Dissertations / Theses: 'Clowns in art'

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Cadenhead, Patrick. "Cowboys, Clowns, and Perambulations." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1833.

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This thesis is an attempt to de-construct the linear way in which I describe my work. I am attempting to deal with my family’s background in the theater and identity as a Texan. In addition I am attempting to address my interest in phenomenological concerns. This document was created in Microsoft Word 2000. The video portions of the video were edited on Imovie HD and Final Cut Pro, while the audio text was recorded from TextEdit’s text to speech program.

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Bodelet, Claire. "Embarquer avec les clowns à l'hôpital : sociologie d'un drôle de travail entre art et service." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0087.

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L’hôpital est un lieu où l’on ne s’attend a priori pas à rencontrer des clowns. Pourtant, ils y sont de plus en plus nombreux. Que font les clowns à l’hôpital ? A quelles situations sont-ils confrontés et comment y répondent-ils ? Quelle place tiennent-ils dans les soins ? Comment sont-ils organisés ? Cette thèse est consacrée au travail des clowns à l’hôpital et plus particulièrement, à celui qu’ils mènent dans les services pédiatriques. Dans ces lieux, leurs prestations prennent différentes formes : une berceuse dans la chambre d’un bébé, un tour de magie dans le couloir avec les adolescents, une course poursuite dans la salle d’attente des urgences… En suivant une approche ethnographique, cette recherche donne à voir comment l’hôpital reconfigure le métier de clown (formes d’exercice, modes d’organisation, enjeux du travail, etc.). Elle est organisée en trois parties. La première s’intéresse à l’émergence des clowns à l’hôpital comme groupe spécifique et à son entrée dans une logique de professionnalisation. En France, une association, Le Rire Médecin, a largement orchestré ce mouvement en définissant un dispositif d’action particulier (avec des spectacles improvisés et réalisés « sur mesure »), formalisant certaines normes de jeu (comme le travail en duo), inscrivant leur activité dans la profession de comédien (plutôt que les professions de santé), et mobilisant différents outils pour contrôler l’accès à l’exercice du métier (et avec eux aussi, l’accès à un nouveau marché du travail). Toutefois, cette professionnalisation dessine aussi de nouveaux enjeux : comment assurer la reproduction de ce modèle dans le temps ? Quelle terminologie professionnelle choisir ? Quel type de contrôle professionnel mettre en place ? Dans une deuxième partie, un détour par la question de l’apprentissage du métier plus général de clown s’est imposé pour comprendre comment se réalise l’entrée, puis le maintien dans la profession. En effet, cet apprentissage repose sur un processus de création, consistant pour chaque acteur à créer son propre personnage de clown, qu’il pourra ensuite « amener » et « piloter » à l’hôpital. Simultanément, chaque acteur apprend qu’il doit « nourrir » et perfectionner son personnage. En ce sens, l’activité des clowns à l’hôpital se prête tout particulièrement à des formes de management néolibérales (valorisation de l’autonomie des individus, intériorisation de la contrainte, contrôle par les pairs). Enfin, la troisième partie vise à décrire et analyser le travail en actes de ces clowns, dans son déroulement quotidien : comment ils s’insèrent dans le flux des activités de l’hôpital, comment ils transforment les ambiances qui préexistent dans chaque service, comment ils élaborent leurs différents numéros. Dans les chambres, les clowns travaillent dans une configuration inédite, caractérisée par des situations de face à face avec un public composé d’un seul spectateur qui peut intervenir sur le déroulement du numéro. De plus, son état peut être plus ou moins altéré par la maladie et les numéros peuvent être interrompus à tout moment (par l’entrée d’un soignant, par exemple). Comment alors les clowns parviennent-ils à se coordonner et à contrôler la dynamique de chaque spectacle ? L’analyse, appuyée sur la Grounded Theory, les travaux de Strauss et de Goffman, a permis d’identifier des situations types, en fonction desquelles les clowns déclenchent différentes figures d’interaction. Pour autant, l’application de ces « recettes de clown » n’est pas suffisante. Ainsi, chaque spectacle apparaît plutôt comme étant le résultat d’une action située, qui tient compte d’un ensemble de paramètres (matériels et immatériels) et qui répond tantôt à des enjeux traditionnels (divertir le public, par exemple), tantôt à des enjeux nouveaux : apaiser l’attente, soulager la douleur causée par un acte médical et/ou encore, rendre le jeune patient – et parfois aussi, son parent – coopératif(s) pendant les soins Noone goes to the hospital to see clowns, yet you meet an increasing number of them there. What are clowns doing in hospitals? What types of situations are they faced with and how do they respond? What role do they have in patient care? And how are they organized? This PhD dissertation analyses the work of clowns in paediatric wards. In that particular space, their performances take on a different form: a lullaby in a child’s room, a magic trick in the hallway with teenagers, a chase in the emergency room... Based on an ethnographic framework, this research explores how clowns are reinventing their profession (forms of practice, work organization, goals, etc.) in the hospital context. It is divided into three parts. The first part focuses on analyzing the emergence of hospital clowns as a specific group, and their organization as a profession. In France, the association Le Rire Médecin has largely orchestrated this new movement by defining a specific performance framework for shows (as tailor-made improvisation), codifying performance standards (such as working in pairs), categorizing their work as part of the actor’s (rather than the healthcare profession), and mobilizing various tools to control access to the profession (including controlling access to a new labor market). This professionalization also raises new challenges, notably: how can this model be reproduced over time? What professional terminology must be used? What kind of professional oversight should be put into place? In part two, we explore the issue of the training of professional clowns. This is a critical to understanding how clowns enter, and maintain themselves, into the hospital clowns’ profession. Indeed, their training is based on a creative process in which each actor creates their own clown character which they can then “bring” to and “pilot” in hospitals. At the same time, each actor learns that s/he needs to nurture and perfect their character. That way the hospital clown activity particularly lends itself to neo-liberal forms of management (praise for individual autonomy, internalization of restrictions, and monitoring by peers). The third and final part aims to describe and analyze the work of these clowns in practice during its daily unfoldings: how do they fit into the flow of hospitals’ activities? How do they transform the atmosphere that pre-exists in each hospital ward? How do they develop their various acts? In the patients’ rooms, clowns work in a unique environment, characterized by a face-to-face encounter with a single spectator audience that can intervene in the course of the show. Each performance may be impaired by the disease of the patient or interrupted for medical reasons at any time. In that context, how do clowns manage to coordinate and control the dynamics of each show? The analysis based on the Grounded Theory, the work of Strauss and Goffman, identifies typical situations, where clowns trigger different types of interaction. However, the implementation of these “clown recipes” is not enough. Thus, each show appears to be the result of a situated action, which takes into account a certain set of parameters (tangible and intangible) and which at times responds to traditional goals (entertaining an audience, for example) or new ones: soothing the waiting room’s atmosphere, relieving the pain caused by a medical procedure, or enlisting young patients’ – and at times also, their parents’ – cooperation during a care procedure

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Cezard, Delphine. "Les "Nouveaux" Clowns : approche sociologique de l'identité, de la profession et de l'art du clown aujourd'hui." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3070.

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Le clown, personnage culturel et social, se construit par l'interaction avec son public et son milieu d'intervention. Le fait que le clown corresponde si durablement dans les représentations à la caricature d'un personnage de cirque, amène à se demander si le clown n'est pas victime de son image, pourtant si positive il fut un temps. Ce constat amène à réfléchir directement sur l'identité des clowns et leur réalité actuelle. Comprendre comment et pourquoi les clowns ont évolué ces dernières années revient à questionner à la fois les éléments de permanence et d'unicité qui les constituent mais aussi les facteurs de variations et de variabilité de leur travail artistique. L'analyse des transformations passées et en cours de la figure du clown à travers un état des lieux sur la figure du clown puis la construction identitaire des nouveaux clowns et enfin leurs formes diverses et récentes, donne au sujet une profondeur et une compréhension plus vaste. Ce travail, relevant d'une approche sociologique, a pour objectif de rendre compte d'une identité, d'une profession et d'un art qui entrent en lien avec des enjeux sociaux, politiques et économiques des sociétés contemporaines et occidentales. Questionner les ressources que le clown met en œuvre à l'heure actuelle pour survivre est une façon de comprendre son identité sociale et par là, la société dans laquelle il vit. L'existence sociale des nouveaux clowns est en rapport constant avec les arts frères que sont la danse, le théâtre, le cirque, mais aussi avec les mondes des amuseurs publics que constituent par exemple les humoristes desquels ils se nourrissent et avec lesquels ils se confrontent dans un même temps The clown, a cultural and social character, is shaped in interaction with his public and his environment. Yet, the fact that the figure of the clown is consistently associated with the caricatural representation of the circus character leads to question if the clown could be a victim of his own image, which was once so positive. Furthermore, this highlights the relevancy of reflecting directly on the identity of the clowns and their present reality. Understanding how and why the clown has evolved in recent years requires identifying the elements of durability and uniqueness which establish the clown, but also of the variations and variability of the artistic work. The analysis of both past and present transformations through an overview of the figure of the clown and the identity-building of the “new clowns” and finally, their diverse and recent forms, allows for a deeper and wider understanding of the subject. The objective of this thesis is, through a sociological approach, to highlight an identity, a profession and an art form and it's relation to social, political and economic issues in contemporary western societies. To question the resources that the clown must presently mobilize to survive allows an understanding of his social identity and thus also of the society in which he lives. The social existence of the “new clowns” is in constant interaction with related artistic disciplines such as dance, theater, and circus, but also with the worlds of public entertainers, for example humorists, in whom they find inspiration at the same time as grounds to confront ideas

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Santos, Leandro Lago [UNESP]. "Senhoras e senhores, com vocês, os palhaços grotescos Doutor, Capitão e Woyzeck!" Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141492.

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Submitted by LEANDRO LAGO SANTOS null (leandrolago@ymail.com) on 2016-07-10T02:03:48Z No. of bitstreams: 1 Dissertação_versão final_Leandro Lago.pdf: 8334646 bytes, checksum: 3614118466eb2d24ed58d50af6991384 (MD5) Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-12T18:02:55Z (GMT) No. of bitstreams: 1 santos_ll_me_ai.pdf: 8334646 bytes, checksum: 3614118466eb2d24ed58d50af6991384 (MD5) Made available in DSpace on 2016-07-12T18:02:55Z (GMT). No. of bitstreams: 1 santos_ll_me_ai.pdf: 8334646 bytes, checksum: 3614118466eb2d24ed58d50af6991384 (MD5) Previous issue date: 2016-05-12 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) O presente trabalho propõe reflexões sobre o fenômeno do grotesco, que se define a partir de alguns aspectos como: estranho, bizarro, disforme, ridículo, híbrido, monstruoso, extravagante, cômico, trágico e tragicômico, trazendo como foco para esta discussão sua capacidade de dialogar elementos aparentemente contraditórios. Estas oposições que identificam tal fenômeno manifestam-se a partir de seu aspecto tragicômico. Soma-se a esta reflexão, aspectos característicos da linguagem do palhaço, em que o grotesco tragicômico é apontado como um dos importantes elementos constituintes dessa figura cômica, conforme exemplificados na dupla de palhaços, Branco e o Augusto. Toda esta discussão nos leva ao principal objetivo deste trabalho que é estabelecer uma analogia entre o grotesco tragicômico no palhaço e as personagens Doutor, Capitão e Woyzeck da obra Woyzeck de Georg Büchner. Nesse sentido, a pesquisa mostra-se importante na medida em que, propõe a discussão sobre o fenômeno estético do grotesco tragicômico, de forte influência em inúmeras produções artísticas e dramatúrgicas, ampliando nossa compreensão sobre o homem moderno, fortemente caracterizado por suas contradições. Além disso, aliar essa reflexão ao palhaço, nos ajuda a compreender os aspectos cômicos dessa figura, expandindo nossa forma de conceber o riso naturalmente atrelado à figura do palhaço, na sua capacidade de buscar no trágico da vida inspiração para suscitar o cômico. É a partir dessa reflexão, que buscamos uma aproximação entre esses aspectos do palhaço com algumas personagens da obra Woyzeck mantendo vivos um autor e uma obra de grandes contribuições para a história da dramaturgia moderna e contemporânea. This work proposes reflections on the grotesque phenomenon, which is defined from some aspects such as: strange, bizarre, shapless, ridiculous, hybrid, horrendous, extravagant , funny and tragicomic, bringing as focus to this discussion it’s ability to dialogue seemingly contradictory elements. These oppositions that identify this phenomenon manifested from it’s tragicomic aspect. Added to this reflection, characteristic features of the clown language, in which the tragicomic grotesque is pointed out as one of the important constituents of this comic figure, as exemplified in the pair of clowns, Branco and Augusto. All of this discussion leads us to the main goal of this work, which is to establish an analogy between the tragicomic grotesque on the clown and the characters Doctor, Captain and Woyzeck of the artwork ‘Woyzeck’ by Georg Büchner. In this way, the research shows itself important as far as proposes a debate of the aesthetic phenomenon of tragicomic grotesque, strong influence in many artistic and dramaturgical productions, expanding our understanding of modern man, strongly characterized by its contradictions. Also, combine this reflection to the clown, helps us to understand the comedic aspects of this character, expanding our way of conceiving the laughter naturally, linked to the clown character, in their ability to seek the tragic aspect of life, inspiration to raise the comic. It is from this reflection, we seek an approach between these aspects of the clown with some characters of Woyzeck work keeping alive an author and an artwork of great contributions to the history of modern and contemporary dramatic art.

