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1
Viana, Soraia Conceição. "Eisenstein : dialogos orientais." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285062.
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Orientador: Lucia Nagib<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-07-28T16:54:01Z (GMT). No. of bitstreams: 1
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Previous issue date: 2001<br>Resumo: Elementos da cultura japonesa e chinesa contribuíram para as formulações da proposta de cinema de Sergei Eisenstein. O percurso da análise focaliza: o teatro japonês Kabuki, destacando sua proximidade com a proposta de cinema sonoro de Eisenstein; as gravuras ukiyo-e de Sharaku, associadas ao modo como Eisenstein explora os fragmentos de imagens para obter determinados efeitos; o teatro chinês de Mei Lan-fang, com sua proposta de um espetáculo que unifica os elementos cênicos, estimulando os diversos sentidos do espectador; e, finalmente, a analogia que Eisenstein faz da sua proposta de montagem no cinema com a milenar linguagem ideogramática chinesa. Há evidências dos diálogos de Eisenstein com esses elementos da cultura oriental em várias seqüências de seus filmes. A localização deles no filme Outubro (1928) facilita a compreensão do modo como Eisenstein estruturou sua proposta singular e revolucionária no campo das elaborações cinematográficas<br>Abstract: Not informed.<br>Mestrado<br>Multimeios
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Jarvis, Katherine. "NTRU over the Eisenstein Integers." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/19862.
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NTRU is a fast public-key cryptosystem that is constructed using polynomial rings with integer coefficients. We present ETRU, an NTRU-like cryptosystem based on the Eisenstein integers. We discuss parameter selection and develop a model for the probabilty of decryption failure. We also provide an implementation of ETRU. We use theoretical and experimental data to compare the security and efficiency of ETRU to NTRU with comparable parameter sets and show that ETRU is an improvement over NTRU in terms of security.
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Rabello, Marcela Tamm. "O monólogo interior para Eisenstein." reponame:Repositório Institucional da UnB, 2013. http://repositorio.unb.br/handle/10482/13286.
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Dissertação (mestrado)—Universidade de Brasília, Faculdade de Comunicação Social, Programa de Pós-Graduação em Comunicação, 2013.<br>Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2013-06-10T12:39:07Z
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2013_MarcelaTammRabello.pdf: 1013138 bytes, checksum: ec5fc229cf49184d3f40df140e64a82b (MD5)<br>Esta dissertação trata da teoria do monólogo interior de Serguei M. Eisenstein, cineasta e teórico russo. A fim de acompanharmos as reflexões de Eisenstein acerca do monólogo interior no cinema relacionamos tanto o recurso quanto a obra do cineasta e teórico russo ao contexto das vanguardas artísticas do início do século XX, principalmente o construtivismo russo. Ao considerar as reverberações do monólogo interior em outras linguagens artísticas, constatamos como o cinema e a teoria de Eisenstein estão inseridas em um movimento muito maior que abarca transformações em variadas formas de expressão que seguem se intensificando até os dias de hoje. _______________________________________________________________________________________ RÉSUMÉ<br>Cette dissertation a pour sujet la théorie du monologue intérieur de Serguei M. Eisenstein, cinéaste e théoricien russe. Pour accompagner les reflexions d’Eisenstein sur le monologue intérieur dans le cinéma, nous mettons en rapport aussi bien cette forme d’expression que l’oeuvre du cineaste et theoricien russe avec le contexte des avantgardes artistiques du début du XX ème siècle, notamment le Constructivisme Russe. En considerant les maniféstations du monologue intérieur dans des autres langages artistiques, nous constatons que le cinéma et la théorie d’Eisenstein s’insèrent dans un mouvement beaucoup plus grand qui concerne des transformations dans multiples formes d’expressions qui s’intensifient jusqu’aux jours actuels.
4
Araujo, Liane Sousa de. "Esthétique du cinéma : montage, Eisenstein." Thèse, Université du Québec à Trois-Rivières, 1992. http://depot-e.uqtr.ca/5487/1/000597786.pdf.
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Ahlén, Olof. "Adelic Eisenstein series on SLn." Doctoral thesis, Humboldt-Universität zu Berlin, 2018. http://dx.doi.org/10.18452/19243.
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Diese Dissertation behandelt automorphe Formen und ihre Fourierentwicklung im Rahmen der Typ IIB Stringtheorie. Besonderes Augenmerk wird auf den zehndimensionalen Fall gelegt sowie auf die torisch kompaktifizierte Theorie in sieben Raumzeitdimensionen mit jeweiligen Cremmer-Julia Symmetrien SL_2 und SL_5. Die Analyse erfolgt vorrangig über dem Adelenring mit dem Hauptergebnis einer Herleitung allgemeiner Ausdrücke für die Fourierentwicklung von Eisensteinreihen in der minimalen und nächstgrößeren (next-to-minimal) automorphen Darstellung beliebiger SL_n.<br>In this thesis, we study automorphic forms and their Fourier expansions in the context of type IIB string theory and its toroidal compactifications with an emphasis on the cases D = 10 and D = 7 where the Cremmer-Julia symmetry groups are SL_2 and SL_5 respectively. We work predominantly over the adeles and present general formulae for the Fourier expansions of Eisenstein series in the minimal- and next-to-minimal automorphic representations of SL_n.
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Heumann, Jay. "Modular symbols, Eisenstein series, and congruences." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44419.
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Let E and f be an Eisenstein series and a cusp form, respectively, of the same weight k ≥ 2 and of the same level N, both eigenfunctions of the Hecke operators, and both normalized so that a₁ = 1. The main result we seek is that when E and f are congruent mod a prime p (which may be a prime ideal lying over a rational prime p > 2), the algebraic parts of the special values L(E,χ,j) and L(f,χ,j) satisfy congruences mod the same prime. More explicitly, the congruence result states that, under certain conditions,
τ(χ ̄)L(f,χ,j)/(2πi)^(j−1)Ω_f^(sgn(E)) ≡ τ(χ ̄)L(E,χ,j)/(2πi)^(j)Ω_E (mod p)
where the sign of E is ±1 depending on E, and Ω_f^(sgn(E)) is the corresponding
canonical period for f. Also, χ is a primitive Dirichlet character of conductor m, τ(χ ̄) is a Gauss sum, and j is an integer with 0 < j < k such that (−1)^(j−1) · χ(−1) = sgn(E). Finally, Ω_E is a p-adic unit which is independent of χ and j. This is a generalization of earlier results of Stevens and Vatsal for weight k = 2.
In this paper we construct the modular symbol attached to an Eisenstein series, and compute the special values. We give numerical examples of the congruence theorem stated above, and we sketch the proof of the congruence theorem.
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Robertson, Robert. "Beyond imagination : Eisenstein on audiovisual cinema." Thesis, King's College London (University of London), 2007. https://kclpure.kcl.ac.uk/portal/en/theses/beyond-imagination--eisenstein-on-audiovisual-cinema(75a3805f-92ed-46c0-a6d9-ef80a064acac).html.
