Dissertations / Theses on the topic 'Art contemporain arabe'
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Gabsi, Ouafa. "L'art contemporain du Sud de la Méditerranée : à la recherche d'une identité, d'une place et d'une reconnaissance à l'heure de la mondialisation." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010508.
Full textHow is contemporary art of the southern Mediterranean perceived and cognized by experts in the world of Western art ? It is this very question which actually interested us. To answer this, we had to understand the links between art and globalization and discuss the contributions of cultural and postcolonial studies related to this subject. From that initial question, we have gathered and studied hegemonic discourses involved in the field of culture, negotiation processes, differences policies and modes of identification of the artists from the South in an ethnocentric vision. To carry out our research, we conducted two studies. The first concerns a thematic study of the headings of international exhibitions on contemporary art from the south of the Mediterranean (Europe and the United States from 1999 to 2014). We support the idea that the subjects of exhibitions convey a discourse that reflects the cultural ideas of Western hegemony and trends concerning genre, ethnicity, class, confining the status of the southern Mediterranean artist to a "peripheral" role. The second survey which is comprehensive in nature, deals with the beliefs of the southern Mediterranean artists and their positioning in comparison with identity markers in the construction of ethnic categories. How do they perceive these markers, do they give them some recognition ? This study was conducted before and after the revolutionary movements of the Arab Spring
Abudaya, Bahaaeldin. "Art palestinien contemporain : la question de l'exil et les enjeux politiques dans la scène artistique palestinienne de la fin du XIXe siècle aux accords d'Oslo." Paris 8, 2012. http://www.theses.fr/2012PA083484.
Full textThis study deals with the historical presentation of Palestinian art movement from the late nineteenth century to the Oslo Agreements of 1993. It relates to a panorama of this production which is characterized by its politization and the exile of its artists (in the Arab world, in the West, but even within the Palestinian Territories and Israel). This movement is illustrated through the various artistic and cultural policies undertaken by the formal and informal institutions that contributed to its spread. A
Ambrosini, Chenivesse Victoria. "Art populaire, art contemporain et pratiques politiques au Moyen-Orient : entre orientalisme et Révolution égyptienne, 2000-2014." Paris, EHESS, 2015. https://tel.archives-ouvertes.fr/tel-01168383.
Full textPopular art, art of subversion, on a local and international scale. Since the 1990s, 'popular art' is the name given by contemporary Egyptian and Middle Eastern artists when they refer to 'anti-elitist' artistic practices inspired by popular esthetics and which are taking root in pop art and in daily life in representations. Kitsch is the most emblematic form of it. Entering the realm of art in the early 20th century, it was adopted by many Middle Eastern artists despite being the focus of esthetic and ethical criticism. The aim of the artists was to produce a visual escalation that carried ambivalence and a wavering sense of meaning. The representation of cultural identity was thus given to ostentation, introducing distance and nuance through which the artists could assert their belonging, provide an answer to the orders of the local and international markets, and inject an element of irony. Similarly, many of the subjects diverted a popular esthetic, creating a dramatizing tension through contrast between the apparent frivolity and gravity contained within. It was also a matter of subverting the hierarchy of artistic values — not to assert the relativism thereof, but to rather further disrupt the social order. With the upheaval of the Arab Spring in 2011, revolutionary art, and particularly urban art, exploded, reinforced and amplified the democratic intention of popular art in Egypt, relayed by the Internet to both a local and international audience, resulting in a coexistence of the political and artistic avant-garde. The public dialogue between the graffiti artists and people in the street fueled the libertarian ambition of some, before waning revolutionary enthusiasm and the return to military power in 2014 caused its decline
Abdallah, Monia. "Construire le progrès continu du passé : enquête sur la notion d'art islamique contemporain (1970-2009)." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0117.
