Dissertations / Theses on the topic 'Femmes fatales in art'
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Rummel, Andrea. ""Delusive beauty" femmes fatales in english romanticism." Göttingen V & R Unipress, 2007. http://d-nb.info/990829685/04.
Full textNielsen, Bianca. "Werewolves, mothers and femmes fatales: Girl power movies." Thesis, University of Canterbury. American Studies, 2004. http://hdl.handle.net/10092/4792.
Full textBrinker, Gretchen. "The Alluring and Manipulative "Spider Women" of the Silver Screen: Femmes Fatales of the Hard-Boiled Fiction, Classic Noir and Contemporary Noir Periods." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/887.
Full textLeroux, Corinne. "Images de la femme infernale dans la littérature romantique de Balzac à Flaubert." Paris 3, 1990. http://www.theses.fr/1990PA030086.
Full textA psycho-analytic approach to the portraits of fiendish women as they appear in the following literary works by balzac (la rabouilleuse 1842 and la cousine bette 1846), gautier (les contes and les recits fantastiques from la cafetiere 1831 to spirite 1866), baudelaire (les fleurs du mal 1857) and flaubert (salammbo 1862 and herodias 1877). Haunted for various reasons by their maternal fixation, these writers do find in their works a phantasmatic fulfilling of their desires : they enjoy the delights of a pre-oedipian heaven in a fabulous orient. Obsessed by incest they credit their heroines with maternal idiosyncracies. But, as figures of substitution, these mistresses are adorned too with the dissuasive emblems of the forbidden mother. Covered with phallic symbols these demoniac mistresses distill a dangerous seductive charm. Their lovers think they are entitled to defend themselves and start persecuting the woman they love without knowing that their oedipus complex brings to life again their sadistic tendencies which were originally aimed at their mothers' bodies at the earley stages of tehri libidinal growing. Yet aesthetical theories enable us to go beyond mere oedipian ethics and to rehabilitate these devilish womenn in so far as sufferings fecundate genius and these satanic
Lam, Karen Kar Wai. "Images of women in Ming (1368-1644) fiction, The femmes fatales in Sanyan Erpai." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/MQ46984.pdf.
Full textHofmann, Ingrid. "Deadly seductions : femme fatales in 90's film noir." Title page, table of contents and abstract only, 1998. http://web4.library.adelaide.edu.au/theses/09ARM/09armh713.pdf.
Full textWong, Wai-yee. "Returning the gaze the femme fatale in the film noir of the 90s /." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B31952884.
Full textLacroix, Green Pascale. "L'image de la femme fatale dans le double miroir de la littérature et de la peinture fin-de-siècle." Paris 4, 1997. http://www.theses.fr/1996PA040090.
Full textThe topic of this research is the myth of the "femme fatale" as influenced by the spirit of decadence in Belgian, English and French literature and painting at the end of the 19th century. Several types of representation, or iconographs, of the femme fatale are considered - the idol ; "la satane" ; vivien ; the sphinx ; Messalina ; "la gynandre" ; and the prostitute. The research analyses their evolution across various phenomena evident during the "fin de siècle", namely : stylistic amalgam, parody, narrative inversion, banalization and caricature. It highlights the importance of the phenomenon of exchanges between painting and literature, and the influence of one upon the other, in the portrayal of the myth. The choice and description of each type reveals how inspiration is drawn from a variety of sources - the supernatural, mythology, roman decadence, symbolism, naturalism, esotericism and feminism - and how, progressively, these representations reveal the decomposition of the image of the "femme fatale"
O'Neil, Megan. "Indigenista Heroes and Femmes Fatales: Myth-Making in Latin American Literature and Film." UKnowledge, 2016. http://uknowledge.uky.edu/hisp_etds/29.
Full textBurzlaff, Mary Caroline. "Chaste sexual warrior, civic heroine, and femme fatale three views of Judith in Italian renaissance and baroque art /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1147989193.