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This research presents the first stage of a composer-filmmaker's exploration of Eisenstein's ideas on audiovisual cinema, an attempt to answer this question: how does Eisenstein contribute to our understanding of cinema as an audiovisual medium? In the first chapter, Audiovisual Counterpoint, the influences on Eisenstein of Hans Richter, James Joyce, and Chinese landscape painting are shown. These influences are related to the polyphonic technique of fugue, and how Eisenstein found in this musical technique a method for structuring audiovisual cinema. The second chapter, Organic Unity, features what Eisenstein learned about the audiovisual from his mentor, the theatre director Meyerhold, with specific reference to music and its relation to the concept of organic unity. The third chapter, Non indifferent Nature, is a study of how Eisenstein's concept of `nonindifferent nature' was crystallised during the making of his unfinished sound film Que viva Mexico! It shows how Eisenstein was influenced by the muralist painters Rivera, Siqueiros and Orozco, Mexico's cultures and landscapes, and his research into trance states and religion. It explains how these influences were vital to Eisenstein's deepening awareness of the expressive possibilities of audiovisual cinema. The last chapter, Synaesthesia, features Eisenstein's fascination with the phenomenon of synaesthesia, especially of the audiovisual kind. His audiovisual collaboration with Prokofiev is examined in this context. Eisenstein's related interest in the ideas of Wagner, Kandinsky and Scriabin, as well as the research of the psychologists Vygotsky and Luria are explored. Various responses to stimuli are outlined: synaesthesia, the reflex, the conditioned reflex, metaphorical thinking, and the process of association. This stimulus response model prompts a study of the influence of various occult traditions and symbolism on Eisenstein. This is followed by an examination of his idea of audiovisual cinema as a form of thought. An overview of the musicality of Eisenstein's approach to the audiovisual is then demonstrated, and the chapter concludes with an account of his vision of a new audiovisual language of cinema.
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Lenz, Felix. "Sergej Eisenstein: Montagezeit Rhythmus, Formdramarturgie, Pathos." Paderborn München Fink, 2005. http://d-nb.info/988603152/04.
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Cabral, Marcelo Grimm. "Eisenstein e a psicologia da arte." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/91258.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Psicologia, Florianópolis, 2008<br>Made available in DSpace on 2012-10-23T20:39:06Z (GMT). No. of bitstreams: 1
273739.pdf: 7990605 bytes, checksum: 9105912a56a486a31a8bcea890ff6668 (MD5)<br>Este trabalho parte da obra teórica e cinematográfica do cineasta soviético Sergei Eisenstein. O foco da pesquisa incide sobre a sua transição do teatro ao cinema e sobre a formulação do seu cinema intelectual, buscando discutir a dimensão psicológica de suas teorias. Para isso, realizou-se o empenho de problematizar Eisenstein em função dos filmes e dos conceitos que criou na construção de uma espécie de diálogo entre seus filmes, suas teorias e a fundamentação psicológica que ele desenvolve ao tratar do problema da forma e do conteúdo na arte. Conclui-se que a produção dos primórdios do que se chama de psicologia histórico-cultural, sobretudo as idéias desenvolvidas na Psicologia da Arte (1925/2001) por Vigotski, caracteriza-se como interlocutora fundamental no trajeto prático e teórico de Eisenstein nas décadas de 20 e 30 do século XX.
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Caspar, Alexander. "Kummer-Chern-Eisenstein motives via Hilbert modular surfaces." Bonn : Mathematisches Institut der Universität, 2003. http://catalog.hathitrust.org/api/volumes/oclc/54890946.html.
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Takemori, Sho. "p-adic Siegel-Eisenstein series of degree two." 京都大学 (Kyoto University), 2013. http://hdl.handle.net/2433/175093.
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Yu, Shucheng. "Second moments of incomplete Eisenstein series and applications." Thesis, Boston College, 2018. http://hdl.handle.net/2345/bc-ir:108115.
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Thesis advisor: Dubi Kelmer<br>We prove a second moment formula for incomplete Eisenstein series on the homogeneous space Γ\G with G the orientation preserving isometry group of the real (n + 1)-dimensional hyperbolic space and Γ⊂ G a non-uniform lattice. This result generalizes the classical Rogers' second moment formula for Siegel transform on the space of unimodular lattices. We give two applications of this moment formula. In Chapter 5 we prove a logarithm law for unipotent flows making cusp excursions in a non-compact finite-volume hyperbolic manifold. In Chapter 6 we study the counting problem counting the number of orbits of Γ-translates in an increasing family of generalized sectors in the light cone, and prove a power saving estimate for the error term for a generic Γ-translate with the exponent determined by the largest exceptional pole of corresponding Eisenstein series. When Γ is taken to be the lattice of integral points, we give applications to the primitive lattice points counting problem on the light cone for a generic unimodular lattice coming from SO₀(n+1,1)(ℤ\SO₀(n+1,1)<br>Thesis (PhD) — Boston College, 2018<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: Mathematics
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Rodrigues, Damiana Cerqueira Campos. "O cinema teatral de Eisenstein : década de 1920." reponame:Repositório Institucional da UnB, 2007. http://repositorio.unb.br/handle/10482/5641.
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Dissertação (mestrado)-Universidade de Brasília, Departamento de Artes Visuais, Instituto de Artes, Brasília, 2007.<br>Texto liberado parcialmente pelo autor. Conteúdo: Sumário, Resumo, Abstract, Introdução, Conclusão, Referências Bibliográficas, Filmografia de Eisenstein, Galeria de Imagens.<br>Submitted by Mariana Fonseca Xavier Nunes (nanarteira@hotmail.com) on 2010-09-18T02:45:44Z
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2007-Damiana Cerqueira Campos Rodrigues.pdf: 2638761 bytes, checksum: 63e4e92243ec1e88479af6ec13f8f6b3 (MD5)<br>Esta dissertação investiga a aparente dicotomia entre cinema e teatro, suas relações e oposições, bem como os reflexos da experiência teatral de Sergei M. Eisenstein em seus filmes. São analisados os artigos teóricos de Eisenstein, escritos na década de 1920, onde o diretor aborda assuntos pertinentes ao teatro e ao cinema, assim como sua produção cinematográfica e teatral da década, de forma a identificar e discutir as relações existentes entre teatro e cinema em sua obra prática e teórica enquanto cineasta. _____________________________________________________________________________________ ABSTRACT<br>This study investigates the apparent dichotomy between cinema and theater, their relations and oppositions, as well as the reflexes of the theatrical experiences of Sergei M. Eisenstein in his films. Eisensteins theoretical essays written on 1920s where the director discuss subjects refering to theater and cinema, as well as his films and theatrical productions of the decade are analized, in order to identify and discuss the existent relations between theater and cinema in his practical and theorical work as a filmmaker.
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Powell, Kevin James. "Modular Symbols Modulo Eisenstein Ideals for Bianchi Spaces." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/556600.
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The goal of this thesis is two-fold. First, it gives an efficient method for calculating the action of Hecke operators in terms of "Manin" symbols, otherwise known as "M-symbols," in the first homology group of Bianchi spaces. Second, it presents data that may be used to understand and better state an unpublished conjecture of Fukaya, Kato, and Sharifi concerning the structure of Bianchi Spaces modulo Eisenstein ideals [5]. Swan, Cremona, and others have studied the homology of Bianchi spaces characterized as certain quotients of hyperbolic 3-space [3], [13]. The first homology groups are generated both by modular symbols and a certain subset of them: the Manin symbols. This is completely analogous to the study of the homology of modular curves. For modular curves, Merel developed a technique for calculating the action of Hecke operators completely in terms of "Manin" symbols [10]. For Bianchi spaces, Bygott and Lingham outlined methods for calculating the action of Hecke operators in terms of modular symbols [2], [9]. This thesis generalizes the work of Merel to Bianchi spaces. The relevant Bianchi spaces are characterized by imaginary quadratic fields K. The methods described in this thesis deal primarily with the case that the ring of integers of K is a PID. Let p be an odd prime that is split in K. The calculations give the F_p-dimension of the homology modulo both p and an Eisenstein ideal. Data is given for primes less than 50 and the five Euclidean imaginary quadratic fields Q(√-1), Q(√-2), Q(√-3), Q(√-7), and Q(√-11). All of the data presented in this thesis comes from computations done using the computer algebra package Magma.