Full textThis research focuses on the notion of Contemporary lslamic art. This characterisation, which appeared progressively over the last thirty years, is grounded in the idea of permanence of Islamic art. Thus Islamic art is ascribed a transhistoric character: art, produced today in Muslim countries or by artists linked to Islam by their place of birth or by ascendancy, is thought to prolong Islamic art today. This interpretation is founded on the idea of permanence of the Islamic civilization. The terms "modern" and "contemporary" once associated to "Islamic art" no longer refer to an aesthetic-historic category. These terms testify to a will to accompany the normative continuity of the forms of historical Islamic art with another trend testifying to the adaptation of "Islamic" art to "Western" artistic modernity. The issue at stake goes beyond the artistic field: this revival of Islamic art is a means to establish through art the cultural continuity of Islamic civilization. Consequently, Contemporary Islamic art as well as the numerous nominative fluctuations that share its semantic load would designate the art of the "Islamic civilization of today". Therefore, the continuous extension of Islamic art appears to be merely the reflection of the continuous progress of the Islamic civilization, past and present
El, Cheikh Taha Mahmoud. "Recherches esthétiques sur la calligraphie arabe dans son rôle d'inspiration pour les artistes arabes contemporains." Paris 1, 1995. http://www.theses.fr/1995PA010532.
Full textAt the beginning of the twentieth century since as all academic commissions did not recognize arab calligraphy as an art, a new inspiration was born amongst a great number of artists who considered arab calligraphy as a fundamental factor of their expression. These artists from different islamic and arab countries created a new current, researching all modern ways of representation. Their varions artistic works with their different forms of expression may be classified into many groups as follows : 1- The expressionism group 2- The composition group. 3- The experimental calligraphy group. 4- The simultaneous calligraphy group. 5- The analytical calligraphy group. 6- The group of those artists :aking use of calligraphy as an easy solution to avoid artistic problems such as those in connection with plastic art. We have studied 125 painters from 17 countries, reproduced and analysed 354 artistic works with calligraphy for basis
Hazzouri, Ayman. "Une plasticité contemporaine de la calligraphie arabe (signe, symbole, arabesque dans la peinture arabe contemporaine)." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC022.
Full textSince the 1940s, the art in the Arab world is going through questions about its authenticity and identity. This thesis emphasizes in its first part the importance and influence of the heritage and cultural legacy of contemporary Arab painting. The second part details the cultural elements from the historic heritage, whose complementarily between calligraphy and arabesque. In contemporary calligraphy artists to explore and have developed new forms in Arabic calligraphy, a wealthy art reveals the plastic composition of the letter and its abstract value. The quest for identity is treated as a marriage between the art of the past and the art of modernity, through the study of the Arabic letter. It is illustrated by means of traditional folk art ornaments (naive or not) as a source of inspiration in the current Arab society. From this work emerged a questioning of aesthetics and plasticity of calligraphy. The third part deals with the definition and development of artistic orientation named Al- Hurufiya and two point and major events that have accompanied its appearance, respectively theoretical and artistic: the gathering of the “single dimension” and the Group Casablanca. The fourth part describes the various features of the hurufie painting, identifying the methods used by Arab artists specialized practices. Finally, in the fifth section, we present and explain the artistic approach that inspires us from the use of the Arabic letter, signs, symbols and other Arabesque motifs. The challenge is to present the unique relationship we have with us this art and enroll in the hurufi continuum, then allow us to fork over other plastics modes
Koudaih, Adel. "La Dimension plastique de la calligraphie arabe et son influence sur la peinture arabe contemporaine." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37606688q.
Full textBouwman, Dinie. "Throwing stones at the moon : the role of Arabic in contemporary Mali /." Leiden : Research school CNWS, 2005. http://catalogue.bnf.fr/ark:/12148/cb40083105v.
Full textKafri, Ismail Al. "La Poétique arabe contemporaine réflexions sur la métrique de l'image /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37602231p.
Full textDunne, Michele Durocher. "Democracy in contemporary Egyptian political discourse /." Amsterdam : J. Benjamins, 2003. http://catalogue.bnf.fr/ark:/12148/cb392783365.
Full textEsseili, Ahmad. "La peinture contemporaine au Moyen-Orient arabe et ses sources traditionnelles islamiques." Paris 4, 1987. http://www.theses.fr/1986PA040412.
