui, Marie-Claude. "Raymond Queneau, écrivain de cinéma." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030005.
Raymond Queneau, who was born in 1903, grew up and lived at the pace of cinematograph that was hardly older than him. Througout his life, in his journals and letters, he reported his life as a regular movie-watcher. He filled his writings, his poetry and his novels with the blossoming universe of movie theatres, movie stars and masterpeices. In his work appears a dreamed and thougt out world, made of his shadows and his lights. Fed with cinema, he also fed it. Aside from his work as a poet in literature, he also, all along his life and without losing his legendary sense of humour, worked as a cinema writer. In this sometimes ungrateful job, he occupied many different positions : film critic, juryman in festival, writer of comments on movies, script writer, dialogue writer, songwriter, etc... He even occasionally became a filmmaker or an actor. To report chronologically of the totality of his work, to approach the treatment of the cinematographic art in his literary work, is what we suggest in this study : looking for Raymond Queneau writer of the twentieth century and “homo-cinematographicus”
Bonnaud, Irène. "Brecht, période américaine." Paris 3, 2001. http://www.theses.fr/2001PA030007.
Renaut, Aurore. "L' écriture de l'histoire dans les biographies didactiques de Roberto Rossellini." Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10121.
Gutierrez, Julia Sabina. "L'espace dans le travail de Rafael Azcona, scénariste." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030110.
This study analyses the narrative dimension of screenplays, focusing primarily on the work of Rafael Azcona(1926-2008), comedy writer for cinema and television. Due to the fact that he created and developed on the screen apersonal universe that is easily identifiable by the audience, in Spain at least, this screenwriter is considered to be atrue auteur.Our primary objective is to understand how Rafael Azcona’s characteristic style could survive even when histext dissolved little by little in the entire process of constructing an audio-visual work. The analytic work is madeeven more delicate by the fact that we must take into account his collaboration with filmmakers that had their ownvery personal universes, such as Marco Ferreri, Carlos Saura, or Luis Garcia Berlanga.The main difficulty encountered with regard to Rafael Azcona’s work was finding out which was the originalscreenplay of the film. The one written before the start of filming? The one modified during filming? The onepublished once the film was shown in cinemas? The one liked by the audience? Which brought us to a fundamentalquestion: does the screenplay belong to the readers or to those who watch? It is, in fact, important to remember theweight of socio-economic aspects in the film industry when trying to understand screenwriting.Given that a screenplay, due to its structure and form, doesn't generally wish for a reader, but for a camera, tobe filmed, we have decided to look at the scenario from the point of view of the spatial construction of a story, thatis, an element usually attributed to image architects, such as the director and the editor. The importance given byAzcona’s work to the locations where the story takes place, the special relationship between character and space, andthe ubiquitous theme of the search for intimacy invite us to explore in depth the role played by space in theconstruction of the story.In this study, we try to show how the screenwriter Rafael Azcona, who knew that the screenplay wasn’twritten to be read, but to be seen later on a screen, put great effort into describing and constructing in great detailthe most cinematic of characteristics: space, that reality which cinema can never leave
Rafiei, Masoomeh. "L'étude thématique du théâtre et du cinéma de Yasmina Reza." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA087.
Yasmina Reza, one of the most honored dramaturge artist internationally, does not hesitate to introduce her dramatic art on the cinematographic scene: in between the Romanesque forme and the dramatic one, the Yasmina Reza also experiments in the pictorial art. In the first instance, we have sought to focus this thesis on an analytic study of the Rezian theater to follow with her work of adaptation to the cinema. In her theatre plays, Yasmina Reza’s characters have often the same obsessions and often use the same language. Between tragedy and comedy, Reza’s dramaturgy weaves with monologue and dialogue to relate about everything and at times almost nothing. Time, space, the setting, often simple and neutral, daily objects, are used to compose the contemporary life in Reza’s plays. From this standpoint, Reza’s theatre plays are echoing with Iranian Kiarostami’s cinema.Beyond the presence of autobiographic elements and references to music in Reza’s plays, her writing is singles out specifically, alternating between silences, the not-said and the narrative, between the conversation and the dialogue. Yasmina Reza affirms enjoying using of mise en abyme in her theatre plays, thus she experiments her first movie as script writer and director of Chicas, an adaptation of Une pièce espagnole which uses many mises en abyme. Yazmina Reza continues writing with the script Le pique-nique de Lulu Kreutz directed by Didier Martiny, then with the writing of the script of Le dieu du carnage, in collaboration with Roman Polanski. In this thesis, we have attempted to study the adaptation of Reza’s plays to the cinema, their dramatization along with their characters who display their violence and anxiety in front of the screen
Sudoh, Kentaro. "Jean Eustache : génétique et fabrique." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA033.