Full textTitle from electronic thesis title page (viewed July 24, 2006). Includes abstract. Keywords: Judith; Holofernes; Italian; Renaissance; Baroque; Michelangelo; Donatello; Botticelli; Giovanni della Robbia; Giorgione; Palma Vecchio; Artemisia Gentileschi; Allori; Apocrypha. Includes bibliographical references.
BURZLAFF, MARY CAROLINE. "CHASTE SEXUAL WARRIOR, CIVIC HEROINE, AND FEMME FATALE: THREE VIEWS OF JUDITH IN ITALIAN RENAISSANCE AND BAROQUE ART." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147989193.
Full textWong, Wai-yee, and 黃慧儀. "Returning the gaze: the femme fatale in the film noir of the 90s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952884.
Full textBagnole, Rihab Kassatly. "Imaging the Almeh: Transformation and Multiculturalization of the Eastern Dancer in Painting, Theatre, and Film, 1850-1950." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1132433330.
Full textBleyerveld, Yvonne. "Hoe bedriechlijk dat die vrouwen zijn : vrouwenlisten in de beeldende kunst in de Nederlanden circa 1350-1650 /." Leiden : Primavera pers, 2000. http://catalogue.bnf.fr/ark:/12148/cb39186558k.
Full textAndrin, Muriel. "La fascination de la corruption: étude de l'héroïne maléfique dans le mélodrame filmique américain (1940-1953)." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211697.
Full textNahum-Adamsbaum, Edith. "L'art brut et les femmes." Paris 1, 1999. http://www.theses.fr/1999PA010624.
Full textFdida, Jean-Jacques. "La femme dans l'initiation des garçons, à travers La Fille du Diable (T. 313) et d'autres contes de la tradition orale française." Paris 7, 1994. http://www.theses.fr/1994PA070091.
Full textThis study refers to the question which is undoubtedly the driving force of boys from birth until death, and in particular the hero on the initiatory road of the wonderful tale : how does one become a man ? the position of woman appears fundamental in this apprenticeship, an goes well beyond the notion of role (the mother or the spouse's for instance), as the hero's perception of the world is largely influenced by her. The content of the wonderful tales handed down from the french oral tradition is based on type 313, the devil's daughter (t. 313), which forms the central axis of this research. Various lientious tales are equally used to counterpoint this index. Analysis privileges three apprenticeship vectors : food, ornaments and the relation to space (gestures and movement). This is a multidisciplinary approach : ethnology, the story, psychoanalysis and language are the main tools - ethnology however being the most harmonious way of highlighting the spoken word
Ruane, Richard T. "Performing "Camp, Vamp & Femme Fatale": Revisiting, Reinventing & Retelling the Lives of Post-Death, Retro-Gothic Women." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2239/.
Full textBjörk, Chanda. "Folksagans prinsessa - en god förebild än idag : ”Prins Hatt under jorden” genom illustrationer av Elsa Beskow." Thesis, Södertörn University College, The School of Culture and Communication, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-436.
Full textThe text discusses the folk-tale princess as a good role model for both children and adults, from a feminist debate concerning this issue. Also an iconographic study, it compares women in folk-tale illustrations with women represented in fin-de-Siècle art concentrating on the Great mother goddess and the femme fatale, finding similarities between folk-tale illustrations and other art. Besides that, the text look at the interest for Swedish folk-tales in the 1890´s, the connection between women as illustrators of children’s books and ideas about nature and womanhood that might have had influence on the Swedish artist Elsa Beskow at the time.
Herrmann, Cornelia. "Der Gerittene Aristoteles : das Bildmotiv des Gerittene n Aristoteles und seine Bedeutung für die Aufrechterhaltung der gesellschaftlichen Ordnung vom Beginn des 13. Jhs. bis um 1500 /." Pfaffenweiler : Centaurus-Verl.-Ges, 1991. http://catalogue.bnf.fr/ark:/12148/cb35573238b.
Full textQuinby, Diana. "Le collectif Femmes/Art à Paris dans les années 1970 : une contribution à l'étude du mouvement des femmes dans l'art." Paris 1, 2003. http://www.theses.fr/2003PA010600.