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Le, Moal-Sommaire Annick. "L'Imaginaire du clown : approche historique, anthropologique et psychanalytique d'un médiateur thérapeutique venu d'ailleurs." Paris 7, 2003. http://www.theses.fr/2003PA070058.

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Depuis 1994 à l'hôpital de jour pour adultes de Dreux, "Môssieu Gaga" clown-thérapeute déambule le vendredi au milieu des différents ateliers, participe à la réunion soignants-soignés et partage le repas avec les patients. Après avoir "déliré" sur le banc de la pause-café il va jouer aux "Jeux de familles" inspirés du psychodrame, à moins qu'il n'aille raconter ou se faire raconter des histoires en tête-à-tête. Avec ses accessoires et bouts de ficelle, il construit tout un monde imaginaire où "il y a du jeu". Dans cet espace transitionnel où se déploient les armes du rire, de l'humour, de la dérision et de la subversion le langage et sa fonction poétique tiennent une place privilégiée. Il s'est agi dans ce travail de recherche d'éclairer la pertinence de la délocalisation du clown, du cirque à l'hôpital psychiatrique. Pour cela il s'est avéré indispensable d'étudier les conditions historiques de la naissance de ce personnage, au départ simple "utilité", et de définir son espace de jeu, la piste. Sous l'apparente futilité de son nez rouge, figurant le plus petit masque du monde, émerge la gravité de ce vestige d'un produit culturel ancien, outil symbolique de la gestion de l'angoisse, en lien avec la peur de l'étranger, en tension entre l'animal et l'humain. Ce médiateur baroque qui assure le triomphe de l'illusion et du pulsionnel opère comme un "coup de théâtre" dans ce moment de suspension fécond où une nouvelle forme d'organisation peut se mettre en place. Son rôle thérapeutique hors-cadre prend toute son efficacité avec les patients-limites Since 1994, in the section for adults of the day-hospital of Dreux, Môssieu Gaga, a therapist-clown, wanders around on Fridays among the different work-groups, takes part in the "nursing-nursed" meeting and has a meal with all of them. After having fun on the bench during the coffee-break, he plays "Family-games" inspired by psychodrama unless he tells or let him tell face to face stories. With his accessories and pieces of string, he builds an imaginary world where "game is present". In this transitional space where weapons such as laugh, humour, derision and subversion are used, language and its poetic function get a high rank. This research aims at clarifying the pertinence of the clown delocation, from the circus to the psychiatric hospital. Therefore, it seems inevitable to study the beginning of this character, at first as a "small part", and to define his playground, the ring. Behind the obvious uselessness of this red nose, as the smallest mask of the world, the seriousness of this relies of the past comes out, a symbolic tool for controlling anguish, connected with the fear of strange, a link between Animal and Human. This baroque mediator who ensures the victory of illusion and impulse, works as a dramatic turn to events in this moment of fertile breaking off when a new form of organization can take place. His out of space therapeutic role takes all his efficiency with the borderline patients

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Equestri, Alice. ""Armine... thou art a foole and knaue": The Fools of Shakespeare's Romances." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3424038.

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My thesis analyses in detail the comic characters of Shakespeare's romances (Pericles, Cymbeline, The Winter’s Tale and The Tempest), in particular those created for Robert Armin, the leading comedian of the King's Men in the period. The first chapter focuses on the relationship between actor and role: after an introductory section where I give an overview of the life and works of Robert Armin along with the particular features of his clowning style as opposed to those of Will Kemp, his predecessor in Shakespeare’s company, I move on to consider the parts in the romances he was likely to have played in the early performances: Boult, Cloten, Autolycus and Caliban. In particular, I close-read the texts to highlight the clues pointing at Armin’s own person, physical characteristics, clowning style and outlook. The following chapters are devoted to a thorough discussion of each of the four characters, which are grouped according to their professions or social roles. So the second chapter examines the criminal fools in Pericles and The Winter’s Tale, where Boult and Autolycus are respectively a brothel male-bawd and an eclectic rogue. In the third chapter, then, we find Cloten and Caliban from Cymbeline and The Tempest, characters who display or are scorned for their real or alleged natural folly. In each case I consider the relationship between the role and Shakespeare’s sources as well as the influences from previous comic traditions, and the ways in which the character elicits laughter. An important part of the chapters, however, is dedicated to a contextualization of the characters in the social, historical and cultural environment of the period. So I analyse Boult as a representative of the flourishing economy of prostitution in early modern England and Autolycus as a multifarious mirror of the consequences deriving from masterlessness and vagrancy. With Cloten and Caliban, instead, I explore the theme of natural folly or congenital deficiency in medicine and society, considering how the texts describe their condition. Throughout the analyses I also seek to emphasise any additional links between the characters and the outlook of Robert Armin as expressed in his works, in order to give a further contribution to recent trends in research that view Shakespeare’s work as the result of a collaboration with his actors and in particular with his leading comedian. Finally, the conclusive chapter lists the analogies between the characters and the differences between them and the previous roles created for Armin in Shakespeare. La mia tesi propone un’analisi dettagliata dei personaggi comici nei romances Shakespeariani (Pericles, Cymbeline, The Winter’s Tale e The Tempest) in particolare quelli creati appositamente per Robert Armin, attore comico di punta dei King’s Men in quel periodo. Nel primo capitolo traccio la presenza di Armin nei quattro testi, individuando cioè gli indizi che rimandano alla sua figura e alla tipologia di comicità tipica dei suoi personaggi precedenti in Shakespeare e di quelli presenti nelle sue stesse opere. I quattro personaggi creati per lui da Shakespeare vengono analizzati in profondità nei seguenti capitoli, raggruppandoli a seconda dei loro ruoli sociali o professioni. Nel secondo capitolo mi occupo dei fools criminali, considerando Pericles e The Winter’s Tale, dove i personaggi di Boult e Autolycus sono rispettivamente un ruffiano di bordello e un delinquente di strada. Nel terzo capitolo mi concentro invece sui personaggi che esibiscono o vengono discriminati per una reale od imputata deficienza congenita (natural folly): il principe Cloten in Cymbeline e Caliban in The Tempest. Per ciascun caso discuto il rapporto del personaggio con le fonti shakespeariane ed eventualmente con la tradizione comica precedente o contemporanea a Shakespeare, il ruolo all’interno del testo, e il modo in cui il personaggio suscita l’effetto comico. Una parte importante di questi due capitoli è dedicata ad un analisi storico-testuale dei personaggi in rapporto alla situazione storica dell’Inghilterra di fine Cinquecento/inizio Seicento per quanto riguarda lo sfruttamento della prostituzione, la criminalità derivante dal vagabondaggio (secondo capitolo, Boult e Autolycus), e la nozione di disabilità mentale in medicina e società (terzo capitolo, Cloten e Caliban). Nel corso dell’analisi dei personaggi cerco in particolare di evidenziarne le ambiguità e i tratti tragicomici, che sono importanti in relazione allo specifico genere drammatico a cui questi testi afferiscono. Inoltre, discuto la drammatizzazione dei personaggi in rapporto alla nozione di follia sia come depravazione nel tardo medioevo e nel rinascimento, sia come giocosa e risibile innocenza nei precedenti lavori di Robert Armin, cercando di dare ulteriore forza alle recenti linee di ricerca che vedono l’opera di Shakespeare come il risultato di una collaborazione con i suoi attori e in particolare con il suo comico principale. Il capitolo conclusivo raccoglie le analogie tra i quattro personaggi e mette a fuoco le differenze tra questi e i personaggi comici precedenti interpretati da Armin.

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Velasquez, Angel Ana Milena. "Le jeu du clown dans la Colombie contemporaine : la renaissance du clown, un acteur social et politique et le rire du spectateur de résistance et de liberté." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030005/document.

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Le jeu du clown dans la Colombie contemporaine est en voie de développement. Bien que la figure du clown n’ait jamais cessé d’exister dans la société, quelles que fussent ses formes à travers l’histoire, on assiste à la renaissance de l’art du clown dans notre pays depuis ces dix dernières années. L’art du clown devient une possibilité de revalorisation du langage comique et poétique de l’artiste dans la société colombienne actuelle, conférant à l’acteur clown un rôle social et politique et permettant au spectateur de vivre une forme de résistance et de libération de sa réalité quotidienne violente.La mise en perspective historique du cirque comme langage artistique moderne permet de comprendre comment le clown va se constituer et se développer tout au long des XIXe et XXe siècles jusqu’à devenir un art autonome avec son incursion dans le théâtre et les écoles de formation théâtrale. Cette démarche vise à donner les fondements théoriques de la naissance et de l’évolution du cirque et du clown dans le cirque depuis l’époque de l’Amérique préhispanique jusqu’à la Colombie contemporaine. La perspective historique remarque que, bien avant l’arrivée des clowns dans les cirques modernes après le XVIIIe siècle, on peut constater l’existence de personnages comiques et clownesques dans la culture précolombienne et pendant la période de la colonisation. L’histoire des fêtes populaires de l’Amérique latine, les personnages itinérants et comiques vont se développer parallèlement aux formes spectaculaires religieuses de l’idéologie espagnole. Les cirques européens et américains arriveront dans une atmosphère de résistance et, plus tard, d’indépendance et commencera à s’écrire l’histoire du cirque en Amérique latine.Le modèle économique latino-américain, la récente industrie culturelle et le manque d’écoles de formation du cirque marqueront l’évolution du cirque comme institution sociale, cherchant à travers la discipline et ses techniques à former des jeunes et enfants en situation de violence. D’autre part, le théâtre subira des divisions entre la tradition et l’apparition d’idéologies modernes sur la formation de l’acteur jusqu’à la consolidation de la méthode artistique de création collective. Le clown du cirque traditionnel deviendra une sorte de stéréotype avec les duos clownesques à la télévision, les clowns dans la rue, les restaurants, et les mendiants habillés en clowns. Cette étude aborde les éléments sémiotiques de la figure des nouveaux clowns en tant qu’art autonome impulsé par la pédagogie du français Jacques Lecoq diffusée dans le monde entier, avec une incidence importante en Amérique latine, où elle rencontre la création collective basée sur l’improvisation. Cette pédagogie arrive à travers les festivals internationaux du théâtre où artistes et public accèdent au panorama de l’art du clown dans le monde, au travers de stages et de spectacles. Rénovant ainsi le phénomène de marginalisation du clown par un changement de statut artistique et social. La pratique enracinée de la création collective, letravail du collectif et l’implication du théâtre dans les transformations sociales et politiques du pays, rencontre le langage des nouveaux clowns, pour donner forme à des créations clownesques collectives tout à fait solides et originales. Nous nous concentrons sur la fonction qu’exercent les clowns contemporains au présent de la société colombienne résultant d’une vaste période de crises marquée par des affrontements et des vagues successives de violence. L’humour comme trait particulier de la culture devenant une forme incontestable d’affronter une réalité douloureuse rencontre le clown que par le rire permettra de récupérer la valeur sacrée du chaman, bobo, bouffons et fous de l’histoire. Ainsi nous reconnaissons l’incursion du langage du clown sur plusieurs terrains (l’hôpital, l’humanitaire et le social) pour admettre que le spectateur vive une forme de libération par la communication établie avec le clown dans le rire Clown acting in contemporary Colombia is developing. Even though the figure of clowns has always being present in society, regardless of its forms through history, we are now witnessing the rebirth of the art of clowning in Colombia in the last decade. The art of clowning becomes an enhancement possibility of comic and poetic language of the artist in the current Colombian society, conferring the clown actor a social and political role, and allowing the spectator to live a form of resistance and freedom from their daily violent reality.The historical perspective of the circus as modern artistic language allows understanding how the clown is built up and developed through the XIX and XX centuries until the point of becoming an independent art with its foray into theater and theater schools. This perspective aims to provide the theoretical foundations of the birth and evolution of the circus and the clown in the circus since the time of pre-Hispanic America until contemporary Colombia. The historical perspective points out that the existence of comic and clownesque characters in the Pre-Columbian culture and during the colonization era can be recorded even before the clowns’ arrival to the modern circus after the XVIII century. The history of Latin America popular celebrations and the itinerant and comic characters are developed at the same time as the spectacular religious forms of the Spanish ideology. The European and American circuses arrived amid an atmosphere of resistance and, later, of independence. The history of the circus in Latin America begins to be written.The Latin American economic model, the recent cultural industry and the lack of schools for circus training mark the circus evolution as a social institution which, through its discipline and techniques, looks to form young people and children that are in violence situations. On the other hand, the theater is subjected to divisions between tradition and the emergence of modern ideologies on actor’s training until the consolidation of the artistic method of collective creation. The traditional circus clown becomes a kind of stereotype with the clownesque duos on T.V., the clowns in the streets and restaurants, and the beggars dressed up as clowns.This study approaches the semiotic elements of the new clowns’ figure as an independent art encouraged by French Jacques Lecoq’s pedagogy, spread all around the world with an important impact in Latin America, where this pedagogy meets the collective creation based on improvisation. It arrives through international theater festivals, where artists and spectators have access to the panorama of the clown art around the world, by means of courses and shows renewing the clown’s marginalization phenomenon through an artistic and social status change. The established practice of collective creation, the collective work and the involvement of theater in social and political transformation of the country, meet the language of the new clowns to give shape to absolutely strong and original collective clownesque creations.We will focus on the function performed by the contemporary clowns in the current Colombian society resulting from a large period of crisis marked by confrontations and successive waves of violence. Humor, as a particular feature of the culture and becoming an unquestionable way of facing a painful reality, meets the clown, who makes possible to recover the sacred value of the shaman, bobo, buffoons and mad characters of history. Thus, recognizing the foray of clown language into different fields (the hospital, the humanitarian and the social ones) in Colombia, it is possible to accept that the spectator lives a form of freedom through the communication established with the clown in the laughing