The dissertation conducts a genetic study of Jean Eustache’s work (1938-1981) as seen through his completed films as well as unfinished projects and drafts. In being based on archives, so far undeveloped (Cinémathèque française, Inathèque, IMEC and personal collections), carrying out interviews with his former producers, directors of photography, assistants, actors, collaborators, friends, or family, and in analyzing not only his movies but also his film scripts, director’s memos or production files, the dissertation reconstructs Eustache’s whole creative journey with its twists and turns. As analysis of creation, the method seeks to trace in the most documented manner possible the process that gave rise to Eustache’s œuvre. How are connected his everlasting autobiographical undertaking and the various conditions of productions? What has leaded him to produce the filmic manifesto Number Zero (1971)? How are The Mother and the Whore (1973) and My Little Loves (1974) produced almost simultaneously? How was born the idea for experimental film essays such as A Dirty Story (1977) or Alix’s Photos (1980)? How one can create originally within both the author cinema and Public Television? This doctoral study replies to these factual questions, which enable to clarify Jean Eustache’s aesthetic and cinematic specific choices
Gérard, Fabien. "La certitude et de doute: recherche du mystère et quête identitaire dans le cinéma de Bernardo Bertolucci." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211352.
Licari-Guillaume, Isabelle. "« Vertigo's British Invasion » : la revitalisation par les scénaristes britanniques des comic books grand public aux Etats-Unis (1983-2013)." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30044/document.
This thesis deals with the editorial and aesthetic history of the Vertigo imprint, which was created in 1993 by DC Comics, a US-American comics publisher. I shall consider in particular the contribution of British scriptwriters employed by DC and then by Vertigo from the 1980s onwards. Theise creators played a tremendous role, both at the time of Vertigo's founding by editor Karen Berger and at a later date, as the imprint gathered widespread recognition. The genesis of the Vertigo imprint sheds light on the so-called “British Invasion”, that is to say the appearance within the American industry of several UK-based creators working for DC Comics. Spearheaded by Alan Moore, the “invasion” brought to the fore many of the most important scriptwriters of years to come, such as Grant Morrison and Neil Gaiman, whose Sandman series has been described as a major landmark in the recognition of the medium. Existing criticism regarding Vertigo tends to focus on the body of work produced by British authors, without necessarily discussing their national specificity. My goal is therefore double; on the one hand, I intend to write a history of the label as the producer of a specific media culture that belongs to a given socio-historical context and is grounded in the practices and representations of the field's actors (producers and consumers in a broad sense). On the other hand, the awareness of the context in which the books are produced shall allow me to interrogate the imprint's poetics, thus identifying the specificity of a “British school of writing” within the comics mainstream industry
Ertzscheid, Olivier. "Les enjeux cognitifs et stylistiques de l'organisation hypertextuelle : le Lieu, Le Lien, Le Livre." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2002. http://tel.archives-ouvertes.fr/tel-00006260.
Dans notre premier chapitre, nous faisons d'abord un point sur les effets déjà mesurables de l'organisation hypertextuelle dans le rapport à l'écrit pour isoler les transformations cognitives occasionnées par ce nouveau support, pour isoler également la nouvelle organisation des structures traditionnelles de l'énonciation dans le processus de communication (rapports auteur-lecteur, agencements collectifs d'énonciation). Nous concluons par une typologie des nouveaux genres hypertextuels (liés notamment à l'utilisation de générateurs) et sur le statut littéraire de ces productions.