Full textChevillot, Anaïs. "Genre et création : construction d'identités genrées chez les femmes artistes." Thesis, Université Grenoble Alpes (ComUE), 2017. http://www.theses.fr/2017GREAH001/document.
Full textThis work is about the construction of identity for the women who work around an artistic activity. The will to do this study came from the statement that women are more represented than men in the artistic training. However the few that came “in the limelight”, are recognized as great artists, exhibited in museum and celebrated as mentors, are really rare.I based my work on the notion of intersectionality to enrich my analysis of the notion of identity. I was interested in the concept of male domination in order to see how the power relationship is built within art worlds. I have analyzed how the artist's role is socially constructed in order to understand the ways in which female artists build their professional identityThis research is about the path of women artists perceived by three different points of view. In the life story of my interviewees, I spotlighted the label from a female differential socialisation, the disruption of the gender identity and, finally, the average of gender stereotypes in the way that women artists saw their identity. I specified the elements of the primary socialisation that has allowed them to move towards an artistic career since their childhood.In a second time I analysed how, in their secondary socialisation, women built and developed an artistic career, whose role model gave inclination to create, whose training shaped professional aspiration and whose network was implemented in the field of creation. Viewing their academic career and the beginning of their work, I detailed the way of learning a profession and codes and standards that regulate them.Finally in a third time I studied how women artists may feel perceived today, how they find their place into art worlds and what roles are approved for them. In a working world still primarily masculine I examined how women are affected by the question of family, couple and maternity, how they manage the pre-existing patterns and how they navigate into professional networks, which often means masculine self-segregation.This research brings a vision of identity building for women artists today. It allows us to envisage how the survey participants find their place into a particular professional position, because of the small number of women in this work and because of the role that this activity plays in social relationships. This research is finally a way to assess, generally speaking, the manner that gender, class and professional identity can be combined
Bouvard, Émilie. "Violence de l'art des femmes, 1958-1978 : surréalisme, psychanalyse et féminisme." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H039.
Full textOur research deals with a group of works produced by women artists between 1960 and the first half of the 1970s. These pieces constitute the impressive apparition of women in art, though they are still largely marginalized. The first part of our study shows that, whereas the 1950s were a time for abstract practices still relatively open to women, in the 1960s their position as artists become more difficult and they Jack more visibility in the context of the succession of new "avant-garde" movements and the expansion of the market. The second part deals with the issue of "affect" et of the use they make of it, and of psychoanalysis, in a challenging spirit with surrealism. The third part focused on anarchy, anti-psychiatry, the figure do the "fool" and Antonin Artaud in the context of happenings and body art. The last part enounces a paradox: feminist art is non-violent; the most aggressive practices are by isolated women or transfered I para-artistic actions. Showing the persistence of "warm" trends within "cool" "avant-garde" movements, this study advocates for a move in the characterization of the great art movements of the 1960s and the 1970s. Artistes: Louise Bourgeois, Niki de Saint-Phalle, Nancy Spero, Eva Hesse, Yayoi Kusama, Alina Szapocznikow, Annette Messager, VALIE EXPORT, Marina Abramovic, Gina Pane, ORLAN, Ana Mendieta, …
Marquié, Hélène. "Métaphores surréalistes dans des imaginaires féminins : quêtes, seuils et suspensions : souffles du surréel au travers d'espaces picturaux et chorégraphiques : parcours dans les oeuvres de Leonora Carrington, Leonor Fini, Dorothea Tanning, Martha Graham, Doris Humphrey et Carolyn Carlson." Paris 8, 2000. http://www.theses.fr/2000PA081713.
Full textZimmermann, Antje. "Studien zum Figurenbild bei Corot /." Köln : W. Kleikamp, 1986. http://catalogue.bnf.fr/ark:/12148/cb34925997s.
Full textProvansal, Mathilde. "Artistes mais femmes : formation, carrière et réputation dans l'art contemporain." Electronic Thesis or Diss., Paris 1, 2019. http://www.theses.fr/2019PA01E051.