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Lima, Caminha Melissa. "Payasas: Historias, Cuerpos y Formas de Representar la Comicidad desde una Perspectiva de Género." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/400011.

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En mi tesis hago un estudio genealógico de la figura de la payasa, a partir de un abordaje interdisciplinar que facilite un dialogo entre la Payasaría y otras disciplinas artísticas y teóricas, como las Artes Visuales, los Estudios de Performance, la Teoría Crítica, Artes y Educación, los Feminismos y las Teorías Queer y Crip. El estudio genealógico se basa en un trabajo de campo por lo cual he realizado entrevistas con payasas, participación en festivales, investigación documental, análisis y crítica de género. La investigación acaba por indagar sobre la diversidad de cuerpos y formas en el campo da la risa y la comicidad, desplazando la pregunta inicial sobre género para una problemática más amplia y fundamental sobre lo humano. Desde un abordaje feminista-queer-crip-clown, propongo nuevas figuraciones teóricas que sirvan como herramientas críticas y analíticas para comprender nuestra subjetividad como un proceso de devenir. Un proyecto de devenir que podemos establecer no solamente con los diferentes Otros con quien vivimos y nos relacionamos, sino también con los posibles y potentes Otros que existen en cada uno de nosotros. También busco establecer clown_tactos y clown_labor_aciones artísticas y políticas entre sujetxs y campos del conocimiento comprometidos en la creación de nuevos mundos posibles a través del arte. El proceso de investigación influye directamente en la construcción de mi subjetividad e identidad como artivista, educadora e investigadora, marcada por diversos afectos y afinidades, encarnados en los siguientes proyectos: Xoxo Clown Show, TransClowning y Belly.Breast_Mama.Monster.Clown. In my PhD research, I do a genealogical study of the female clown figure, from an interdisciplinary approach that engages in a dialogue between clownery and others artistic and theoretical disciplines, like the Visual Arts, Performance Studies, Arts Education, Critical Theory, Feminisms, Queer and Crip Theories. The genealogical study is based on a field research in which I conducted interviews with women clowns, participated in women’s clown festivals, documental research, gender criticism and analyses. The research ends up inquiring about the diversity of bodies and forms in the fields of laughter and comicality, displacing the initial woman and gender question to a more central, yet very related one: the human question. From a feminist-queer-crip-clown approach, I suggest new theoretical figurations that can serve as critical and analytical tools to comprehend our subjectivity as a becoming project. A becoming project that we can stablish not just with the different external Others, but also with the potential and possible others that exist in each one of us. I also try to stablish artistic and political “clown_tacts” and “clown_laborations” between diverse subjects and knowledge fields engaged in the artistic creation of new possible worlds. Clowntacts and clownlaborations that are able to develop creative pedagogies and politics that serve a democratic project based on the new approaches on posthuman ethics. The research process directly influence the construction of my subjectivity and identity as artvist, educador and researcher, marked by several affinities and affects, embodied in the following projects: Cunt Clown Show, TransClowning and Belly.Breast_Mama.Monster.Clown.

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Kerlogue, Fiona. "Batik cloths from Jambi, Sumatra." Thesis, University of Hull, 1997. http://hydra.hull.ac.uk/resources/hull:8279.

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I set about exploring the history of Jambi batik with a view to establishing its nature, characteristics, methods of manufacture and function in its social context. A central aim of the study was to establish an accurate description of batiks from Jambi which could serve as a guide to museum cataloguers. In particular I planned to clarify the position regarding the red batiks. During the course of my investigations, I came across a similar confusion surrounding a group of batiks containing Arabic calligraphy. A further purpose of the study was then to determine which, if any, of these calligraphy batiks were made in Jambi. For those which did, my intention was to discover how they fitted into the social and economic context in which they were produced. This study has challenged a number of assumptions which have been made about batik in Indonesia. I have confronted static models and others which have focussed too narrowly on Javanese techniques and meanings. I have demonstrated the importance of approaching textiles from a perspective which recognises change and diversity. I have tried to emphasise the need to understand the central role of trade and colonial experience in relation to textiles in South-East Asia. I have also shown the need for taking into consideration the wider geographical context, beyond the Indonesian archipelago and beyond the notional boundaries of South-East Asia. Previous studies of Indonesian batik have tended to apply Javanese models to all of Indonesia. Indonesia was viewed with Java as the centre and the other regions as satellites to it: a Java-centric model which has marginalised batiks from Jambi. Finally, I believe I have shown the crucial importance of studying the technical aspects of textiles. Many other studies of textiles in South-East Asia have employed an anthropological perspective focusing almost exclusively on the symbolic to the neglect of the technical. This has resulted in a paucity of information which could help museum curators to identify both how and where the textiles were made. This lack of information made the study of textiles from Jambi, as it must do for many other marginalised places, particularly difficult. I hope that this study has not only revealed this problem, but has gone some way to remedy it.

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Plant, John. "Heyoka : Die Contraries und Clowns der Plainsindianer /." Wyk (Allemagne) : Verlag für Amerikanistik, 1994. http://catalogue.bnf.fr/ark:/12148/cb37461045g.

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Battersby, Jamie Thomas William. "The Door To Before Closes, and You Grieve That Too." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555517321452505.

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Olendzki, Luciane de Campos. "Palhaçar : máscaras em uma patética-poética por rir." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/16916.

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Le présent mémoire est composé de scènes d´écriture traversées par des séries hétérogènes de masques qui composent une typologie et une topologie de l´art du clown. Ces masques dramatisent la connaissance et l´historiographie de l´art du clown. Elles opèrent comme des puissances intempestives, traçant un plan de composition et de pensée qui procède par fabulation, entre le théâtre et la philosophie, avec des auteurs comme Nietszche, Deleuze et Artaud. Masqueclown en jeu, par instinct de jeu et variation poétique, avec le pouvoir d´affecter et d´être affecté, élevé à la énième puissance du faux. Masque-clown dans une poétique (ob)scène, jouée et joueuse dans l´exécution de l´oeuvre et de la rencontre théâtrale pour l´événement : clowner. Clown de l´événement. Dilacération créative et de multiplicité dans l´expérience de création d´un masqueclown affirmatif et affirmé, qui opère par gaieté tragique dans une potentialisation artistique et de vie. Poétique scénique du masque comico-pathétique pour l´événement dans la rencontre théâtrale. Par jeu, par vouloir-artiste et par rire. Esta dissertação é composta por cenas de escritura, onde atravessam séries heterogêneas de máscaras que compõem uma tipologia e uma topologia da arte do palhaço. Tais máscaras dramatizam o conhecimento e a própria historiografia da arte do palhaço e atuam como potências intempestivas, traçando um plano de composição e de pensamento que procede por fabulação, entre o teatro e a filosofia, com autores como Nietzsche, Deleuze e Artaud. Máscara-palhaço em jogo, por instinto de jogo e variação poética, no poder de afetar e ser afetada, elevada à enésima potência do falso. Máscara-palhaço em poética (obs)cênica, jogada e jogadora na efetuação da obra e do encontro teatral para o acontecimento: palhaçar. Palhaço do acontecimento. Dilaceração criativa e de multiplicidade na experiência de criação de uma máscara-palhaço afirmadora e afirmativa, que opera por alegria trágica em potencialização artística e de vida. Poética cênica da máscara cômico-patética para o acontecimento no encontro teatral. Por jogo, por querer-artista e por rir.

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McGregor, Carol Anne. "Art of the Skins: un-silencing and remembering." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/388148.

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A major focus of my visual art practice has been to contribute to the un-silencing of family and Australian Indigenous community histories and heritage. Un-silencing is my term to describe the personal and political acts needed to undo colonial structures and thinking. As a part of this undoing or decolonising, I have sought to share knowledges and to pass on information and skills through reinvigorating the art of Indigenous possum skin cloak-making in South-East Queensland. Little research or writing about Australian Aboriginal possum skin cloak-making exists, which is partly because of the hiatus in the actual making of cloaks as garments of use and for ceremony due to the forced interruption of cultural practices by early dominating colonialists. There are now only fourteen known historical animal skin cloaks or fragments of cloaks in existence. I have closely examined two of these cloaks: one is held in the Smithsonian National Museum of Natural History in Washington DC, and the other in the Miles Historical Museum in Miles, Queensland. In order to continue the cultural practice of possum skin cloak-making in South-East Queensland, I facilitated (with fellow artist Glennys Briggs) a series of over fifty Indigenous community-based possum skin cloak-making workshops between 2014 and 2016. The outcome was the making of six community-owned possum skin cloaks that were displayed over six months in the exhibition Art of the Skins, State Library of Queensland, in 2016. Little-known historical references to the possum skin cloaks in this region were woven into the workshops to bring them to common knowledge and to emphasise the significance and importance of the continuum of this traditional cultural practice in South-East Queensland. The workshops informed my own practice-led research and making. The art on the skins documents biocultural knowledge of plants and place, drawn from guidance received from Elders and community members. Through this research, I hope to contribute to understanding particular aspects of the continuum of Australian Aboriginal cultural object making. Thesis (PhD Doctorate) Doctor of Visual Arts (DVA) Queensland College of Art Arts, Education and Law Full Text

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Lambertsson, Björk Eva. "Campus clowns and the canon : David Lodge's campus fiction /." Umeå (Sweden) : University of Umeå, 1993. http://catalogue.bnf.fr/ark:/12148/cb35681350c.

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Green, William Carey. "If Clouds Are Full of Water: Stories." Miami University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=miami1154529892.

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Chareyre, Pascal. "Isolement de clones ADNc exprimés pendant la différenciation de l'aile nymphale chez Bombyx mori : caractérisation d'un clone ADNc de collagène." Lyon 1, 1995. http://www.theses.fr/1995LYO10050.