Notre second chapitre aborde les aspects plus « théoriques » de l'organisation hypertextuelle au travers de l'étude systématique de ses procédés de liaison. Après un état de l'art de la question, nous définissons une typologie englobante des liens hypertextuels prenant en compte leurs aspects informatiques, les structures rhétoriques et formelles qui les sous-tendent et les différents types de rapport entre ces « entités-liens » autorisant à qualifier différentes organisations hypertextuelles. Sur tous ces points, les propositions formulées dans ce travail devront permettre d'améliorer les pratiques de navigation et de réduire certains effets liés (surcharge cognitive, désorientation).
Notre troisième chapitre montre que ce que ces liens révèlent du fonctionnement de la pensée humaine (mode essentiellement associatif) est en train de changer la manière dont les systèmes et les organisations sociales se constituent et se développent, en mettant en place, de manière effective, des artefacts et de processus habituellement implicites et dont l'enjeu sera, pour le chercheur, d'accompagner le passage à l'explicite. Ce dernier chapitre s'appuie sur le dispositif expérimental FoRSIC et l'utilisation qu'il fait de différents types ontologiques, ce dernier étant caractéristique des ces nouveaux rapports au savoir que notre travail essaie de qualifier plus que de quantifier.
Ilea, Laura T. "Scénarios d’aveuglement dans la littérature d’Orhan Pamuk, d’Ernesto Sábato, et de José Saramago." Thèse, 2011. http://hdl.handle.net/1866/6236.
Blindness in the Literature of Orhan Pamuk, Ernesto Sábato, José Saramago examines three important texts by three well-known contemporary authors: My Name is Red by Orhan Pamuk; the chapter « Report on the Blind » from the novel On Heroes and Tombs by Ernesto Sábato; and Blindness by José Saramago. The trope of blindness is a common theme in these novels, despite their significant differences. Blindness introduces an alternative regime of knowledge, centered less on the primacy of the rational and the visual than on a new cognitive capacity, grounded in a specific logic of destiny. It proposes new understandings of history, due to a fictionalizing capacity, which passes through the fault lines of blindness. For Pamuk, blindness represents the paradoxical culmination of a traditional, Islamic world view, which was challenged in the 16th century by the perspectivism and the realism of Renaissance. This conception is regarded as the royal road to an imaginal world that remains inaccessible to the western imaginary. In Sábato’s novel, blindness prompts the reversed version of a quest for absolute, which passes through incest, hell and crime. In the dystopic world depicted by Saramago, this trope is symptomatic of a continuous decay, which follows an implacable logic. It also points to the many forms of blindness that threaten the contemporary world, such as religious fundamentalism, the leveling produced by mass culture and mass society, racial exclusion, ideological oppression. The thesis is divided in three chapters: The Violent Beauty of the World, A Heretical Myth of the Cave and An Epidemic with an Unknown Reason. Each chapter examines one of the three novels, but connections and cross-links among the individual chapters are also established. My investigation provides an interdisciplinary approach, which relies on paradigms from literary studies, philosophy and art history. All three authors examined in the dissertation start from the assumption that looking is not equivalent to seeing. Their texts attempt to formulate a logic of seeing indebted to vision rather than to logical accuracy. The figure of blindness serves as a springboard towards the imaginal world (Pamuk), magical thought (Sábato) and dystopia (Saramago) – ontologically different spaces where the authors counter rationality with new modes of vision. The dissertation explores the articulation of these spaces in the three novels. It argues that these texts on blindness propose a regime of « knowledge » that challenges the dominant discourses on vision, rationality, and the mind – the legacy of the Renaissance and the Enlightenment – in modern visual culture and modern philosophy.
Papazian, Any. "Analyse critique de cinq interventions éducatives proposées pour les enfants (5-12 ans) qui ont des troubles envahissants du développement." Thèse, 2005. http://hdl.handle.net/1866/17677.