Full textWomen artists are underrepresented at the highest levels of artistic, symbolic and economic reputation, although they make up the majority of art school students as well as artists. Drawing on sociology of work, gender, art and education, this PhD dissertation explains this paradox. It analyses the making of gender inequalities within a very prestigious French art school and how these affect the entrance into an artistic career, survival in the profession and access to reputation of its graduates in contemporary art. The joint analysis of quantitative data from an artist ranking (ArtFacts), biographical interviews and ethnographic observations sheds light on the gendered construction of artistic careers. Whether it is during the recruitment by the art school, the selection in a studio, student jobs, the invitation to exhibit one’s work or being represented by a gallery, women’s gradual disappearance plays out in co-optation processes. At different stages in the career, the stigma of motherhood restricts their employability and their heterosexualization limits opportunities for self-promotion. Access to the conventions of the contemporary art world and integration into professional networks, particularly in the art market, are sexually differentiated. Nevertheless, different social, economic, educational or institutional resources allow some women to bypass the constraints weighing on women’s artistic careers, and to gain reputation
Meckel, Anne. "Animation-Agitation : Frauendarstellungen auf der "Grossen deutschen Kunstausstellung" in München 1937-1944 /." Weinheim : Deutscher Studien Verl, 1993. http://catalogue.bnf.fr/ark:/12148/cb37509644n.
Full textDeloustal, Laetitia. "Le nouveau paradigme de l'art à l'épreuve de la création contemporaine féminine en Tunisie." Thesis, Perpignan, 2014. http://www.theses.fr/2014PERP1199.
Full textIn post-revolutionary Tunisia, artistic creation is buzzing. The country, subject to political pressure is in the midst of a democratic transition. Led in the field for two years, research has progressed in this context.Interest in contemporary women's creative work is the subject of a Mediterranean-scale study project started in previous university works. Choosing Tunisia for the study was naturally evident. Tunisian women have been enjoying an unrivalled position in Maghreb since 1956 and have been increasingly more present on the artistic stage through history (photographers, video makers, painters...). They are shaping the creative landscape, while bearing witness to their lives and historical changes. The multicultural heritage is complex and sometimes contradictory.So how to grasp women's art in Tunisia?This thesis is incorporated into the framework of an explorative approach. Observing generations of artists and their creations over history, linking similar themes, bringing together the same mediums, comparing their approaches, profiles and preoccupations, that is the way this study was carried out.The sources, mainly people, are used according to very precise lines of research, and sometimes refer to subjects that are surrounding art history such as sociology or anthropology. These questionings, comparisons and observations examine the consistencies in women's creative work in Tunisia, despite different personalities, practices and approaches. The question of a new conception of art, very far from classical and modern concepts, also comes up
Gauthier, Julie. "Esthétique du féminin et art féministe : la question du genre dans l'art contemporain (en Europe et aux Etats-Unis, de 1960 à nos jours)." Paris 1, 2003. http://www.theses.fr/2003PA010612.
Full textBsaibes, Darine. "Artistes et Artisanes : Points de vue croisés entre art féministe et arts populaires du Proche-Orient." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080058.
Full textThe history of art reflects the dynamic forces at play between cultures and civilizations. Embroidery and weaving in the Near East are artistic skills passed down from and learned by generations of women. Today, in their countless numbers, these women are part of a community whose values are increasingly relevant to modern society: human relations, quality of expertise, bespoke products and sustainability. When looking at Near Eastern folk art and at the same time considering feminist art consciousness, a wide range of links between feminism and post-colonialism emerge. The feminist history of art and thoughts surrounding non-Western artistic productions, coupled with the Visual Culture Studies which places a great emphasis on the social history of art, compels us to examine the schism that has separated these two important categories. As a result, we are better able to conceptualize the functional inversion between art as a "production" and Fine Art. The complexity of this debate stems from problems specific to local pre-Islamic arts and the cultural hegemony that dominates non-Western societies. Societies of which the intellectuals and artists themselves stick to the « dominant way », where contemporary artworks locally-created remain inaccessible to the average lay person. The peculiarity of Near East folk art lies in the fact that it endorses different concomitant statutes: handmade production, utilitarian objects, objects requesting aesthetic perception, sustainability and objects of cultural heritage. The very act of borrowing elements from the past means that popular arts are no longer treated as wrong and reactionary, but rather as a way to escape from the authorship and intellectual property that permeate the avant-garde
Saint-Gelais, Thérèse. "Autoportraits de Sofonisba Anguissola, Angelica Kauffmann et Eleanor Antin et leur inscription dans l'histoire de l'art." Paris 10, 1987. http://www.theses.fr/1987PA100194.