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Le declenchement par une hormone steroide, la 20-hydroxyecdysone, de la formation d'une aile a partir d'un massif de cellules indifferenciees, le disque imaginal, est etudie chez le lepidoptere bombyx mori comme un modele de differenciation d'un organe. Notre objectif est de determiner comment est hierarchisee et coordonnee la cascade d'activation genique a l'origine de cette differenciation. La realisation puis le criblage differentiel d'une banque adnc de disques alaires de bombyx mori en cours de differenciation ont permis d'isoler un certain nombre de clones correspondant a des genes exprimes dans un contexte hormonal eleve et pendant le processus de morphogenese de l'aile. L'analyse des patrons d'expression au cours du developpement des arnm correspondant a quelques uns de ces clones permet de suggerer que la morphogenese de l'aile nymphale d'un lepidoptere commence deja lors de la derniere mue larvaire. Le clone bmcoll correspond a un arnm codant pour une proteine de la superfamille des collagenes. Il represente la premiere molecule de ce type decrite chez bombyx mori. La frequence des interruptions de la serie des triplets gly-xaa-yaa codant pour la triple helice collagenique lui confere un caractere de collagene non fibrillaire, mais les comparaisons avec les banques de donnees ne permettent pas d'identification formelle. Les acides amines representes aux positions xaa et yaa des triplets gly-xaa-yaa sont dans la majorite des cas la glutamine et la proline respectivement et la region ncl, completement originale, ne presente aucune homologie avec les regions c-terminales deja decrites. L'accumulation des messagers de bmcoll varie dans le meme sens que le taux de 20-hydroxyecdysone chez la larve. In vitro, le blocage de la synthese proteique par la cycloheximide provoque, comme avec la 20-hydroxyecdysone, l'accumulation des transcrits de bmcoll sous un delai d'une heure. Le modele de regulation qui est propose dans cette these suggere que les messagers de bmcoll, intrinsequement instables dans le disque pendant les phases de croissance lente de l'ebauche, sont stabilises en presence d'hormone par la disparition d'une proteine destabilisatrice hormone sensible. Cette hypothese est en accord avec la presence dans la region 3' non traduite de sequences responsables de l'instabilite de certains messagers de mammiferes. A notre connaissance, un tel mode de regulation n'a jamais ete decrit dans les modeles rendant compte de l'action de la 20-hydroxyecdysone sur le controle de l'activite genique

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Breikers, Joseph Laurence. "Out of position : the ball park of humour in contemporary art." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/63942/1/Joseph_Breikers_Thesis.pdf.

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This practice-led research project explores how humour can be employed to develop a methodology for examining the socio-political dimensions of contemporary art practice. This research aims to identify and elaborate on how using the evasive strategies and elliptical frameworks associated with ideas of the absurd and nonsense can lead to new ways of understanding the nexus between social, political and cultural practices. This is achieved primarily through an examination of the art practices of Marcel Duchamp, Bruce Nauman, and Martin Kippenberger. These artists contextualise this research because in different ways they all engage with humour as a device to critique conventional notions of how art can be read or understood. Using these strategies the project aims to demonstrate new ways for considering how visual art can use humour to creatively and critically investigate the relationships between art and the social.

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Resende, Marques Da Silva Rafaël. "Développement d’une pédagogie du jeu clownesque : un parcours entre Brésil et Europe." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30082/document.

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Le dialogue entre la pratique et la théorie est la base de cette étude. Le défi est la réflexion à trois niveaux: la création de numéros et de spectacles par le jeu du clown; la recherche de sa théorie; et les expérimentations pédagogiques. L'interrogation sur le clown a commencé au Brésil et s'est déroulée dans quatre pays européens à travers des spectacles, des résidences artistiques, des ateliers et des rencontres avec des artistes à partir de la Cia da Bobagem. Le clown est une figure populaire et banale à la fois, mais il y a des traces primitives de son jeu. Cette étude met l'accent sur cet art sous de nombreux aspects: ses principes, son histoire, ses artistes, sa pratique interculturelle, sa liberté, sa poésie, son incompréhension et ses métamorphoses au fil du temps. C'est une invitation à voyager ensemble dans un monde paradoxalement très proche mais toujours mystérieux. La première partie aborde le parcours artistique du chercheur influencé par la recherche e sa curiosité théorique. Ce sont 15 ans de vie clownesque vécu au Brésil et intensifié en Europe avec la création de quatre spectacles et la réalisation de plusieurs cours de clowns à Bruxelles. La rentrée au Brésil est étudiée à partir des projets subventionés. La deuxième partie montre un esquisse théorique sur le clown du XVIe jusqu’aujourd’hui : dès les moralités aux clowns actuels. L’etymologie du mot clown ouvre ce chapitre qui fait une possible relation du trickster et du clown. La troisième partie fait une réflexion sur le jeu comme un outil d’apprentissage du clown. Il y a la tentative de met en lumière les principes du jeu clownesque et les élements pédagogiques appliqué dans la Cia da Bobagem. Pour conclure, la thèse essaye de montrer que la pratique du clown permet une intégration professionnelle et que la théorie peut amplifier la conception du clown à travers la psychologie, l’anthropologie et l’histoire. La transmission du jeu clownesque par la pédagogie du plaisir peut être l’autre façon de jouer et de transmettre le clown au-delà de la souffrance The dialogue between practice and theory is the basis of this study. The challenge is the reflection in three levels: the creation of numbers and shows by the play of clown; the investigation of clown theory; and the pedagogy experimentations. The interrogation about clown began in Brazil and came to four European countries through performances, artistic residences, workshops and meetings with artists by Cia da Bobagem group. The clown is a popular and a banal figure at the same time, but there are primitive traces of his play. This work explores this art by many aspects: his principles, his history, his artists, his intercultural practice, his freedom, his poetry, his incomprehension, and his metamorphoses over time. It is an invitation to travel together in a world paradoxically very near, but still mysterious. The first part shows the artistc journey of the researcher influenced by the research and theoretical curiosity. These are fifteen years of clown lived in Brazil and intensified in Europe with the creation of four shows and the realization of several clown classes in Brussels. The return to Brazil is studied from funded projects. The second part opens on the etymology of the word clown opens this chapter which makes a possible relation of the trickster and the clown, than indicates a theoretical sketch about the clown from the sixteen century to the present day: from morality to actual clowns. The third part is about the game as a learning tool of the clown. There is the attempt to highlight the principles of the clown game and the pedagogical elements applied in Cia da Bobagem. The thesis shows that the practice of clowning allows a professional integration, that the theory amplifies the conception of clown through psychology, anthropology and history, and that the transmission of the clown game by the pedagogy of pleasure can be the other way to play and transmit the clown beyond suffering

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Blyth, Caroline M. "The art of clouds : an account of the origins of Coeli Enarrant (1885) with reference to the wider significance of clouds in Ruskin's work." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320918.

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Kinney, Jacqueline Anne. "Retrieval of optical and microphysical properties of ice clouds using Atmospheric Radiation Measurement (ARM) data." Texas A&M University, 2005. http://hdl.handle.net/1969.1/2524.

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The research presented here retrieves the cloud optical thickness and particle effective size of cirrus clouds using surface radiation measurements obtained during the Atmospheric Radiation Measurement (ARM) field campaign. The algorithm used is based on a method proposed by Yang et al. (2005). The research examines single-layer ice clouds in the midlatitude and polar regions. The retrieved information in the midlatitudes is then verified using retrievals from the Moderate-resolution Imaging Spectroradiometer (MODIS) onboard the Terra and Aqua satellites.

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Rodrigues, José Alexandre Serrão. "Aparição do Clown: De um mito racional-cristão ao nascimento da poesia." Universidade Federal do Amazonas, 2012. http://tede.ufam.edu.br/handle/tede/2391.

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Made available in DSpace on 2015-04-11T13:49:12Z (GMT). No. of bitstreams: 1 Jose_A_S_Rodrigues.pdf: 570666 bytes, checksum: fcafd3b7cfc7e3f6aea4193d12b71f64 (MD5) Previous issue date: 2012-04-12 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior This work, called Appearance of the clown: a rational-christian myth to birth poetry, is an interpretive reading of the poem of the same name by L. Ruas based on some theories about the myth, christianity, philosophy and art. It is, in particular, the ideas of Theodor Adorno, Max Horkheimer and Martin Heidegger on the need of man be reunited with art in a world of utilitarian vision. This hermeneutical study proposed here, identifies the construction of two myths, which are related to the same lyrical I of the poem. In making such narratives, the palhaço and his first form, the clown, have great importance, because they who, after being evoked by I, direct all actions of the poem. In the first myth, there is a critique of instrumental reason, which is framed by christian elements. In this reality evoked by palhaço, the reason becomes utilitarian, misrepresent themselves to produce a knowledge able to dominate nature, banishing the symbolic representations and artistic of life. The solution for those who want to separate out this context of oppression and, at the same time, fight it, lies in the construction of the second mythic reality: the poetry. O presente trabalho, chamado Aparição do clown: de um mito racional-cristão ao nascimento da poesia, é uma leitura interpretativa do poema homônimo de L. Ruas embasada em algumas teorias sobre o mito, cristianismo, filosofia e arte. Vale-se, em especial, das ideias de Theodor Adorno, Max Horkheimer e Martin Heidegger sobre a necessidade de o homem se reencontrar com a arte num mundo de visão utilitária. Nesse estudo hermenêutico aqui proposto, identifica-se a construção de dois mitos, que se encontram relacionados ao mesmo eu lírico da obra. Na elaboração dessas narrativas, o palhaço e a sua primeira forma, o clown, têm grande importância, pois são eles que, após serem evocados pelo eu, direcionam todas as ações do poema. No primeiro mito, há uma crítica à razão instrumental, que vem emoldurada por elementos cristãos. Nessa realidade evocada pelo palhaço, a razão se torna utilitária, deturpando-se com vistas a produzir um conhecimento capaz de dominar a natureza, banindo as representações simbólicas e artísticas da vida. A solução para aqueles que desejam se apartar desse contexto de opressão e, ao mesmo tempo, combatê-lo, encontra-se na construção da segunda realidade mítica: a da poesia.

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Thies, Jaclyn Michele. "Clocks and Mirrors." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955085/.

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The essays featured in this collection highlight the gaps, as well as parallels, between mental illness and the human condition. In "Appearances," the narrator struggles with her own visual identity especially after reflecting on her Mom's own lengthy history with the mirror. In "Migrations," the lyrical voice of the narrator carries the reader through the typical day of a clinically depressed female character. Lastly, "Attempting the Fall," addresses the issues society has with mental illness by following the narrator from her suicide attempt to the mental ward.

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Chayama, Yuri. "The Influence of Modern Art on Toru Takemitsu's Works for Piano." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/268593.

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This study examines the influence of Modern Art on the piano compositions of Toru Takemitsu (1930-1996) to demonstrate how he was inspired by visual art and integrated its ideas into his music. From his youth, Takemitsu was aware of the relationship between music and visual art, exploring different genres, especially Surrealist poetry and modern painting, as well as Japanese gardens, then harmonizing and incorporating these ideas within his music. In doing so, he established his own philosophy and musical structure, combining colorful sonorities with spatial effects of timelessness, which became cornerstones of his music. This document explores and identifies ideas from Modern Art - primarily visual works of Paul Klee, Odilon Redon, Kagaku Murakami, and other Surrealists - that Takemitsu adapted and wove into his compositions to create visual imagery, rich in color, within his music. The use of these ideas is discussed in an analysis of two of Takemitsu's most profound and mature solo piano works, Les Yeux Clos - In Memory of Shuzo Takiguchi (1979) and Les Yeux Clos II (1989), both inspired by Odilon Redon's series of paintings, entitled Les Yeux Clos (1890).Following Chapter I, the introduction, Chapter II discusses Takemitsu's early influences, film music, legacy, and contribution to society. Chapter III examines Takemitsu's encounter with Surrealism and the four artists– Shuzo Takiguchi, Paul Klee, Odilon Redon, and Kagaku Murakami - that influenced him the most by demonstrating the importance of breaking with convention and freely exploring one's inner world. Chapter IV identifies the principles and ideas of Modern Art and Surrealism that appealed to Takemitsu, and how he adapted them into his compositions. The ideas fall into four categories: philosophy, structure, color, and space. Chapter V presents original analyses of two solo piano works, Les Yeux Clos and Les Yeux Clos II, demonstrating how the principles and ideas of different art forms are integrated into Takemitsu's works. Concluding remarks in Chapter VI include a brief discussion of how an understanding of Takemitsu's complex artistic journey can deepen a performer's understanding and interpretation of Les Yeux Clos and Les Yeux Clos II.

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Buccheri, Alessandra. "The architecture of clouds in art and theatre : a lost path from the Florentine Renaissance to the Roman Baroque." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508753.

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Silva, Helder Adriano de Souza da [UNESP]. "Influência de clones de seringueira [hevea brasiliensis (Willd. ex Adr. de Juss. ) Muell. Arg. ] sobre o desenvolvimento populacional dos ácaros fitófagos e avaliação do desfolhamento provocado." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/98838.