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Fleig, Philipp [Verfasser]. "Kac-Moody Eisenstein series in string theory / Philipp Fleig." Berlin : Freie Universität Berlin, 2014. http://d-nb.info/1046832980/34.
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Turner, N. C. "Un-silencing the space of Eisenstein : a contemporary visual analysis of the use of space in Sergei Eisenstein's early silent films." Thesis, University of Liverpool, 2018. http://livrepository.liverpool.ac.uk/3027057/.
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Linck, Gabriela Wondracek. "Adorno, Eisenstein e tradução em Notícias da Antiguidade Ideológica (2008)." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-30012015-101157/.
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Minha dissertação se divide em três partes. A primeira é dedicada à trajetória de Alexander Kluge na televisão, no cinema e em sua incursão por outras formas midiáticas, de modo a verificar o percurso que tornou possível o projeto estético de \"Notícias da Antiguidade Ideológica\" (2008). A segunda é uma contextualização de \"Notícias da Antiguidade Ideológica\" (2008), que parte das anotações de Eisenstein, escritas entre 1927 e 1929, sobre filmar O Capital de Marx segundo a lógica de Ulysses, de James Joyce, e é concluída com uma análise de como Kluge se aproximou de tais ideias do diretor russo. A terceira parte é composta por quatro análises de entrevistas apresentadas em \"Notícias da Antiguidade Ideológica\" (2008) - com Galina Antoschewskaja, Peter Sloterdjik, Oskar Negt e Jean-Luc Godard - que evidenciam como Kluge usa exemplos do processo tradutório para reivindicar uma leitura mais poética de O Capital de Karl Marx.<br>My dissertation is divided in three parts. The first one is dedicated to the trajectory of Alexander Kluge in television and cinema and his incursion into other media, in order to verify the path that made the aesthetic project \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\" (2008) possible. I devote the second part of my dissertation to contextualizing \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\", that moves from the annotations of Eisenstein about filming Das Kapital according to the logic of Joyces\'s Ulysses, written between 1927 and 1929, concluding with an analysis of how Kluge approached such ideas from the Russian director. The third part is composed of four analyses of interviews belonging to \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\" (2008) - with Galina Antoschewskaja, Peter Sloterdjik, Oskar Negt and Jean-Luc Godard - that show how Kluge uses examples of the translation process to claim a more poetic reading of Das Kapital by Marx
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Gozze, Diego Melem 1980. "As artes em geral no específico cinematográfico de Sergei Eisenstein /." São Paulo, 2019. http://hdl.handle.net/11449/182466.
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Orientador(a): Omar Khouri<br>Banca: Jose Leonardo do Nascimento<br>Banca: Neide Jallageas de Lima<br>Resumo: O propósito desta dissertação é abordar a relação de estreita proximidade entre o cinema e as artes em geral a partir das teorias de Sergei Eisenstein, um dos mais importantes cineastas da primeira metade do século XX e um dos principais teóricos da história do cinema mundial. Para ele, todos os processos e os procedimentos da linguagem cinematográfica já existiam, antes, nas outras formas de arte. Portanto, a partir de sua própria concepção de específico cinematográfico, que compreende justamente a síntese das demais artes, será apresentado, aqui, um panorama geral de sua reflexão sobre o importante lugar delas na linguagem propriamente cinematográfica.<br>Abstract: The purpose of this dissertation is to address the close relationship between cinema and all other forms of art in general based on Sergei Eisenstein's theories, one of the most important filmmakers of the first half of the twentieth century, and one of the most important theoreticians in global cinema's history. According to Eisenstein, all the processes and the procedures regarding cinematographic language had already existed before, along other means of art expression. Therefore, from Eisenstein's conception about the cinematographic, specifically regarding to cinema as a subject, which consists precisely in the synthesis of every art form, this document will expose an overview of his thoughts and arguments about their importance and influence in the cinematic language.<br>Mestre
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Hannouch, Hanin Issa. "Art history as Janus : Sergei Eisenstein on the visual arts." Thesis, IMT Alti Studi Lucca, 2017. http://e-theses.imtlucca.it/235/1/Hannouch_phdthesis.pdf.
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My dissertation deals with the connection between
cinema and art history, and their respective ways of looking
upon artworks, exemplified by the writings of Sergei Eisenstein
(18981948)
on the visual arts.
In the first part of my work, I focus on four of Eisenstein’s
texts dealing with three painters he considers cinematic:
“Yermolova” (1937) studying Valentin Serov’s portrait of Maria
Yermolova, “El Greco” ( 1937) and “El Greco y el Cine” (written
between 1939 and 1941) considering the Cretan painter
Doménikos Theotokópoulos, and lastly “Piranesi or the Fluidity
of Form” (undated, presumably 1947) analyzing Giovanni
Battista Piranesi’s etchings. Eisenstein reads in the present,
artworks taken from the past, in order to reimagine
them in the
future through cinema. It is this tension that I expose by
reshaping the content of these articles around key concepts or
around the paintings constitutive of Eisenstein’s arguments,
which I scrutinize in the context of his own film theory. I also
provide a parallel art historical interpretation to them.
In the second part of my work, I examine Eisenstein’s art
historical sources, highlighting the extent of his reliance on Hugo
Kehrer, Albert Giesecke, and JeanMartin
Charcot. I outline the
circulation of ideas between them, and how they impact his
overall approach to the visual arts and his conceptualization of
the presence of compositional factors that enable the operation of
cinema in static media.
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Weiss, Katherine. "James Joyce and Sergei Eisenstein: Haunting Samuel Beckett's Film." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/2282.
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Samuel Beckett's Film has been the focus of several articles in the past decade. While current investigations of Beckett's film are diverse, what most of them share is their dependence on biographical data to support their readings. Many scholars who have written on Beckett's failed cinematic excursion, for example, point to Beckett's letter of 1936 to Sergei Eisenstein. However, the link between Beckett's interest in film and his admiration for James Joyce has sadly been overlooked. Both Irish writers saw the artistic possibilities in film and both admired the Russian silent film legend, Sergei Eisenstein. Although there is no record of Joyce and Beckett discussing cinema or of Beckett knowing about Joyce's meeting with Eisenstein in 1929, it seems unlikely that Beckett would not have known something about these meetings or Joyce's much earlier film enterprise, the Volta. By re-examining Film and speculating on the possible three way connections between Eisenstein, Joyce and Beckett, I wish to add a footnote to Beckett studies which hopefully will lead others to wander on the Beckett-Joyce-Eisenstein trail and which will open up further discussions of Film. Beckett's film is haunted by the memory of his friendship with James Joyce and his admiration for Eisenstein's talent, both of which are visible in the screen images and theme of Film.
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Ackerman, Ada. "Regards de Sergueï Eisenstein sur l’oeuvre d’Honoré Daumier : une réception méconnue." Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100203.