Full textStarting from the fact that the self-portrait is a genre that is privileged by women artists, and particularly by Sofonisba Anguissola, Angelica Kauffmann, and Eleanor Antin, we will try to see if, because it is difficult for women to find a place in history, the self-portrait figures as a singular representative of women artists contribution in history. We will present and take position relatively to the writing of women art history up to the present; we will indicate the traps that such an history contains, and try to see why it is specially interested in considering a given type of productions. Each time in history has its particularities, each artist, each work also; thus we will try to situate the artist and her work in her context, while being aware that our actual outlook has the disadvantage of always making itself felt, but the advantage also of a gain in perspective relatively to the artist and works. Our prime interest will be in the representation of the artist in her work, the manner in which she figures in it, her features, her settings. Our method will be to read the works, i. E. , the self-portraits in order to grasp, to understand and to express particular contributions from this should emerge singular particularities and ways in which one takes (or doesn’t take) a place in History
Ketter, Helena. "Zum Bild der Frau in der Malerei des Nationalsozialismus : Eine Analyse von Kunstzeitschriften aus der Zeit des Nationalsozialismus /." Münster : Lit, 2002. http://catalogue.bnf.fr/ark:/12148/cb389555479.
Full textMilland-Bove, Bénédicte. "La demoiselle arthurienne : écriture du personnage et art du récit dans les romans en prose du XIIIe siècle /." Paris : H. Champion, 2006. http://catalogue.bnf.fr/ark:/12148/cb40232266d.
Full textBibliogr. p. 627-662. Index.
Cho, Soo-Jeong. "Les saintes femmes dans les églises byzantines de Cappadoce." Paris 1, 2003. http://www.theses.fr/2003PA010554.
Full textPellini, Catherine. "La création artistique au service de l’affirmation identitaire, du mana wahine et des revendications politiques : l’art contemporain des femmes maori de Nouvelle-Zélande." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0370/document.
Full textAt the intersection of several disciplines – anthropology, sociology, art history, and feminist and gender studies, this thesis deals with the works, practices, careers and discourses of New Zealand Maori women artists active in the field of contemporary art and living in an urban environment. Due to their many forms of belonging, these artists are behind specific political demands and identity affirmations: their work contains simultaneous references to the individual histories, their status as members of an indigenous minority and a tribe, and their condition as women and citizens of the New Zealand nation. The analysis of the data obtained after a fieldwork investigation in New Zealand carried out over a year from 2012 to 2013, of complementary research on the Internet and exchanges with artists when back from the field makes it possible to show how these artists are part of today's Maori assertion movement. For since British colonization in the 19th century, the Maori have continued to assert their rights. In this context, some women use art as a powerful means of protest and of promoting social change aimed at the recognition of mana wahine (women's power or prestige). This work also reveals that their artistic practice affords them the opportunity to reassert the ties linking them to the Maori world while at the same time enabling them to attain a certain empowerment and emancipation. They develop original strategies for asserting their creativity without transgressing the rules which remain important for the Maori people
Zhang, Naiyong. "Les femmes artistes d'origine miao, mongole et ouïgoure dans le champ artistique chinois 1950-2010." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA042.