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Made available in DSpace on 2014-06-11T19:29:44Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-08-15Bitstream added on 2014-06-13T20:19:57Z : No. of bitstreams: 1 silva_has_me_ilha.pdf: 626455 bytes, checksum: 9b87630ba1a97bfbf880c59642392dff (MD5) Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) A seringueira Hevea brasiliensis é a principal fonte de borracha natural produzida no mundo. A grande expansão da área plantada no Estado de São Paulo foi feita com o clone RRIM 600. Atualmente, uma série maior de opções se encontra à disposição dos produtores como os PB, GT, PR, IAC, IRCA, séries mais recentes de RRIM e IAN. Devido à necessidade de informações que possam nortear a escolha dos clones a serem plantados, o presente projeto teve por objetivo comparar a influência de clones de seringueira sobre o desenvolvimento populacional dos ácaros fitófagos e avaliação do desfolhamento provocado. O experimento foi conduzido na área do Pólo Regional de Desenvolvimento do Noroeste Paulista, APTA\SAA, no município de Votuporanga, duas áreas experimentais já instaladas foram escolhidas entre as que existem no local, identificadas como Área 1 e Área 2, em ambas foi utilizada a mesma metodologia para coleta, contagem e identificação dos ácaros. Os clones avaliados foram: Área 1, RRIM 600 (testemunha), RRIM 701, GT 1, IAN 873, PR 255, PR 261, PB 217, PB 235 e na Área 2, os clones: RRIM 600 (testemunha), PB 260, PB 330, PB 235, IAC 15, IAC 35, IAC 40, IAC 300, IRCA 111, IAN 3156 e PB 28/59. Os experimentos foram conduzidos em dois períodos: 2004/2005 e 2005/2006. As amostragens foram mensais, coletando-se folhas dos clones para identificação e contagem dos ácaros e das exúvias em laboratório. As espécies fitófagas observadas foram: Calacarus heveae Feres, Tenuipalpus heveae Baker, Phyllocoptruta seringueirae Feres, Schevtchenkella petiolula Feres, Eutetranychus banksii (McGregor), Oligonychus gossypii (Zacher) e Tetranychus mexicanus (McGregor). Os sintomas foram avaliados através de exame visual com atribuição de notas para a porcentagem de amarelecimento e de desfolha das plantas em cada dia de coleta. Foram observadas diferenças significativas... The rubber tree Hevea brasiliensis is the main source of natural eraser produced in the world. The great expansion of the area planted in the State of São Paulo was done with the clone RRIM 600. Nowadays, a larger series of options is to the disposition of the producers like PB, GT, PR, IAC, IRCA, more recent series of RRIM and IAN. Due to the need of information that they can orientate the choice of the clones to be planted, the present project had for objective to compare the influence of rubber tree clones on the population development of the acarids fitófagos and evaluation of the provoked leaf fall. The experiment was driven in the area of the Regional Pole of Development of the Northwest From São Paulo, APTA\SAA, in the municipal district of Votuporanga, two experimental areas already installed were chosen among the ones that exist at the place, identified as Area 1 and Area 2, in both the same methodology was used for collection, counting and identification of the acarids. The appraised clones were: Area 1, RRIM 600 ( testifies), RRIM 701, GT 1, IAN 873, PR 255, PR 261, PB 217, PB 235 and in the Area 2, the clones: RRIM 600 ( testifies), PB 260, PB 330, PB 235, IAC 15, IAC 35, IAC 40, IAC 300, IRCA 111, IAN 3156 and PB 28/59. The experiments were driven in two periods: 2004/2005 and 2005/2006. The samplings were monthly, being collected leaves of the clones for identification and counting of the acarids and of the exúvias in laboratory. The species observed fitófagas were: Calacarus heveae Feres, Tenuipalpus heveae Baker, Phyllocoptruta seringueirae Feres, Schevtchenkella petiolula Feres, Eutetranychus banksii (McGregor), Oligonychus gossypii (Zacher) and Tetranychus mexicanus (McGregor). The symptoms were appraised through visual exam with attribution of notes for the leaves that are being yellow percentage and of it defoliates of the plants in every day of collection...(Complete abstract, click electronic access below)

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Rezende, Joyce Martins. "Dinâmica populacional de ácaros (Acari) em clones de seringueira (Hevea brasiliensis Muell. Arg.)." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/8745.

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Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-07-30T12:51:29Z No. of bitstreams: 2 Dissertação - Joyce Martins Rezende - 2015.pdf: 3089996 bytes, checksum: 3f560df78353b49c81896a2e8fe7356c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-07-30T14:00:30Z (GMT) No. of bitstreams: 2 Dissertação - Joyce Martins Rezende - 2015.pdf: 3089996 bytes, checksum: 3f560df78353b49c81896a2e8fe7356c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Made available in DSpace on 2018-07-30T14:00:30Z (GMT). No. of bitstreams: 2 Dissertação - Joyce Martins Rezende - 2015.pdf: 3089996 bytes, checksum: 3f560df78353b49c81896a2e8fe7356c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-06-02 Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG The rubber tree is native from Amazonia and belongs to Family Euphorbiaceae. The phytophagous mites are one of major pest problem found in rubber trees in Brazil, however, to ensure the sustainability of culture is necessary to access the seasonal occurrence of these mites. Moreover, no data on mites’ population dynamics at state of Goiás are available until now. Thus, in this study was evaluated the population dynamics of mites on XX rubber tree clones RRIM 600, PR 255, PB 235 e GT 1 at Goianésia city, Goiás State, Brazil. Therefore, assessments were performed fortnightly between June 2013 and June 2014. We evaluated the number of mites in seven leaves per tree, in a total of ten trees per clones in each sample. We analyzed two leaflets of each leaf under stereoscopic microscope, being central leaflet, designed for counting of the main phytophagous (Calacarus heveae and Tenuipalpus heveae) and another one lateral leaflet for sample other mites species. After the senescence, we observed occurrence of C. heveae and T. heveae. The C. heveae peak occurred between April and May in all clones. The PR 255 and RRIM 600 clones had higher rates of C. heveae individuals. On the other hand, GT 1 clone showed the lowest C. heveae population. During the study period was verified low population of T. heveae in all rubber tree clones, which presented its population peaks from November to December and from April to May. For other mite species, we recorded the predator Euseius citrifolius as the most abundant species, followed by the phytophagous Eutetranychus banksi and Oligonychus sp. The smaller population of microácaro in GT 1 clone may be related to the high number of predatory mites and because of the existing secondary compounds in the plant. The RRIM 600 clone showed susceptibility to C. heveae, and was the clone, which obtained the lowest abundance of predators. The PR 255 clone was considered highly susceptible to the development of the eriophyid mite. These results are relevant to the management of C. heveae on the rubber tree crops. Os ácaros fitófagos são uns dos principais problemas fitossanitários encontrados no cultivo da seringueira no país, porém, para garantir a sustentabilidade da cultura é necessário conhecer a ocorrência sazonal destes ácaros. Além disso, não há dados sobre a dinâmica populacional destes ácaros para o estado de Goiás até o momento. Por este motivo, o objetivo deste trabalho foi avaliar a dinâmica populacional de ácaros nos clones RRIM 600, PR 255, PB 235 e GT 1 no município de Goianésia, Goiás. Para tanto, foram realizadas avaliações quinzenais entre junho de 2013 e junho de 2014. Avaliou-se o número de ácaros em sete folhas/árvore, de um total de dez árvores/clones. Foram analisados dois folíolos de cada folha amostrada sob microscópio estereoscópio, sendo um deles o folíolo central, destinado para contagem dos principais fitófagos (Calacarus heveae e Tenuipalpus heveae) e um dos laterais para avaliação de outras espécies acarinas. Após o período de senescência foi observada a ocorrência de C. heveae e T. heveae. O pico populacional de C. heveae ocorreu entre abril e maio em todos os clones avaliados. Os clones PR 255 e RRIM 600 apresentaram maiores índices populacionais de C. heveae. O contrário foi observado no clone GT 1 com a menor população de C. heveae. Durante o período de estudo foi verificada baixa população de T. heveae em todos os clones, que apresentou picos de ocorrência de novembro a dezembro, e posteriormente, de abril a maio. Quanto aos demais ácaros avaliados, a espécie mais abundante foi a predadora Euseius citrifolius, seguida pelas fitófagas Eutetranychus banksi e Oligonychus sp. A menor população do microácaro no clone GT 1 pode estar relacionada ao maior número de ácaros predadores e aos compostos secundários presentes nas folhas. O clone RRIM 600 apresentou suscetibilidade ao fitófago C. heveae, e obteve a menor abundância de predadores. O clone PR 255 foi considerado altamente suscetível ao microácaro. Estes resultados são relevantes para auxiliar no manejo de C. heveae na cultura da seringueira.

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27

Lundberg, Bouquelon Petra. "Aesthetic Experiences and the Miracle of Action : On the Radical Possibility of Art in Teaching and Learning." Thesis, Södertörns högskola, Estetiska lärprocesser, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-38560.

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This master essay starts with the author having an encounter with two 14-years old boys who claim that they are Nazis. In a school project where the pupils made films about norms in the society they made a film with a clearly racist and homophobic message. As a freelance artist the author was a part of a school development program in aesthetic learning, and the assignment in the actual school was supposed to teach the pupils about norms and how they effect people on an everyday basis. All the films fulfilled this purpose, but the actual film did something more: it revealed the zerotolerance rule in this particular school as a norm that silenced not only these boys, but also any pupil having a different opinion than the teachers. The situation described took place in a classroom in primary school in the area of Stockholm some years ago and even though the film was never shown to anybody that could be offended except the author herself, the author left the school with a feeling of total failure, and two questions craving for answers: Why couldn’t she, nor the teachers, find the time and space to meet the boys, taking their invitation to discuss the zere-tolerance-norm seriously? And what role did the fact that the school had a “zero-tolerance-for-racism rule” play in the cultivation of the boy’s feelings of exclusion and in the way the teachers treated their obvious need for recognition as sane and (soon-to-be) grown up men? Using Hannah Arendt’s ideas of action as the fundament of the investigation, the author poses questions about what space for action there is in the daily work of a teacher today, but also what happens when there is no room for action, when we become the blind administrators of homo faber. The method of the study includes 1) a dialogue seminar with teachers from elementary school, 2) examples and reflections from the author’s own teaching practice at the teacher education and 3) a philosophical investigation focusing on the concepts of aesthetic experience, aesthetic learning, not-knowing and unlearning. In dialogue with Sarah Ahmed, John Dewey, Hans-Georg Gadamer, Maurice Merleau-Ponty, Jacques Rancière, Cusanus and Jonna Bornemark, she further tries to understand what role the film, as an aesthetic experience, played in the example with the Nazi boys. Is there a radical possibility in art that can create space for action in Arendt’s sense? Further, in dialogue with the poet Wiszlava Szymborska, the clown Nalla Laanela, and two novelists; Rachel Cusk and Albert Camus, she tries to understand the possibilities that lie within aesthetic learning when it comes to re-thinking the role of the teacher aiming for a sustainable approach to teaching and learning in a society where teachers work themselves sick. I inledningen till denna masteruppsats möter författaren två fjortonåriga pojkar som säger att de är nazister. I ett skolprojekt där eleverna skulle göra kortfilmer som gestaltade samhällsnormer gjorde de här pojkarna en film med ett tydligt rasistiskt och homofobiskt budskap. Författaren hade, i egenskap av frilansande konstnär inom skolutvecklingsprogrammet Skapa och Lära, uppdraget att leda eleverna i arbetet med filmerna och syftet var att eleverna skulle lära sig något om de olika normer som påverkar oss människor varje dag. Alla filmer uppfyllde syftet, men denna film gjorde något mer: den fick den här specifika skolans noll-tolerans-mot-rasism-regel att framstå som en norm som tystade inte bara de här två pojkarna, utan alla elever med –ur lärarnas perspektiv -avvikande åsikter. Den ovan beskrivna situationen utspelade sig i ett klassrum i Stockholmsområdet för ett antal år sedan och även om filmen aldrig visades för någon som hade kunnat ta illa upp –förutom författaren själv –lämnade författaren skolan med en känsla av totalt misslyckande och två frågor ringande i öronen: Varför kunde inte hon, och ingen av lärarna i skolan, ta sig tid att möta pojkarna genom att ta deras inbjudan till samtal om noll-tolerans-normen på allvar? Och vilken roll spelade det faktum att skolan hade en noll-tolerans-mot-rasism-regel i kultiverandet av pojkarnas känslor av exkludering och i lärarnas hanterande av deras uppenbara behov av erkännande som sunda, snart vuxna unga män? Med utgångspunkt i Hannah Arendts idéer om handlandet ställer författaren frågor om vilket handlingsutrymme lärare i dagens skola har, men hon undersöker också vad som händer när det inte finns något handlingsutrymme, när läraren blir en blind administratör, en homo faber. Metodologiskt använder sig författaren av 1) ett dialogseminarium med lärare från grundskolan, 2) exempel och reflektioner från hennes egen lärarpraktik, och 3) en filosofisk undersökning med fokus på begreppen estetisk erfarenhet, estetiska lärprocesser, icke-vetande och av-lärande. I dialog med Sarah Ahmed, John Dewey, Hans-Georg Gadamer, Maurice Merleau-Ponty, Jacques Rancière, Cusanus och Jonna Bornemark, försöker hon vidare förstå vilken roll filmen som en estetisk erfarenhet spelade I exemplet med de två nazistpojkarna. Finns det en radikal potential i konstnärliga uttryck som kan skapa handlingsutrymme i Arendts mening? Vidare,i dialog med poeten Wiszlava Szymborska, clownen Nalle Laanela, och två romanförfattare; Rachel Cusk and Albert Camus, försöker författaren utröna vilka möjligheter som kan rymmas i estetiska lärprocesser vad gäller att tänka om (om-tänka) lärarrollen med målet att finna ett hållbart förhållningssätt till undervisning och lärande i ett samhälle där lärare arbetar sig sjuka.