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Cette thèse se donne pour ambition d'éclairer un aspect méconnu de l'oeuvre et de la pensée de Sergueï Eisenstein, en se concentrant sur la relation privilégiée qu'il entretient durant toute sa vie avec l'art de Daumier. Tout en traversant l'oeuvre graphique, théâtrale, cinématographique et théorique d'Eisenstein, cette recherche entend également révéler Daumier sous un nouveau jour, en faisant découvrir la réception dont il jouit en Russie et en U.R.S.S. Il s'agira par la même occasion d'exposer et d'interroger le regard stimulant et original qu'Eisenstein porte sur l'art de Daumier. Ce parcours se voudra nécessairement transdisciplinaire<br>The aim of this PhD thesis is to cast a new light on Eisenstein's work and thought, by focusing on his privileged relationship with Daumier's art. As we will come across Eisenstein's graphic, theatrical, cinematographical and theoretical work, we will unveil Daumier's still unknown reception in Russia and in U.S.S.R. By the same token, we will expose and discuss Eisenstein's challenging and modern vision of Daumier. The methodology chosen here is necessarily transciplinar
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Lövgren, Håkan. "Eisenstein's labyrinth : aspects of a cinematic synthesis of the arts." Doctoral thesis, Stockholms universitet, Slaviska institutionen, 1996. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-69526.
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Chapdelaine, Hugo. "Elliptic units in ray class fields of real quadratic number fields." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102967.
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Let K be a real quadratic number field. Let p be a prime which is inert in K. We denote the completion of K at the place p by Kp. Let ƒ > 1 be a positive integer coprime to p. In this thesis we give a p-adic construction of special elements u(r, ??) ∈ Kxp for special pairs (r, ??) ∈ (ℤ/ƒℤ)x x Hp where Hp = ℙ¹(ℂp) ℙ¹(ℚp) is the so called p-adic upper half plane. These pairs (r, ??) can be thought of as an analogue of classical Heegner points on modular curves. The special elements u(r, ??) are conjectured to be global p-units in the narrow ray class field of K of conductor ƒ. The construction of these elements that we propose is a generalization of a previous construction obtained in [DD06]. The method consists in doing p-adic integration of certain ℤ-valued measures on ??=ℤpxℤp pℤpxpℤp . The construction of those measures relies on the existence of a family of Eisenstein series (twisted by additive characters) of varying weight. Their moments are used to define those measures. We also construct p-adic zeta functions for which we prove an analogue of the so called Kronecker's limit formula. More precisely we relate the first derivative at s = 0 of a certain p-adic zeta function with -logₚ NKp/Qp u(r, ??). Finally we also provide some evidence both theoretical and numerical for the algebraicity of u(r, ??). Namely we relate a certain norm of our p-adic invariant with Gauss sums of the cyclotomic field Q (zetaf, zetap). The norm here is taken via a conjectural Shimura reciprocity law. We also have included some numerical examples at the end of section 18.
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Pereira, Erivoneide Marlene de Barros. "A cinematografia de Serguei Eisenstein: imagem, som e sentido em Aleksandr Niévski." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-20022015-151453/.
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Propõe-se, nesta dissertação, identificar e analisar elementos da cinematografia do cineasta russo (soviético) Serguei M. Eisenstein que seriam fundamentais para a construção do filme como um texto artístico. Selecionou-se, como objeto de análise, o longa-metragem lançado em 1938, Aleksandr Niévski. Examina-se, ao longo da análise, elementos como a construção de personagem, o desenvolvimento do tema, o enquadramento, o som e a mise-en-scène. Parte-se da hipótese de que o filme, sendo um texto artístico, ainda que a sua produção esteja enraizada nas diretrizes do Realismo Socialista, não se limita a transmitir uma realidade restrita, antes o artista amplia as possibilidades significativas do material criativo de que dispõe resultando em um texto que transpõe seu limite espacial e temporal. Dentro dessa perspectiva, objetiva-se identificar os elementos da linguagem cinematográfica, (enquadramentos, mise-èn-scene, montagem etc) que foram explorados ao longo do filme, e analisar como esses aspectos são articulados na construção do tema da obra: o patriotismo. Para embasar o estudo proposto, dividiu-se, de modo geral, o campo teórico em duas vertentes: primeiramente, para a concepção do filme como um texto artístico, valemo-nos do conceito de obra de arte como um texto artístico, desenvolvido pelo teórico russo Iuri Lotman, e da concepção de linguagem poética discutida por Roman Jakobson; já para a análise dos elementos da linguagem artística cinematográfica, privilegiaram-se os textos teóricos de Serguei Eisenstein, assim como os estudos desenvolvidos por David Bordwell e Jean Mitry. Por fim, como metodologia de análise, buscou-se observar e analisar o período histórico vivido pelo cineasta no momento da produção do filme, o Realismo Socialista, e as referências históricas da personagem central que norteiam as escolhas artísticas. Posteriormente, verifica-se, por meio da análise dos elementos da linguagem cinematográfica, como o filme, enquanto um texto artístico, é portador de uma riqueza de sentido advinda da articulação dos elementos cinematográficos, favorecendo a construção de uma unidade temática: o patriotismo<br>The purpose of this dissertation is to identify and analyze elements of cinematography in the work of Russian (Soviet) filmmaker Sergei M. Eisenstein, which would be essential to the construction of the film as an artistic text. Aleksander Niévski, the motion picture released in 1938, was selected as the scope of the analysis. Throughout the analysis, elements such as character construction, theme development, framing, sound and mise-en-scène were examined. I begin with the hypothesis that the film, as an artistic text, in spite of having been produced with roots in the directives of Socialist Realism, is not limited to conveying a restricted reality; rather, the artist broadens the meaningful possibilities of the creative material at hand, resulting in a text that surpasses its limits of time and space. In this perspective, the objective is to identify the elements of cinematic language (framing, mise-èn-scene, editing etc) explored throughout the film and analyze how these aspects are articulated to construction the theme: patriotism. In order to lay the basis for the proposed study, the theoretical field was, overall, divided into two views: firstly, for the conception of the film as an artistic text, we made use of the concept of the art work as an artistic text - developed by Russian theorist Iuri Lotman and of the conception of poetic language, discussed by Roman Jakobson; and to analyze the elements of cinematic artistic language, the theoretical texts by Sergei Eisenstein as well as the studies developed by David Bordwell and Jean Mitry were favored. Finally, as a method of analysis, I sought to observe and analyze the historical period in which the artist lived at the moment of the production of the film the Socialist Realism and the historical references of the main character which conduct the artistic choices. Subsequently, by analyzing the elements of cinematic language, it is verified how the film, as an artistic text, bears a richness of meaning ensuing from the articulation of the cinematic elements, favoring the construction of a theme unit: patriotism
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Moraes, Maria Fernanda Riscali de Lima. "A fotografia do conflito: uma parceria entre Sergei Eisenstein e Eduard Tissé." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-01122015-101949/.
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São muitas as parcerias no cinema, mas a que relaciona o diretor de cena ao diretor de fotografia é certamente a principal. A proposta desta dissertação de mestrado é analisar o estilo de fotografia criado por Eduard Tissé em três dos filmes que trabalhou com Eisenstein. A metodologia teórica da pesquisa baseia-se em Roland Barthes a partir da análise do artefato primeiro do cinema, que é o fotograma. As dimensões sociais ligadas ao materialismo dialético e suas aplicações ao filme, na forma como o espectador promove a leitura de sentidos, preocupavam o diretor soviético. Com isso evidencia-se o princípio conceitual de Eisenstein, desenvolvido pela célula de montagem, na visão da sua missão sócio-cultural em busca da fotografia do conflito.<br>There are many partnerships in the movie business, but that between director and director of photography is certainly the main one. The purpose of this dissertation is to analyze the style of photography created by Eduard Tissé in three of the movies he worked with Eisenstein. The theoretical research methodology is based on Roland Barthes from the analysis of the first film artifact: the frame. The social dimensions related to the dialectical materialism and its applications to the cinema - the way the audience reads the film sense - worried the soviet director. With that, the conceptual principle developed by Eisenstein is highlighted in search of the conflict cinematography.