Full textThis study aims to establish the relationship between the contemporaneousness in Arabic painting and the traditionalism in Islamic art through a synthetic, analytical and methodological vision. My dissertation consists of three parts : the first part discusses the influences of modernism and the European orientalism : negative influences upon popular arts but positive ones upon the birth of the contemporary Arabic painting in its relation to the modern Arabic renaissance in the nineteenth century. The second part probes the Islamic influences in the painting of Lebanon, Egypt, Syria and Iraq. In addition, we have examined those Islamic influences within the occidental current - from academicism to abstractionism. In the third part, our methodology starts from the factors of sociopolitical, cultural and artistic ones in order to establish a wholly and objective vision that respects the aesthetical, historical and critical dimensions of work leading us to three categories of Arabic painting : 1. It is completely occidentalized. 2. It is an Arabic orientalist's vision. 3. It is more authentic i. E. It comes from the fusion of both traditional Islamic aesthetic and modern occidental one. The most important elements in the general conclusion are the following: 1. We showed up the subject - content (in painting) as an Arabic, Islamic and aesthetic notion. 2. We discovered three stages within the current of Arabic painting. 3. We examined the attitude of contemporary Arabic painting vis-a-vis the limitation (interdiction) in the figurative painting
Wasmine, Abdelmajid. "Les Récits de vie en littérature marocaine contemporaine langues française et arabe /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37610697f.
Full textNakhli, Alia. "Le discours identitaire dans l’art contemporain en Tunisie : de la tunisianité à l’arabité (1956-1987)." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100032.
Full textThis thesis focuses on identity visual factory of contemporary art, in post-colonial Tunisia, from 1956 to 1987. This period coincides with the building of modern nation-State, in compliance with western pattern. In the first part, the research focuses on the setting of a representational academic iconography, celebrating the traditions as well as the popular scenes. This has generated an official aesthetic, conveying a new image of the Tunisian nation, in accordance with the political discourse exalting the national feeling of tunisianity. With the admission of failure of the socialist experience in 1969, the ideological shift imposed a rethinking of identity the aim of which was to rehabilitate the Arabic dimension of the national identity, in order to resuscitate the popular enthusiasm of the early years of the independence. The second part shows the correlation between the political crisis and the appearance of a new aesthetic of “authenticity”, celebrating a new federative principle: the arabity. The thesis traces the chronology of the pan-arab artistic manifestations, organized under the supervision of the national union of plastic arab artists and to which Tunisia took an active part. The willingness to “arabize” the art was then embodied in a pan-arab artistic current, baptized hurûfiyya (lettrism) in addition to researchs on pictorial popular signs and symbols
Hafidi, Mohamed. "Structure syntaxique et sémantique de la phrase complexe en arabe littéraire contemporain topicalisée, complétive et relative." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37598141v.
Full textHammond, Katherine E. "Historiography, the Global Contemporary, and Street Arts of the Egyptian Revolution." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1534170611388269.
Full textMarcho, Krikor. "La Contamination dans la formation de la pensée arabe moderne et contemporaine en Syrie, Liban, Egypte." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375994459.
Full textBenbaraka, Mohamed. "Le Dialogue des cultures orientales et occidentales dans quatre romans arabes contemporains." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37611781k.
Full textJahan, Bakhsh Sefidi Zahra. "La valeur de l'art du Moyen-Orient : l'effet de l'arrivée du marché sur l'évolution du monde de l'art de l'Iran, du Liban et Émirats Arabes Unis et leur rayonnement international." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA041/document.
Full textThe main objective of the present doctoral thesis is to study the configuration of the value of Middle Eastern modern and contemporary art. More precisely, we look at how Dubai has emerged in international perceptions as the center for art appraisal and diffusion nationally, regionally and internationally. Middle Eastern visual arts, mainly limited to their national settings, have been overlooked on an international level. Today, we are witnessing their unprecedented emergence and appreciation on the international scene. The innovative mutation of the art world within this geographical zone is mainly due to the implantation of auction houses and the creation of an international market for Middle Eastern art in Dubai. These new measures have not only influenced the ecosystem of the art milieu on a national level, but have also impacted the choice of artists, exhibition commissioners and curators of international museums. The development of this market is the principal object of the present study and as a secondary object, we look at the adjustments made by the art world to adapt to this new art scene. Through the Sociology of Art approach, we retrace the history of three emblematic countries (Iran, Lebanon and the United Arab Emirates) with the aim of understanding the quantitative and qualitative evolution of their visual art galleries identified as multifunctional actors of the art world. We then analyze their international activities as well as their expansion, regionally and internationally, before the creation of the art market of Dubai between 2006 and 2015. Our methodology is based on the research methods of the social sciences: comprehensive interviews, quantitative investigations, typological analyses, documentation review and field work through immersion and participatory observation
Guettara, Merizak. "Contribution à l'étude de l'influence de l'existentialisme sartrien sur la littérature arabe contemporaine, avec un cas pratique l'influence sartrienne sur "Le Quartier latin" de Souheil Idriss /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37605635w.
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