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28

Brand, Maria. "Footprints among Folders, Blogs and Clouds - A Study of how Four Art Teachers Work with Portfolios and Portfolio Methodical Elements." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-31094.

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I denna undersökning avser jag att få en djupare förståelse för verksamma bildlärares upplägg, intentioner och upplevelser av att arbetar med portföljer och portföljmetodiskadelmoment i bildundervisningen. Anledningen till att jag vill undersöka detta är en följd av de åtskilliga rapporter och utvärderingar som visar på de problem och utmaningar som bildämnet står inför. Exempelvis har det framkommit att det generellt brister i främjandet av processfrämjande arbetsprocesser, utvecklandet av elevers förmåga till självvärdering, och den minskande undervisningstiden och bedömningsproblematiken. I och med den avsiktliga implementeringen av både produkt och processorienterade kriterier i bildämnets kursplan Lgr11, i kombination med det ökade kravet på lärare att föra dokumentation och en likvärdig och rättsäker bedömningspraxis, behöver man som bildlärare finna strategier och arbetssätt för att hantera alla dessa aspekter. På så sätt framgår portföljmetodik som ett arbetssätt och bedömningsform som har potentialen att bemöta dessa behov och problem, och därav intresset för hur verksamma bildlärare med hjälp av portföljer hanterar dessa utmaningar. För att uppnå syftet med undersökningen valde jag att genomföra fyra kvalitativt utformade intervjuer med bildlärare som arbetar på högstadiet och med portföljer. Resultatet visar på att samtliga av de intervjuade bildlärarna arbetar med portföljer i två olika former: en analoga och digital variant av portfölj. De materiella resurser, förutsättningar och förhållningsramar som skolan och bildlärarna hade tillgång till påverkade portföljernas utformning och tilläpmning, vilket visar på att man kan utarbeta portföljer och portföljmetodiska delmoment på olika sätt, men ha samma mål. Generellt var användande av olika portföljmetodiska delmoment lågt, varav skälet var bristen på tid, då bildlärarna fick prioritera olika moment. Det främsta skälet till att arbeta med portföljerna var att kunna samla in underlag för bedömning, och övriga positiva effekter blev en eftertanke. Det visade sig även att många av respondenterna var måna om att främja både process och produktorienterande moment i bildundervisningen, vilket kan möjligtvis visa på kursplanens utformning kan ha inverkat på främjandet av processorienterande arbetssätt inom bildämnet.

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29

Adhikari, Loknath. "Cloudy condition assessment within an AIRS pixel by combining MODIS and ARM ground-based lidar and radar measurements." Laramie, Wyo. : University of Wyoming, 2007. http://proquest.umi.com/pqdweb?did=1456295781&sid=7&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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Crépin, Odile. "Le clown cinématographique, des origines à Jerry Lewis et Pierre Etaix /." [S.l. : s.n], 2005. http://catalogue.bnf.fr/ark:/12148/cb414284989.

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31

Sutherland, Shauna. ""Yes, friends, these clouds...Are...stage machinery" : An Exploration of Subject in John Ashbery." Oberlin College Honors Theses / OhioLINK, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1411383629.

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32

Weimer, Michael [Verfasser], and P. [Akademischer Betreuer] Braesicke. "Towards Seamless Simulations of Polar Stratospheric Clouds and Ozone in the Polar Stratosphere with ICON-ART / Michael Weimer ; Betreuer: P. Braesicke." Karlsruhe : KIT-Bibliothek, 2019. http://d-nb.info/1201414849/34.

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33

Foley, Fiona Lee. "Biting the Clouds: The Aboriginals Protection and Restriction of the Sale of Opium Act, 1897." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/371948.

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This Doctoral project deals with the treatment of Aboriginal people in Queensland during the late nineteenth and early twentieth century with a particular emphasis on the impact of The Aboriginals Protection and Restriction of the Sale of Opium Act, 1897 within Badtjala ‘country’. Drawing evidence from Aboriginal knowledge and European archives the research brings a Badtjala perspective to this first experiment to ‘solve the problem’ of opium addicted Australian Aborigines that took place on Fraser Island in the period from 1897 to 1904. An exhibition, Horror Has A Face, supported by an exegesis, Biting the Clouds, seeks to address this historiography and its inherent silences, errors and injustices using an Indigenist research framework in which art can play a significant role. Thesis (PhD Doctorate) Doctor of Philosophy (PhD) Queensland College of Art Arts, Education and Law Full Text

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34

Schlingman, Wayne M. "Interstellar Gas Clouds and Gen. Ed. Astronomy Students: Who Are They? How Do They Behave?" Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/242359.

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The first chapter begins with the observations of 1,882 sources from the Bolocam Galactic Plane Survey (BGPS) at 1.1 mm in HCO⁺ J = 3 − 2 and N₂H⁺ J = 3 − 2. We determine kinematic distances for 529 sources and derive the size, mass, and average density for this subset of clumps. The median size of BGPS clumps is 0.75 pc with a median mass of 330 M⊙ (assuming T(Dust) = 20 K). The median HCO⁺ linewidth is 2.9 km s⁻¹ indicating the clumps are not thermally supported and provide no evidence for a size-linewidth relationship. This collection of objects is a less-biased sample of star-forming regions in the Milky Way that likely span a wide range of evolutionary states. We study in detail the G111 Infrared Dark Cloud northwest of NGC 7538 with the K-band Focal Plane Array. We map NH₃ (1,1) and (2,2), H₂O maser, and CCS emission simultaneously with the GBT. We find the NH₃ gas traces the 1.1 mm BGPS structure very well with gas kinetic temperatures consistently close to 15 K. Typical column densities are 2.5 × 10¹⁴ cm⁻² with a median abundance of NH₃ to H₂ of 5.94 × 10⁻⁸. The median linewidth of the NH₃ emission is 0.64 km s⁻¹ indicating the filament is not thermally supported. The NH₃ is subthermally populated along the entire filament. Individual NH3 peaks have a median size of 0.61 pc, mass of 188M⊙, and density of 3.4×10³ cm⁻³. An activity analysis shows the most active star forming regions are found at the junctions of the subfilaments that make up the larger G111 IRDC. The last chapter describes our systematic examination of individual student responses to the Light and Spectroscopy Concept Inventory national dataset. We use classical test theory to form a framework of results that is used to evaluate item difficulties, item discriminations, and the overall reliability of the LSCI. We perform an analysis of individual student’s normalized gains, providing further insight into the prior results from this data set. This investigation allows us to better understand the efficacy of using the LSCI to measure student achievement.

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Stanimirović, Snežana. "The complex nature of the ISM in the SMC : an HI and infrared study /." View thesis, 1999. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030826.143835/index.html.

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Thesis (PhD) -- University of Western Sydney, Nepean, 1999. "A thesis submitted for the degree of Doctor of Philosophy at the University of Western Sydney Nepean" "July, 1999" Bibliography : p. 177-185.

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Thom, Christopher, and na. "High velocity clouds and the Milky Way Halo." Swinburne University of Technology, 2006. http://adt.lib.swin.edu.au./public/adt-VSWT20060920.101419.

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This thesis presents an exploration of stars and gas in the halo of our Galaxy. A sample of 8321 field horizontal branch (FHB) stars was selected from the Hamburg/ESO Survey. The stars make excellent tracers of the Milky Way halo, and we studied the kinematics of a subset of the HES FHB stars, comparing their velocity dispersions to those predicted by several models. Since these stars are intrinsically luminous, hot and numerous they make ideal probes of the distances to high-velocity clouds (HVCs) - clouds of neutral hydrogen gas whose distances are largely unknown and which do not fit simple models of Galaxy rotation. A catalogue of stars which align with the HVCs was developed. High resolution spectroscopy of 16 such HVC probes with the Magellan telescope has yielded a remarkably tight distance constraint to complex WB. This is one of only a handful of such distance limits so far established. Lower distance limits were set for several other clouds. Finally, we have suggested that some of the HVCs may be associated with the accretion onto the MilkyWay of the Sagittarius dwarf galaxy.

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Del'Arco, Marcelo [UNESP]. "Biologia de Tenuipalpus heveae Baker (acari, Tenuipalpidae) em três clones de Fevea brasileinsis Muell. Arg. (Euphorbiaceace)." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/87578.

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Made available in DSpace on 2014-06-11T19:22:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-03-28Bitstream added on 2014-06-13T20:10:09Z : No. of bitstreams: 1 delarco_m_me_sjrp.pdf: 172067 bytes, checksum: ff3cc84d9b26229bb4e0fa1f887bc9a0 (MD5) Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) Esse trabalho teve como objetivo estudar o ciclo biológico de T. heveae em folíolos de seringueira dos clones RRIM 600, PB 235 e GT 1. Inicialmente foi estabelecida uma colônia de manutenção de T. heveae. As arenas de criação e para estudos da biologia foram confeccionadas a partir de folíolos de seringueira dos clones acima citados sendo mantidas sob condições controladas em câmara climatizada do tipo BOD com umidade relativa de 70+10%, fotoperíodo de 12 h, 28+0,1oC na fotofase e 25+0,1oC na escotofase. Três observações diárias foram realizadas, acompanhando-se o desenvolvimento de 60 ovos em folíolos de cada clone para verificação do estágio de desenvolvimento em que o ácaro se encontrava, assim como a oviposição das fêmeas. A fase mais longa registrada nos três clones foi a de ovo e o período mais curto foi o protoninfal. Em todos os clones estudados a fase de maior viabilidade foi a deutoninfal, e a menor, a larval. Quatorze fêmeas e quatro machos atingiram a fase adulta no clone PB 235, sendo observada uma taxa média de oviposição de 1,2 ovo/dia/fêmea. No clone RRIM 600, nove fêmeas e dois machos foram observados, sendo registrada a taxa de oviposição de 0,7 ovo/dia/fêmea. No clone GT 1, sete fêmeas chegaram à fase adulta com taxa média de 0,51 ovo/dia/fêmea. O ciclo completo da incubação do ovo até a morte do adulto durou 25 dias, em média, nos clones RRIM 600 e PB 235. A taxa intrínseca de crescimento populacional (rm) foi de 0,09; 0,08 e 0,02 nos clones PB 235, RRIM 600 e GT 1, respectivamente. O clone PB 235 possibilitou um melhor desenvolvimento de T. heveae, seguido pelo clone RRIM 600. O clone GT 1 foi o menos favorável ao desenvolvimento. This work aims to study the biological cycle of T. heveae in rubber tree leaflets of clones RRIM 600, PB235 and GT 1. Initially, a maintenance colony was established. The breeding arenas and those for the study of the biology were created using leaflets of the aforementioned rubber tree clones, which had been kept under controlled conditions in a climatic chamber. Three daily observations were done, following the development of 60 eggs in each clone to check the developmental stage and female oviposition. The egg was the longest-lasting phase registered and the protonymph was the shortest period. The deutonymph was the most viable phase in all clones, whereas the least viable was the larval stage. Fourteen females and four males reached the adult stage in the clone PB 235, an average oviposition rate of 1.2 egg per day per female. In the RRIM 600 clone, nine females and two males were viable, and an oviposition rate of 0.70 egg per day per female was observed. In the GT 1 clone, seven females reached the adult stage, the average ovoposition rate was 0.51 egg per day per female. The complete cycle of incubation of the egg until the death of the adult lasted, on average, 25 days in RRIM 600 and PB 235 clones. The intrinsic rate of population increase (rm) was 0.09; 0.08 and 0.02 in clones PB 235, RRIM 600 and GT1, respectively. The clone PB 235 allowed a better development of T. heveae, followed by RRIM 600. The clone GT 1 was the least favourable for the development of that mite species.

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Del'Arco, Marcelo. "Biologia de Tenuipalpus heveae Baker (acari, Tenuipalpidae) em três clones de Fevea brasileinsis Muell. Arg. (Euphorbiaceace) /." São José do Rio Preto : [s.n.], 2008. http://hdl.handle.net/11449/87578.