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Fauchille, Bernard. "Peinture et cinema : le theme du masque chez s.m. eisenstein (1898-1948)." Lille 3, 1988. http://www.theses.fr/1988LIL30022.
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Le theme du masque apparait a travers l'interpretation que le cineaste s. M. Eisenstein nous donne du visage. Neuf sens ont ete discernes : sens originel i (la fete) et ii (le casque), masque mortuaire, maquillage, construction d'un personnage, masque a transformation, le totem, l'idolatrie, le masque psychologique. A chaque sens ont ete observees des references a diverses mythologies, et a l'histoire de l'art dont le cineaste fait un usage abondant. Ont ete soulignees les distorsions, les "oublis", et les preoccupations, avouees ou non, du cineaste, qui propose une nouvelle mythologie pour le xxeme siecle. Biofilmographie, textes d'eisenstein, scenarii, textes sur le cineaste, bibliographie, illustrations<br>The subject of the mask appears through the translation the cineast s. M. Eisenstein gives about the human face. Nine meanings have been distinguished : original meaning i (feast) and ii (helmet), mortuary mask, making-up, building of a character, transformation mask, the totem, the idolatry, psychologic mask. For each meaning references to various mythologies and to the history of art (the cineast uses it very often) have been noticed. The distorsions, the "forgettings" and the cares, be they admitted or not, of the cineast have been underlined, and he thus proposes a new mythology for the xxth century. Biofilmography, texts by eisenstein, scenarii, texts about the cineast, bibliography, illustrations
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Nowland, Kevin John. "Properties of SU(2, 1) Hecke-Maass cusp forms and Eisenstein series." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1543417235410827.
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Kuchaki, Shalmani Kiarash [Verfasser]. "Uniform Boundedness of Pole Order of General Eisenstein Series / Kiarash Kuchaki Shalmani." Bonn : Universitäts- und Landesbibliothek Bonn, 2020. http://d-nb.info/1219140929/34.
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Mainardi, Fabio. "Sur la conjecture principale pour les corps CM." Paris 13, 2004. http://www.theses.fr/2004PA132008.
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Nous démontrons un résultat partiel dans la direction de la conjecture principale de la théorie de Iwasawa pour les corps CM. La méthode que nous employons est d'associer au module d'Iwasawa d'un corps CM une série d'Eisenstein pour le groupe unitaire GU (2,1). Le terme constant de cette série est le produit de deux valeurs spéciales de fonctions L de Hecke, l'une sur le corps CM et l'autre sur le sous-corps totalement réel. Nous introduisons un idéal Eis, dans l'algèbre de Iwasawa A en 1+d+ variables, supposé controler les congruences entre la série d'Einsenstein et les formes cuspidales. Nous démontrons ici que Eis divise l'idéal caractèristique du module d'Iwasawa, hors un ensemble de premiers de A de hauteur 1. Une partie de ce travail est consacrée à l'étude arithmètique de la série d'Eisenstein, à son interpolation A-dique et à sa réduction modulo son terme constant. On étudie aussi quelques propriétés des représentatioins galoisiennes associées aux formes automorphes sur GU (2,1).
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Wiessinger, Scott Reinhard. "Film and Music an overlooked synthesis /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/wiessinger/WiessingerS0509.pdf.
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Thesis (MFA)--Montana State University--Bozeman, 2009.<br>Typescript. Chairperson, Graduate Committee: Theo Lipfert. Fractal is a DVD accompanying the thesis. Includes bibliographical references (leaves 22-23).
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Eynon, Andrew David. "Meyerhold and Eisenstein : the creation of a non-realist aesthetic in revolutionary art." Thesis, Keele University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421665.
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Sidarenka, Uladzimir [Verfasser], Manfred Akademischer Betreuer] Stede, and Jacob [Gutachter] [Eisenstein. "Sentiment analysis of German Twitter / Uladzimir Sidarenka ; Gutachter: Jacob Eisenstein ; Betreuer: Manfred Stede." Potsdam : Universität Potsdam, 2019. http://d-nb.info/1218405279/34.
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Sowande, Leanne A. "Investigating the efficacy of communicating sustainable development values on film : learning from Eisenstein." Thesis, Cardiff University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.585038.
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This study investigates whether participation in a structured and facilitated film-based educational intervention can significantly change the attitudes, values and preferences of individuals about sustainability. Through a before-and-after experimental process, the study's aims were to: (a) determine preferences for architecture and development by a group of citizens in a designated study area; and (b) to determine the efficacy of Film Montage to communicate new values and preferences, about architecture and development, to the participants in the study. Although it is generally and anecodotally recognised that film is an effective means of mass communication, capable of measurably influencing points-of-view in a film's viewing audience, an exploration of the specific synergistic theoretical and applied visual communication constructs, that make these two disciplines stronger agents of mass communication about sustainable architecture when applied in tandem, had not been approached. The question, which was at the heart of this study, was whether selected film, utilised in an educational setting either formal or informal, could influence participants' attitudes and preferences about sustainable architecture, and the design of a sustainable environment. A film based curriculum of Interactive Modules was designed and tested in this study. There were data gathering and presentation instruments designed and applied in the before stage, the stage of the process in which the educational intervention took place, and the after stage of the process. Both qualitative and quantitative measures were used to evaluate and record the obtained results. Collectively, the findings support the premise that attitudes and preferences about architecture and development can be changed by participation in a film-based educational curriculum about sustainability.
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Sidarenka, Uladzimir [Verfasser], Manfred [Akademischer Betreuer] Stede, and Jacob [Gutachter] Eisenstein. "Sentiment analysis of German Twitter / Uladzimir Sidarenka ; Gutachter: Jacob Eisenstein ; Betreuer: Manfred Stede." Potsdam : Universität Potsdam, 2019. http://d-nb.info/1218405279/34.
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Neururer, Michael. "Products of Eisenstein series, their L-functions, and Eichler cohomology for arbitrary real weights." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/31540/.
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One topic of this thesis are products of two Eisenstein series. First we investigate the subspaces of modular forms of level N that are generated by such products. We show that of the weight k is greater than 2, for many levels, one can obtain the whole of M[subspace]k(N) from Eisenstein series and products of two Eisenstein series. We also provide a result in the case k=2 and treat some spaces of modular forms of non-trivial nebentypus. We then analyse the L-functions of products of Eisenstein series. We reinterpret a method by Rogers-Zudilin and use it in two applications, the first concerning critical L-values of a product of two Eisenstein series, and the second special values of derivatives of L-functions. The last part of this thesis deals with the theory of Eichler-cohomology for arbitrary real weights, which was first developed by Knopp in 1974. We establish a new approach to Knopp's theory using techniques from the spectal theory of automorphic forms, reprove Knopp's main theorems, and also providea vector-valued version of the theory.
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Ahlén, Olof [Verfasser], Dirk [Gutachter] Kreimer, Hermann [Gutachter] Nicolai, and Guillaume [Gutachter] Bossard. "Adelic Eisenstein series on SLn / Olof Ahlén ; Gutachter: Dirk Kreimer, Hermann Nicolai, Guillaume Bossard." Berlin : Humboldt-Universität zu Berlin, 2018. http://d-nb.info/1185667067/34.