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Orientador: Reinaldo José Fazzio Feres Banca: Marineide Rosa Vieira Banca: Marcel Ricardo Tanzini Resumo: Esse trabalho teve como objetivo estudar o ciclo biológico de T. heveae em folíolos de seringueira dos clones RRIM 600, PB 235 e GT 1. Inicialmente foi estabelecida uma colônia de manutenção de T. heveae. As arenas de criação e para estudos da biologia foram confeccionadas a partir de folíolos de seringueira dos clones acima citados sendo mantidas sob condições controladas em câmara climatizada do tipo BOD com umidade relativa de 70+10%, fotoperíodo de 12 h, 28+0,1oC na fotofase e 25+0,1oC na escotofase. Três observações diárias foram realizadas, acompanhando-se o desenvolvimento de 60 ovos em folíolos de cada clone para verificação do estágio de desenvolvimento em que o ácaro se encontrava, assim como a oviposição das fêmeas. A fase mais longa registrada nos três clones foi a de ovo e o período mais curto foi o protoninfal. Em todos os clones estudados a fase de maior viabilidade foi a deutoninfal, e a menor, a larval. Quatorze fêmeas e quatro machos atingiram a fase adulta no clone PB 235, sendo observada uma taxa média de oviposição de 1,2 ovo/dia/fêmea. No clone RRIM 600, nove fêmeas e dois machos foram observados, sendo registrada a taxa de oviposição de 0,7 ovo/dia/fêmea. No clone GT 1, sete fêmeas chegaram à fase adulta com taxa média de 0,51 ovo/dia/fêmea. O ciclo completo da incubação do ovo até a morte do adulto durou 25 dias, em média, nos clones RRIM 600 e PB 235. A taxa intrínseca de crescimento populacional (rm) foi de 0,09; 0,08 e 0,02 nos clones PB 235, RRIM 600 e GT 1, respectivamente. O clone PB 235 possibilitou um melhor desenvolvimento de T. heveae, seguido pelo clone RRIM 600. O clone GT 1 foi o menos favorável ao desenvolvimento. Abstract: This work aims to study the biological cycle of T. heveae in rubber tree leaflets of clones RRIM 600, PB235 and GT 1. Initially, a maintenance colony was established. The breeding arenas and those for the study of the biology were created using leaflets of the aforementioned rubber tree clones, which had been kept under controlled conditions in a climatic chamber. Three daily observations were done, following the development of 60 eggs in each clone to check the developmental stage and female oviposition. The egg was the longest-lasting phase registered and the protonymph was the shortest period. The deutonymph was the most viable phase in all clones, whereas the least viable was the larval stage. Fourteen females and four males reached the adult stage in the clone PB 235, an average oviposition rate of 1.2 egg per day per female. In the RRIM 600 clone, nine females and two males were viable, and an oviposition rate of 0.70 egg per day per female was observed. In the GT 1 clone, seven females reached the adult stage, the average ovoposition rate was 0.51 egg per day per female. The complete cycle of incubation of the egg until the death of the adult lasted, on average, 25 days in RRIM 600 and PB 235 clones. The intrinsic rate of population increase (rm) was 0.09; 0.08 and 0.02 in clones PB 235, RRIM 600 and GT1, respectively. The clone PB 235 allowed a better development of T. heveae, followed by RRIM 600. The clone GT 1 was the least favourable for the development of that mite species. Mestre

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Ramos, Luís Eduardo Santos de Oliveira. "Entre a proeza e a bobagem: uma análise sociológica sobre o palhaço e o circo." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/9725.

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Submitted by Vasti Diniz (vastijpa@hotmail.com) on 2017-12-26T13:46:44Z No. of bitstreams: 1 arquivototal.pdf: 750319 bytes, checksum: 630330eb950cfdd5d10f8badb3c28027 (MD5) Made available in DSpace on 2017-12-26T13:46:44Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 750319 bytes, checksum: 630330eb950cfdd5d10f8badb3c28027 (MD5) Previous issue date: 2016-03-31 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES This work search, through historical and sociological aspects, to understand the performance and the social function of the clown starting from its origins in the popular comic culture, through its incorporation into the modern circus to the way in which it presents today in various fields artistic, but more specifically in Brazilian circuses. Seeking to analyze own elements of clown and clowning art but also of circus art and circus as leisure and sociability, the sociological view build a history of the development of the clown as a character of the Brazilian and global popular culture through elements like laughter and its transformations and possibilities, the civilizing process and the control of emotions, leisure spaces and multiple possible artistic manifestations in which the clown is inserted. For better understanding of this discussion, addressed sociological theories will be related to my field experience which consists in interviews, observation shows and cohabitation held with clowns and other circus performers. A presente dissertação busca, através de aspectos históricos e sociológicos, compreender a atuação e a função social do palhaço partindo de suas origens na cultura cômica popular, passando pela sua incorporação ao circo moderno até a forma com a qual se apresenta hoje nos mais variados campos artísticos, mas mais especificamente, nos circos brasileiros. Buscando analisar elementos próprios do palhaço e da arte clownesca, mas também da arte circense e do circo enquanto espaço de lazer e sociabilidade, a visão sociológica presente constitui um histórico do desenvolvimento do palhaço enquanto personagem da cultura popular brasileira e mundial através de elementos como o riso e suas transformações e possibilidades, o processo civilizador e o controle das emoções, os espaços de lazer e as múltiplas manifestações artísticas possíveis em que o palhaço está inserido. Para melhor compreensão da presente discussão, as teorias sociológicas abordadas serão relacionadas com minha experiência de campo constituída por entrevistas, observação de espetáculos e convivências realizadas com palhaços e outros artistas circenses.

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Thom, Christopher. "High velocity clouds and the Milky Way Halo." Australasian Digital Theses Program, 2006. http://adt.lib.swin.edu.au/public/adt-VSWT20060920.101419/index.html.

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Thesis (PhD) - Swinburne University of Technology, 2006. A dissertation presented in fulfillment of the requirements for the degree of Doctor of Philosophy, Swinburne University of Technology - 2006. Typescript. Bibliography: p. 83-91.

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Torres, Manon. "Rôle du long ARN non codant Neat1 dans la rythmicité circadienne hypophysaire." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0031/document.

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Chez la majorité des être vivants des systèmes d’horloge circadiennes (=environ 24h) se sont développés afin d’anticiper les variations journalière de l’environnement. Ces horloges endogènes reposent sur des oscillateurs moléculaires régulant l’expression circadienne de nombreux gènes. Récemment il a pu être montré que des régulations post-transcriptionnelles jouaient un rôle majeur dans la rythmicité de nombreux gènes.Dans la lignée cellulaire hypophysaire GH4C1, nous avons étudié un mécanisme post-transcriptionnel impliquant des corps nucléaires appelés paraspeckles. L’élément principal des paraspeckles est le long ARN non codant (lncRNA) Neat1 auquel s’associe des protéines de liaison aux ARNs. Il a été montré que les paraspeckles ont la capacité de retenir dans le noyau des ARNs, en particulier ceux qui présentent des motifs IRAlu dans leur région 3’ non codante. Nous avons montré que dans les GH4C1, les paraspeckles se forment avec une rythmicité circadienne. Grâce à la mise au point d’une méthode dite de RNA pull-down, permettant l’étude des cibles ARNs d’un lncRNA, nous avons montré que les paraspeckles s’associent et induisent la rétention nucléaire circadienne d’ARNs hypophysaires. Chez ces ARNs nous avons montré l’absence de motifs IRAlu. L’étude d’ARN cibles des paraspeckles a montré que la reconnaissance par les paraspeckles pouvait se faire par des motifs localisés hors de la région 3’ non codante, et que plusieurs séquences dans un même ARN pouvaient participer à la liaison aux paraspeckles.Cette étude nous a donc permis d’identifier un nouveau mécanisme post-transcriptionnel régulant l’expression circadienne de gènes dans les cellules hypophysaires Most living organisms have developed circadian (=close to 24h) clock to face daily changes in their environment. Those clocks rely on molecular oscillators to drive the circadian expression of many genes. In the pituitary cell line GH4C1, we studied a post-transcriptional mechanism involving nuclear bodies called paraspeckles. Paraspeckles main element is the long non-coding RNA Neat1 to which several RNA binding proteins are associated. Paraspeckles have been shown to retain RNAs in the nucleus, in particular RNAs that display an IRAlu element in their 3’ translated region (3’UTR).In GH4C1, we showed that paraspeckles display a circadian rhythm of formation. We created the RNA pull-down method, which allows to purify a lncRNA with all its RNA targets, This allowed us to demonstrate that paraspeckles induce the circadian nuclear retention of several endogenous RNAs. Finally, we showed the absence of IRAlu elements in those RNAs. The study of tree target RNAs of paraspeckles showed that elements localized out of the 3’UTR could be involved in the recognition by paraspeckles, but also that several elements could be necessary to induce the RNA retention by paraspeckles.To conclude, this study allowed us to identify a new post-transcriptional mechanism regulating the circadian expression of pituitary genes

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Grima, Brigitte. "Étude du gène de la tyrosine hydroxylase : séquences des ADNc TH de rat et d'homme : diversité moléculaire et fonctionnelle des ARNs messages TH." Paris 11, 1987. http://www.theses.fr/1987PA112155.

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L'enzyme Tyrosine Hydroxylase (TH) catalyse l'étape limitante de la voie de synthèse des catécholamines. Un clone ADNc TH complet a été obtenu à partir de la lignée cellulaire de rat PC12. L'analyse de la séquence codante de ce clone suggère que la protéine peut être séparée en deux domaines distincts : le domaine NH2 terminal dans lequel ont été identifiés les résidus phosphorylables qui intervient dans la régulation de l'enzyme et le domaine COOH terminal qui contient le site actif. Ce dernier présente une homologie très importante avec deux autres hydroxylases (phénylalanine hydroxylase et tryptophane hydroxylase) qui fonctionnent de manière similaire. Cette famille de protéines pourrait être issue d'un gène ancestral commun. L'extrémité 5' du gène nucléaire TH de rat a été analysée. Elle contient la séquence "TATA box'', ainsi que des motifs consensus caractéristiques des gènes régulés par les glucocorticoides et par l'A P cyclique. Trois clones ADNc humains ont ensuite pu être isolés à partir d'une banque de phéochromocytome par hybridation croisée avec la sonde de rat. Ils contiennent l'extrémité poly (A+) et sont identiques dans leurs parties centrales et 3' terminales. Cependant, des séquences différentes ont été observées dans leur extrémité 5'. Ces divergences sont probablement liées à des variations des sites d'épissage et permettent de traduire trois protéines distinctes dont l'une s'aligne parfaitement avec celle du rat. Les proportions relatives de ces trois ARNs ont été analysées par hybridation avec les trois sondes ADNc dans la glande médullosurrénale, la substance noire et le locus coeruleus. Leur expression varie selon les tissus étudiés. Ces différences peuvent avoir des conséquences fonctionnelles importantes puisque trois formes enzymatiques distinctes peuvent être codées par ces ARNs. Ce mécanisme pourrait ainsi représenter un nouveau mode de régulation de synthèse des catécholamines Tyrosine Hydroxylase (TH. E. C. 1. 14. 16. 2) in the rate limiting enzyme in the synthesis of catecholamines. A full length TH cDNA clone has been isolated from a rat PC12 library. The analysis of the coding sequence reveals that TH is composed of two distinct domains: the amino terminal domain which contains phosphorylable residues and the carboxy terminal, part that performs the enzymatic reaction. The latter shows a strong homology with two other hydroxylases (Phenylalanine Hydroxylase and Tryptophane Hydroxylase) which share many commun features. This protein family could have evolved from an ancestral common gene. The 5'end of rat TH nuclear gene as Pen analysed. It contains a "Tata Box'', and consensus sequences identified in glucocorticoides and AMP cyclique regulated genes. Three human cDNA clones have been isolated from a pheochromocytoma library by crosshybridization with the rat probe. They extend to the poly(A-) tail residues and are identical in their central and 3'regions. However, They were found to diverge at their 5'ends. Consequently, three distinct proteins can be generated. One of them is completely homologous to rat TH. These differences involve probably alternative splicing events. The relative amounts of these three RNAs have been analysed by hybridization with the three cDNAs probes in adrenal gland, substantia nigra and locus coeruleus. Their expression seems to be tissue specific. Owing to the coding properties of the three mRNA. S. This specificity could have physiological consequences. This mechanism could represent a novel mode of regulating catecholamine levels

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Mouré, Pauline. "L'image de Clovis dans le royaume de France entre 1250 et 1550." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL198.