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Sprang, Johannes [Verfasser], Guido [Akademischer Betreuer] Kings, and Shinichi [Akademischer Betreuer] Kobayashi. "Eisenstein series via the Poincaré bundle and applications / Johannes Sprang ; Guido Kings, Shinichi Kobayashi." Regensburg : Universitätsbibliothek Regensburg, 2018. http://d-nb.info/1152437550/34.
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Araújo, Edimárcia Ramos de. "A construção de um diálogo entre história e comunicação na obra de Elizabeth Eisenstein." reponame:Repositório Institucional da UnB, 2013. http://repositorio.unb.br/handle/10482/13551.
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Dissertação (mestrado)—Universidade de Brasília, Programa de Pós-Graduação em Comunicação, 2013.<br>Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-07-15T13:30:35Z
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2013_EdimarciaRamosAraujo.pdf: 1362736 bytes, checksum: 34f5972efaa6261b715add5a2772637d (MD5)<br>Ao entender que um advento importante do século XV desencadeou mudanças
significativas na sociedade medieval, a presente pesquisa busca compreender como a historiadora Elizabeth L. Eisenstein utilizou-se dos aportes teóricos e metodológicos da História para estudar o impacto da imprensa, fazendo com que dois campos distintos, História e Comunicação, dialogassem. O objetivo principal é esclarecer como a
historiadora construiu essa relação entre os dois campos. A dissertação parte da revisão
bibliográfica referente à Eisenstein, desenvolve uma análise conceitual dos principais autores dos estudos dos meios de comunicação e, por último, desenvolve uma análise crítica em cima das questões levantadas, a fim de entender os aportes epistêmicos teóricos e metodológicos utilizados por Eisenstein na construção da relação entre o
campo da História e da Comunicação. ______________________________________________________________________________ ABSTRACT<br>Acknowledging that an important happening in the 15th century unleashed significant changes in medieval society, this research wants to understand how the historian Elizabeth L. Eisenstein used History's theorical and methodological tools in order to
study the impacts of press, producing a dialogue between two distinct fields: History and Communication. The main purpose of this work is to clarify how this woman built the relation between these two fields. We begin with a bibliographic review concerning Eisenstein; we develop a conceptual analysis of the main authors in the field of mass communication and, at last, we build up a critical analysis over some formulated
questions, in order to understand the theorical and methodological contributions used by Eisenstein in the construction of the relation between History and Communication.
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Soares, Silnei Scharten. "A formação dos conceitos e o discurso interior em Eisenstein e Vygotsky : montagem teórica." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2001. http://hdl.handle.net/10183/3529.
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Partindo da definição de discurso interior e da análise do processo de formação de conceitos abstratos desenvolvidos pelo psicólogo Lev Vygotsky, faz-se uma aproximação com a teorização do cineasta Sergei Eisenstein sobre as possibilidades de incorporação do discurso interior pelo cinema. Analisam-se as relações entre o conteúdo eminentemente icônico das imagens cinematográficas e os aspectos sensoriais não-verbais presentes no discurso interior, indicados por Vygotsky, com o objetivo de investigar as formas como o discurso cinematográfico articula seus recursos expressivos através da montagem, visando reproduzir em sua organização formal os processos cognitivos que têm lugar no pensamento e que são expressos pelo discurso interior; para isso, o foco de análise centra-se nos métodos de montagem estabelecidos por Eisenstein. Investiga-se também os modos de produção de sentido através da articulação de signos icônicos não-verbais pela montagem cinematográfica, ressaltando o papel que os componentes afetivos da cognição e do intelecto desempenham no processo de produção de conceitos pelo cinema, especialmente o cinema caracterizado nos textos e reflexões teóricas de Eisenstein. Conclui-se que o tipo de discurso interior produzido pelo cinema em geral e o eisensteiniano em particular é aquele que foi definido por Vygotsky como discurso cotidiano ou espontâneo, motivado afetivamente e ligado ao contexto da situação concreta em que emerge.
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Wang, Xiangdong. "Die Eisensteinklasse in H [superscript 1] (SL [subscript 2] (Z), M [subscript n] (Z) und die Arithmetik spezieller Werte von L-Funktionen." Bonn : [s.n.], 1989. http://catalog.hathitrust.org/api/volumes/oclc/23634674.html.
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Driencourt, Yves. "Séries d'Eisenstein et fonction êta sur les codes géométriques." Aix-Marseille 2, 1992. http://www.theses.fr/1992AIX22059.
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La premiere partie traite de l'existence d'une formule-limite pour la serie d'eisenstein associee a un sous-groupe de congruence ainsi que des proprietes arithmetiques des sommes de dedekind qui en decoulent. On donne ensuite une presentation adelique de la fonction analogue au logarithme de la valeur absolue de eta intervenant dans la formule-limite, ce qui permet de generaliser la situation classique a un corps de nombres ou a un corps de fonctions. La deuxieme partie est consacree a l'etude des codes geometriques de goppa a l'aide des methodes issues de la geometrie algebrique. On utilise pour cela les points rationnels sur une courbe algebrique et les parametres du code s'obtiennent grace au theoreme de riemann-roch. Le cas des courbes elliptiques (genre 1) est etudie en detail: construction algorithmique des codes, etude des proprietes d'autodualite et explicitation de quelques codes a bons parametres
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Belt, Dustin David. "Topics on the Spectral Theory of Automorphic Forms." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1423.pdf.
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Opitz, Sebastian [Verfasser], Jan Hendrik [Akademischer Betreuer] Bruinier, and Nils [Akademischer Betreuer] Scheithauer. "Computation of Eisenstein series associated with discriminant forms / Sebastian Opitz ; Jan Hendrik Bruinier, Nils Scheithauer." Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2018. http://d-nb.info/1173323015/34.
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Rousse, Pascal. "Penser le montage avec Sergueï Mikhaïlovitch Eisenstein : architectonique et affet : de l'architecture aux arts contemporains." Paris 8, 2010. http://octaviana.fr/document/150172176#?c=0&m=0&s=0&cv=0.
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Selon Eisenstein, le montage est une anamnèse de l'"imagicité" de la perception. Ce qui pose la question de l'"autre scène" de l'inconscient : la théâtralité et la spatialisation de l'affect entre Eros et Thanatos chez Freud. L'Idée esthétique de montage connote la construction, mais aussi sa critique et sa transformation architectonique, entre image et langage, vers un constructivisme artistique qui nous est contemporain. L'écriture labyrinthique d'Eisenstein le rapproche du monologue intérieur de Joyce, espace figural d'une image globale eidétique, dont l'architecture est la métonymie déplacée, le substrat déconstruit et l'index d'écriture. Les figures qu'elle appelle renvoient à la mètis Grecque, l'intelligence technique. Avec l'appareil cinématographique, selon Jean-Louis Déotte, les masses s'adressent aux agissants politiques. Selon Walter Benjamin, la distraction est le substrat collectif et inconscient de la perception dans le milieu urbain. Suivant Eisenstein, le spectateur y accède au transfert ek-statique par une provocation de l'expérience émotionnelle de l’'espace, dans une dialectique du pathétique et de l'extase : il s'agit de lier la pulsion de mort à la pulsion de vie et, depuis l'Éthique de Spinoza, du salut des Idées de la raison face à l'immaîtrisable. Mais comment l'épreuve de l'indéterminé se manifeste-t-elle dans ce cinéma pour en présenter qu'il y a de l’imprésentable ? En quoi Eisenstein témoigne-t-il alors de l'Idée de justice et du sublime ? Il s'agira d'ouvrir le présent à l'anachronie de figures archaïques, à travers des formes allégoriques capables de le déchiffrer entre folie et utopie<br>According to Eisenstein, montage is an anamnesis of the "imagicity" of perception. This raises the question of the "other scene" of the unconscious : the theatricality and the spatializing of the affect between Eros and Thanatos in Freud. The aesthetic Idea of montage connotes construction, but also its criticism and its architectonic transformation, between image and language, towards an artistic constructivism which is contemporary to us. Eisenstein's labyrinthine writing brings him close to Joyce's inner monologue, a figural space of a global eidetic image, of which architecture is the displaced metonymy, the deconstructed substratum and the index of writing. The figures evoked return to the Greek mètis, as technical intelligence. With cinematographic apparatus, according to Jean-Louis Déotte, the masses address themselves to political actives. According to Walter Benjamin, distraction is the collective and unconscious substratum of perception in the urban medium. Following Eisenstein, the spectator reaches via it to the ek-static transfer by a provocation of the emotional experience of space, in a dialectic of the pathetic and the ecstasy : it means binding the death instinct to the life instinct and, ever since the Ethic by Spinoza, the salvation of the Ideas of reason in front of the uncontrollable. But how does the trial of the indeterminate occur in this cinema to present that is unpresentable ? In what does Eisenstein testifies to the Idea of justice and the sublime ? It will be a question of opening the present to the anachrony of archaic figures, through allegorical forms capable of deciphering between madness and utopia
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Kataeva, Olga. "Le statut du dessin dans l'œuvre de Sergueï M. Eisenstein. Mise en scène, montage, intermédialité." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA009.
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Cette thèse étudie le statut du dessin dans l'œuvre de Sergueï M. Eisenstein, à partir de l’étude des rapports entre dessin et montage, entre dessin et mise en scène et de l’examen de la nature intermédiale de l’œuvre d’Eisenstein. Dans le système de ce réalisateur le dessin est au cœur de son processus créatif et devient un milieu-médium à l’intérieur duquel des transferts, passages, transportations de formes, d’images et d’idées sont possibles. Eisenstein s’intéresse au dessin, à la fois, comme processus et comme méthode visuelle universelle de la créativité.On constate l’analogie entre la structure globale du film Ivan le Terrible et les axes essentiels de sa réflexion théorique, en particulier les principes de sa méthode créatrice (la pars pro toto, le MLB, la plasmaticité et le montage). Subordonnée à une architectonique spatio-temporelle rigoureuse, la structure du film est en même temps une structure ouverte, vivante en évolution perpétuelle, et cela tant à l’étape de sa conception qu’au niveau de sa perception et de sa post-analyse.Les analyses conduites dans cette thèse sur la production graphique d’Eisenstein, et à partir de celles-ci sur l’ensemble de ces travaux et de ces concepts, démontrent clairement la corrélation entre la structure de l’œuvre d’Eisenstein, en particulier pour celle du film Ivan le Terrible, et le fondement de son processus de pensée créative, processus qui traduit son propre rythme intérieur et la structure de sa conscience, les deux donnant l’impulsion à son expression artistique. Le dessin devient pour Eisenstein le milieu de réflexion sur lequel il s’appuie pour exposer la problématique du médium, mais aussi celle de l’histoire du cinéma en son lien avec l’histoire des médiums expressifs. Les dessins préparatoires constituent le médium visuel d’élaboration, de vérification et de mise en pratique de ses concepts théoriques dans une situation réelle de création de film.Eisenstein a ainsi constitué, à travers ce projet transversal et intermédial du film, un dispositif sphérique d’écriture de la méthode et de l’histoire générale du cinéma, en réalisant ainsi un modèle du « livre sphérique »<br>This thesis studies the status of drawing in the work of Sergei M. Eisenstein, based on the study of the relationship between drawing and montage, between drawing and staging and the examination of the intermedial nature of Eisenstein’s work. In the system of this film director, the drawing is at the heart of his creative process and becomes an environment-medium in which transfers, passages, transportations of shapes, images and ideas are made possible. Eisenstein is interested in drawing, both as a process and as a universal visual method of creativity. An analogy exists between the overall structure of the film Ivan the Terrible and the essential axes of his theoretical reflection, in particular the principles of his creative method (pars pro toto, MLB, plasmaticity and montage). Subordinated to a rigorous spatial and temporal architectonics, the structure of the film is at the same time an open, living structure, in perpetual evolution, this as much at the stage of its conception as at the level of its perception and its post-analysis.The analyzes led in this thesis on the graphic production of Eisenstein, and from them on all his works and concepts, clearly demonstrate the correlation between the structure of the work of Eisenstein, and in particular that of the film Ivan the Terrible, and the foundation of his creative thought process, a process that reflects his own inner rhythm and the structure of his consciousness, both giving an impetus to his artistic expression. Drawing becomes for Eisenstein the medium of reflection on which he relies to develop the problematic of the medium, but also the one of history of cinema in its connection with the history of expressive mediums. The preparatory drawings constitute the visual medium of elaboration, verification and putting into practice of his theoretical concepts in a real situation of film creation.Eisenstein thus constituted, through this transversal and intermedial film project, a spherical system of writing of the method and the general history of the cinema, thus realizing the model of the "spherical book"
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Ruck, Erica. "Touches visuelles de la pensée." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080099.
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Dans notre travail de recherche nous voulons esquisser une élaborationconceptuelle de la pensée du philosophe-artiste selon Nietzsche, Artaud etEisenstein en tant que « pensée visuelle ». La pensée du philosophe artiste est trèsancienne, elle remonte à Platon, avant de recommencer avec Nietzsche et des’élaborer avec Artaud.En déclarant que la musique et la parole sont liées, Nietzsche appartienttoujours à la tradition platonicienne du philosophe-artiste. Selon lui, la penséeartistese modélise sur la musique parce que la musique est le seul art qui nouspermet d’accomplir des abstractions de la pensée. Artaud, en revanche, affirmeune conception anti-platonicienne de la pensée du philosophe-artiste en tant quepensée visuelle. Il opère ainsi le renversement de valeurs, recherché parNietzsche, mais non abouti en esthétique.Contre l'idée du théâtre comme représentation, Artaud a théorisé un théâtrede la cruauté qui nous permet de découvrir la vérité, de dépasser la réalité. Lelangage proposé par ce théâtre, fait de formes, de sons et de gestes, peut avoir lesmêmes effets intellectuels que le langage verbal. Nous sommes ainsi en présenced’une pensée propre, où la parole n'est pas supprimée, mais où sa fonction estmodifiée.Eisenstein, avec son montage des attractions, arrive à donner forme àl’image-idée. Le public soit au théâtre, soit au cinéma est choqué par une série desattractions qui l’amènent envers une pensée précise. Le cinéma intellectueldevient lieu de la pensée<br>The aim of our research is to outline a conceptual elaboration of thethought of the artist -philosopher according to Nietzsche, Artaud Eisenstein,conceived as visual thinking. The thinking of the artist philosopher is veryancient, dates back to Plato, before reappearing with Nietzsche and elaboratingwith Artaud.Declaring that music and word are related, Nietzsche still belongs to thePlatonic tradition of the artist -philosopher. According to him, artist thinkingshapes on music because music is the only art that allows us to accomplish andreach abstractions of thought.Artaud, on the other hand, states an anti-platonic conception of thethought of the artist - philosopher as visual thinking. This is the overthrow ofvalues, sought by Nietzsche, but not achieved in aesthetics. Against the idea of atheater as representation, Artaud has theorized a theater of cruelty that allows usto discover the truth, to go beyond reality. The language proposed by this theater,made up of forms, sounds, gestures, may have the same intellectual effects asverbal language. We are so in the presence of a proper thought, where the word isnot suppressed, but where its function is modified.Eisenstein, thanks to its attractions editing, is able to shape the idea-image.The audience is shaken by several attractions that lead to a clear thought.Intellectual cinema becomes the place of thought
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Pessoa, Peterson Soares. "Stachka: um ensaio sobre os antagonismos." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-30112010-150826/.