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Jusqu'à la fin du XIIe siècle, la vie de Clovis, roi mérovingien et premier roi chrétien qui a régné sur le royaume franc sûrement à partir de 481 et jusqu'à sa mort, le 27 novembre 511, ne paraît avoir été que rarement transposée en images. À partir de 1200, en revanche, l'iconographie figurant le souverain mérovingien se développe, diffusée de plus en plus largement dans le royaume de France. Cette évolution traduit un changement qui s'opère dans l'intérêt porté à Clovis durant les trois derniers siècles du Moyen Âge. Afin de saisir la teneur de ce changement, la présente étude se propose d'analyser l'importance octroyée à l'image de Clovis dans le royaume de France entre 1200 et 1500. Pour ce faire, l'examen de l'iconographie clodovéenne encore connue a été effectué. Celui-ci permet d'abord, grâce à l'évaluation de l'abondance et de la propagation de l'imagerie clodovéenne dans le royaume, de rendre compte de l'importance de la diffusion de l'image du roi et de cerner l'étendue et la diversité du public auquel celle-ci s'adressait. Cet examen permet ensuite d'analyser les modalités de la mise en images de l'histoire du souverain, renseignant sur les variations du discours diffusé par l'iconographie. Enfin, l'étude de la signification des images et de leur fonction permet, à une époque où se forme ce que Colette Beaune nomme le « sentiment national » et où l'histoire du royaume est traversée par un des conflits majeurs de la période, la guerre de Cent Ans, de comprendre les raisons du développement de l'imagerie figurant Clovis et des variations de la place conférée au roi dans le discours iconographique diffusé, entre 1200 et 1500, dans le royaume de France Until the end of the 12th century, the life of Clovis, a Merovingian king and the first Christian king of the Frankish kingdom, who reigned from about the year 481 until his death on November 27, 511, seems to have been rarely depicted in images. From 1200 onwards, however, iconography picturing the Merovingian king expanded, spreading more and more widely in the kingdom of France. This evolution reflects a change in the interest accorded to Clovis over the last three centuries of the Middle Ages. In order to grasp the substance of this change, this study analyzes the importance attributed to the image of Clovis in the kingdom of France between 1200 et 1500. To this end, an examination of known Clodovian iconography has been conducted. First, this evaluation of the quantity and spread of Clodovian imagery in the kingdom allows us to determine the magnitude of the dissemination of the king’s image as well as the scope and diversity of the public to which it was addressed. This examination then allows us to analyze the modalities of depicting the sovereign’s history, based on variations in the message spread by the iconography. Finally, the study of the meaning of the images and of their function yields – at a time when what Colette Beaune calls the “national sentiment” is forming and when the kingdom encounters one of the major conflicts of the period, the Hundred Years War – an understanding of the reasons for the development of the imagery depicting Clovis and for the variations in the place accorded to the king in the iconographic discourse spread between 1200 and 1500 in the kingdom of France

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Wistrand, Sten. "Att slås till insikt : Hjalmar Bergmans roman Clownen Jac /." Örebro : Hjalmar Bergman samfundet, 1999. http://catalogue.bnf.fr/ark:/12148/cb41032519h.

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MacGill, Ross. "Fast moving neutrons, graphite moderators and radioactive clouds : an ANT account of the Chernobyl accident's risky network." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8260/.

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This research seeks to understand the Chernobyl accident at the material level and this is achieved through a sustained engagement and use of Latour’s Actor-Network Theory. The primary research question asks how has the accident travelled through various worlds: impacting upon them, reorienting their structure, and at times, creating new nuclear worlds in its wake. The ambiguous nature of the question is designed to allow the research to approach the expansive topic from several angles, thus accounting for the very real material spread radioactive fallout and, crucially, the material action engendered by the agency of RBMK no4, the central actant in the network in question. The nature of this work is quasi-scientific; that is, the majority of the empirical data is the discourses of the ‘hard sciences’, the disciplines tasked with understanding and mitigating one of the worst accidents the world has ever witnessed, and safeguarding against another similar occurrence. The reassembling of RBMK no4’s network, and its travels, hence ‘renders visible’ the lessons learnt by the nuclear industry in the wake of the event of April 1986. The spectre of Chernobyl has loomed over the industry for 3 decades. This research attempts to create a pragmatic context. It is not interested in the epistemological ‘sensationalist’ representations of the accident. Instead it embraces the complex intricacies of the physics, engineering and radiological sciences — the very essence of the materiality of RBMK no4, and its risky network.

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Liegey, Edith. "Ecomorphisme(s), vers une culture du vivant : formes et évolution d'une symbolique de l'écologie dans l'art contemporain." Thesis, Paris, Muséum national d'histoire naturelle, 2018. http://www.theses.fr/2018MNHN0029.

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L’écomorphisme — oikos/habitat et morphé/forme — est le résultat d’une adaptation d’une espèce vivante suivant son environnement. Appliqué à l’art, récurrence d’œuvres, scénographies et récits d’expositions, l’écomorphisme est ce processus d’adaptation qui change nos perceptions et notre conscience écologique vers une culture du vivant. Comment des artistes réussissent-ils à créer une relation singulière au vivant qui perdure dans le temps ? Par delà un panorama de formes de nature en crise, des artistes fabriquent des points de vue et des liens singuliers en symbiose avec le vivant. Vu(e) des arbres et des nuages, postes d’observation symboliques de notre environnement —plus de 90 expositions expérimentées in situ— nous avons analysé les relations complexes entre création artistique, effets esthétiques expérimentés in situ, scénographies d’installation, récits d’exposition et prise de conscience écologique. Suivons la piste de l’écomorphisme, (r)évolution silencieuse, tel un envahissement artistique de formes de la nature sauvage au musée et autant de possibilités de rencontres du vivant capables de nous trans-former. Formes contemporaines de la nature, (éco)morphogénéalogie Notre premier corpus de formes s’est révélé à 70% européen —174 artistes internationaux—d’après une classification de 800 œuvres en lien avec les principes d’écologie diffusées —et légitimées— dans les musées en France de 2012 à 2016. Un second corpus est extrait sur la symbolique des arbres, figure statistique la plus fréquente, puis des nuages, objet-symbole émergent au 21e siècle. Une esthétique de la complexité confirme la nécessité d’ordonner ses formes. Ainsi, notre création d’(éco)morphogénéalogie en cinq branches principales est liée aux mouvements dans l’histoire de l’art et de l’écologie à partir de 1916. Nous avons classé les branches —et filiations— par ordre d’importance : 1. biomorphisme écologique (sculptures intra-muros) ; 2. l’art environnemental dans l’environnement extérieur ; 3. l’art écosystème technologique en mimèsis de milieux naturels et artificiels ; 4. l’arte povera et l’art du rebut ; 5. bioart lié à la génétique et l’hybridation du vivant. Vu(e) des arbres au musée-ville, « perchoirs » symboliquesLa singularité du musée « perchoir » réside dans sa capacité à conserver la beauté manifeste de la nature dans la ville. Avatar du monde humain de la ville, le musée cultive des forêts symboliques. Les formes de la nature en crise sont un signal visible symbolique de conscience écologique et de culture du vivant au musée. A posteriori, la singularité et l’efficacité d’œuvres et expositions tient d’un processus de création-observation d’un écosystème in vivo et d’une capacité à restituer des liens avec des êtres vivants. Nous qualifions ces voies de passage fécondes d’écologie artistique (éco)poétique cultivée à la fois dans les objets et la littérature des musées. Nous suggérons que les musées et leurs expositions sont devenus des « perchoirs » contemporains. Sorte d’appel de la forêt symbolique à vivre en lien avec le vivant, le musée-perchoir est un observatoire essentiel d’évolution de nos sociétés.Au-dessus des nuages de crise, théorie de l’écorphisme et prospectiveL’ambiguïté du nuage, objet-symbole, réside autant dans l’annonce du danger qu’il prévient que dans celui qu’il occasionne. Le nuage sert d’inducteur théorique à Aristote, Descartes, Howard ou Damisch. Nos analyses démontrent un Homme en recherche d’un renouvellement de positionnement vis-à-vis de la nature. La place de l’humain n’est plus au-dessus de la nature mais au milieu du vivant via un ADN symbolique commun. Des formes à l’écopoétique singulière et sur-réaliste révèlent une autre réalité que nous ne percevons plus. In fine, l’écomorphisme agit comme la conscience d’un patrimoine génétique où se mêlent formes naturelles et artificielles. N’est-il pas temps de reconsidérer ces formes tel un enjeu culturel d’évolution du vivant ? Ecomorphism—from oikos as habitat and morphé as form—is the result of a species’ adaptation to its environment. Applied to the recurrence of artistic works, scenographies and exhibition narratives, ecomorphism is this process of adaptation that pushes our perceptions and ecological consciousness towards a culture of the living. How do artists manage to create over time a unique long term relationship with the living world? Beyond a panorama of forms of nature in crisis, artists create singular point of views and links in symbiosis with the living world. From the point of view of trees and clouds, symbolic observation posts of our environment—more than 90 experienced exhibitions in situ—we have analysed the complex relationships between artistic creation, aesthetic effects experienced in situ, installation scenographies, exhibition narratives and ecological awareness. Let us follow the path of ecomorphism that leads through a silent (r)evolution like an artistic invasion of wild nature forms in a museum and as many opportunities of transformative encounters with the living world.Contemporary forms of nature, (eco)morphogenealogyOur first corpus of forms was revealed to 70% European—174 international artists—according to a classification of 800 works related to the principles of ecology disseminated—and legitimised—in museums in France from 2012 to 2016. A second corpus is extracted on the symbolism of trees, the most common statistical figure, then clouds, object-symbol emerging in the 21st century. An aesthetic of complexity confirms the need to order its forms. Thus, our creation of (eco)morphogenealogy into five main branches is related to the movements in the history of art and ecology from 1916. We have classified the branches—and filiations—in order of importance: 1. ecological biomorphism (intra-muros sculptures); 2. environmental art in the external environment; 3. technological ecosystem art in mimèsis of natural and artificial environments; 4. arte povera and recycling art; 5. bioart related to genetics and hybridization of the living. From trees at city museum, symbolic “perches”The uniqueness of the “perch” museum lies in its ability to preserve the manifest beauty of nature in the city. Avatar of the human world of the city, the museum cultivates symbolic forests. The forms of nature in crisis are a symbolic visible signal of ecological awareness and culture of the living in a museum. Retrospectively, the singularity and effectiveness of works and exhibitions result from a process of creation-observation of in vivo ecosystem and an ability to restore links with living beings. We define these fertile pathways of passage as artistic (eco)poetic ecology cultivated both in objects and in the litterature of museums. We suggest that museums and their exhibitions have become contemporary “perches”. As a call of symbolic wild to live in relation with the living, the perch-museum is an essential observatory on evolution of our society. Above the clouds of crisis, ecomorphism theory and prospective analysisThe ambiguity of the cloud, object-symbol, resides as much in the announcement of the danger it prevents, as in the one it may cause. The cloud serves as a theoretical driver for Aristotle, Descartes, Howard or Damisch. Our analyses show a human in search of a renewal of positioning in relation to nature. The place of human beings is no longer above nature but in the middle of the livings, via a common symbolic DNA. Forms with unique and over-realistic ecopoetics reveal another reality that we no longer perceive. In the end, ecomorphism acts as the consciousness of a genetic heritage where natural and artificial forms mingle. Is it time to reconsider these forms as a cultural challenge of living evolution?

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Hunt, Maria. "Molecules in southern molecular clouds : a millimetre-wave study of dense cores /." View thesis View thesis, 2001. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030416.160909/index.html.

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Witt, Benjamin A. "Differential use of space: An analysis of the Aubrey Clovis site." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4828/.

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The Aubrey Clovis site is one of the oldest late-Pleistocene sites in North America, dated to ~11,550 B.P., and contains two camps with a range of lithic debitage, numerous hearths, and excellent faunal preservation. Couched in rules of classification, a series of artifact distributions are analyzed with qualitative and quantitative techniques, including maps produced in a geographic information system (GIS) and tests of artifact associations using correlation statistics. Theoretical and methodological protocols are promoted to improve spatial analysis in archaeology. The results support the short-term occupation interpretation and expose the differential patterning among bone, stone, and raw materials distributions. The spatial structure and diverse content of the site challenge models of Clovis-age people as strictly big game hunters.

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Richter, Philipp. "FUV absorption spectroscopy of interstellar molecular hydrogen towards the Magellanic clouds /." Aachen : Shaker, 1999. http://catalogue.bnf.fr/ark:/12148/cb37739235j.

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Dissertation--Mathematisch-Naturwissenschaftliche Fakultät--Bonn--Rheinische Friedrich-Wilhelms-Universität, 1999. Titre de soutenance : FUV spectroscopy of interstellar molecular hydrogen towards the Magellanic clouds. FUV = far ultraviolet. Bibliogr. p. 83-85.

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Schmitt, Christian. "Etude de clones de lymphocytes T humains spécifiques de l'anatoxine tétanique." Grenoble 2 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb376010923.

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Dissertations / Theses on the topic 'Clowns in art'

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