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O presente trabalho analisa a maneira como a noção de encomenda social se apresenta na obra do cineasta soviético Sergei M. Eisenstein (1898-1948), em seu primeiro filme A Greve (Stachka, URSS, 1925) , no âmbito de sua relação com o Construtivismo Russo (vanguarda artística soviética, que perdurou nos primeiros anos da década de 1920) e o movimento da Cultura Proletária (Proletkult) A análise parte da perspectiva proposta pelo historiador François Albera, em Eisenstein et Le Constructivisme Russe (1989), que considera, como fundamento da atividade artística construtivista, sua preocupação com a dimensão social da pratica artística. Para Albera, a noção de encomenda social, na acepção do escritor e dramaturgo Sergei Tretiakov (1892-1937), é um conceito chave para se entender como os artistas construtivistas compreendiam sua missão social. A pesquisa realizada demonstrou que a teoria da \"montagem de atrações\" de Eisenstein se constituiu num modo de construção artística, nos âmbitos do teatro e do cinema, que tinha como diretriz o trabalho com as emoções do espectador. Tal forma de práxis artística, articulada ao conceito de \"encomenda social\", ligava-se à nova escala da luta de classes, na chave posta pela implementação da Nova Política Econômica (NEP).<br>The present work analyzes how the concept of social command is presented in the work of Soviet filmmaker Sergei M. Eisenstein (1898-1946) in his first film Strike (Stachka, USSR, 1925) - within the sphere of his relationship with Russian Constructivism (Soviet artistic avant-garde, which lasted in the early years of the 1920s) and the Proletarian Culture (Proletkult) movement. The analysis starts with the approach proposed by the historian François Albera, who considers the social dimension of artistic practice as the foundation for constructivist artistic activity. For Albera, the notion of \"social command\" as defined by the writer and dramatist Sergei Tret\'iakov (1892-1937), is a key concept for understanding how constructivist artists understand their social mission. The research presented demonstrates that the theory of \"montage of attractions\", developed by Eisenstein, constitutes a mode of artistic construction which shapes the emotions of the spectator in both theater as well as cinema. This form of artistic practice, articulated by the concept of \"social command\", is linked to a new level of class struggle as produced by the implementation of the New Economic Policy (NEP).
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Shaheen, Anthony M. "Finite planes and finite upper half planes : their geometry, a trace formula, modular forms, and Eisenstein series /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3167829.
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Wang, Weijia. "Intégrales régularisées et fonctions L de formes modulaires via la méthode de Rogers-Zudilin." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSEN037.
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Les symboles d'Eisenstein, construits par Beilinson dans les années 1980, sont des élémentsspéciaux dans la cohomologie motivique des courbes modulaires. Beilinson a montré que leursintégrales sont des valeurs spéciales de fonctions L de formes modulaires de poids 2.Une partie de cette thèse concerne les intégrales régularisées des éléments de Beilinson. En utilisant une nouvelle méthode de Rogers et Zudilin, nous montrons que ces intégrales sont des valeurs de fonctions L de formes modulaires aux entiers négatifs, généralisant ainsi des travaux récents de Zudilin et Brunault. Notre formule est en accord avec les conjectures générales de Beilinson.Pour ce faire, nous étudions systématiquement la transformée de Mellin généralisée. Par ailleurs, nous l'étendons à certaines fonctions à croissance exponentielle. Nous utilisons également les symboles modulaires étendus de Stevens pour formuler nos résultats. La méthode de Rogers et Zudilin est également un outil puissant pour évaluer les fonctions L doubles. Inspirés par un exemple de Shinder et Vlasenko, nous montrons plus généralement que denombreuses valeurs de fonctions L doubles de séries d’Eisenstein peuvent s'exprimer en termes de fonctions L de formes modulaires. Tornheim et Mordell ont défini certaines séries zêta doubles. En collaboration avec Zhang, nousdéfinissons et étudions les séries d’Eisenstein de type Mordell-Tornheim. En utilisant la théorie desséries de Cohen, nous donnons des formules explicites pour ces séries<br>Eisenstein's symbols, defined by Beilinson in the 1980s, are special elements in the motivic cohomology of modular curves. Beilinson has shown that their integrals are special values of L functions of modular forms of weight 2.Part of this thesis concerns the regularized integrals of Beilinson elements. Using a new method of Rogers and Zudilin, we show that these integrals gives us L values of modular forms at negative integers. This generalize the recent work by Zudilin and Brunault. Our formula is in accordance with Beilinson's conjectures.In this computation, we systematically study the generalized Mellin transform. In addition, we extend it to certain functions with exponential growth. We also use the extended modular symbols by Stevens to formulate our results. The Rogers and Zudilin method is also a powerful tool for evaluating double L functions. Inspired by an example from Shinder and Vlasenko, we show more generally that many values of double L functions of Eisenstein series can be expressed in terms of L functions of modular forms. Tornheim and Mordell have defined certain double zeta series. In collaboration with Zhang, we define and study the Mordell-Tornheim Eisenstein series. Using Cohen's series, we give explicit formulas for these series
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Renault, Jean-Baptiste. "Théorie et esthétiques de la métaphore : la métaphore et son soupçon, entre correspondances et dissemblances, métaphores linguistiques et iconiques." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2013. http://tel.archives-ouvertes.fr/tel-00916648.
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Il faut reprendre à nouveaux frais la question de la métaphore, (re)définir les contours de la figure d'analogie, pour la sortir de la confusion où l'ont jetée la coupure instituée avec la comparaison et, plus largement, sa théorisation comme substitution d'un mot à un autre, mais aussi pour mettre à l'épreuve la notion de métaphore au cinéma. Il s'agit donc de questionner l'unité du " processus métaphorique ", de trouver le bon niveau permettant de rendre compte de ses pouvoirs, de sa dynamique, et pour cela de refuser l'approche mutilante, sans cesse renaissante, de la rhétorique traditionnelle aussi bien que celles qui diluent sa richesse dans les mécanismes de l'inconscient ou les processus interprétatifs des seuls lecteurs ou spectateurs. La métaphore fait alors apparaître des traits qui indiquent à quel point il est légitime de discerner des formes iconiques à côté des formes linguistiques : elle peut notamment être comprise comme un montage d'expériences, de situations éprouvées, au moins fictivement. Pour arriver à cette conception de la métaphore comme dialogue entre séries d'objets de pensée, comme prédication paradoxale, il paraît nécessaire de renverser l'approche traditionnelle qui consiste à faire de la métaphore conventionnelle le modèle de la théorie, et de la métaphore vive un cas particulier, mais aussi d'interroger les liens entre métaphore, symbole et concept et de souligner comment, depuis Aristote, le modèle proportionnel, authentiquement analogique, est systématiquement écrasé par le modèle sémiotique. Ainsi rénovée, cette conception de la métaphore apparaît fructueuse pour l'analyse des œuvres, comme La Ligne Générale d'Eisenstein.