Full textThis thesis is devoted to studying the evolution of the place of female artists with Miao, Mongolian and Uygur origins in the Chinese artistic field 1950-2010. The central theme is to demonstrate how social changes have changed the place of women, and more specifically, how the place of women has been redefined in an identity discourse. If in the years 1960-1980, the art works dealing with the collectivist ideology and the representation of the ‘iron woman’ occupied a primordial place, in the years 1981-2000, the female artists describe the real situation of the women and put the focus on the question of the identity of modern women and the relations between women and men. They seek to master the different forms of ethnic artistic expression. Since 2001, in order to preserve ethnic cultures facing the globalization, the female artists are trying to interpret the depth of ethnic culture in their art works. It is towards traditions, such as historical memory, mythologies, songs and dances, that the female artists with ethnic minority origins are looking for their cultural roots. This research is based at the same time on the analysis of the socio-cultural situation of female artists with minority origins, the analysis of the construction of the feminine identity and the analysis of the particularities of the expression of female artists because of their ethnicity
Pellini, Catherine. "La création artistique au service de l’affirmation identitaire, du mana wahine et des revendications politiques : l’art contemporain des femmes maori de Nouvelle-Zélande." Electronic Thesis or Diss., Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0370.
Full textAt the intersection of several disciplines – anthropology, sociology, art history, and feminist and gender studies, this thesis deals with the works, practices, careers and discourses of New Zealand Maori women artists active in the field of contemporary art and living in an urban environment. Due to their many forms of belonging, these artists are behind specific political demands and identity affirmations: their work contains simultaneous references to the individual histories, their status as members of an indigenous minority and a tribe, and their condition as women and citizens of the New Zealand nation. The analysis of the data obtained after a fieldwork investigation in New Zealand carried out over a year from 2012 to 2013, of complementary research on the Internet and exchanges with artists when back from the field makes it possible to show how these artists are part of today's Maori assertion movement. For since British colonization in the 19th century, the Maori have continued to assert their rights. In this context, some women use art as a powerful means of protest and of promoting social change aimed at the recognition of mana wahine (women's power or prestige). This work also reveals that their artistic practice affords them the opportunity to reassert the ties linking them to the Maori world while at the same time enabling them to attain a certain empowerment and emancipation. They develop original strategies for asserting their creativity without transgressing the rules which remain important for the Maori people
Zemanová, Etavard Marcela. "Le tabou féminin dans l'art contemporain : contexte social et artistique de la féminité dans l'oeuvre des femmes artistes contemporaines." Paris 1, 2012. http://www.theses.fr/2012PA010595.
Full textBsaibes, Darine. "Artistes et Artisanes : Points de vue croisés entre art féministe et arts populaires du Proche-Orient." Electronic Thesis or Diss., Paris 8, 2014. http://www.theses.fr/2014PA080058.
Full textThe history of art reflects the dynamic forces at play between cultures and civilizations. Embroidery and weaving in the Near East are artistic skills passed down from and learned by generations of women. Today, in their countless numbers, these women are part of a community whose values are increasingly relevant to modern society: human relations, quality of expertise, bespoke products and sustainability. When looking at Near Eastern folk art and at the same time considering feminist art consciousness, a wide range of links between feminism and post-colonialism emerge. The feminist history of art and thoughts surrounding non-Western artistic productions, coupled with the Visual Culture Studies which places a great emphasis on the social history of art, compels us to examine the schism that has separated these two important categories. As a result, we are better able to conceptualize the functional inversion between art as a "production" and Fine Art. The complexity of this debate stems from problems specific to local pre-Islamic arts and the cultural hegemony that dominates non-Western societies. Societies of which the intellectuals and artists themselves stick to the « dominant way », where contemporary artworks locally-created remain inaccessible to the average lay person. The peculiarity of Near East folk art lies in the fact that it endorses different concomitant statutes: handmade production, utilitarian objects, objects requesting aesthetic perception, sustainability and objects of cultural heritage. The very act of borrowing elements from the past means that popular arts are no longer treated as wrong and reactionary, but rather as a way to escape from the authorship and intellectual property that permeate the avant-garde
Nolan, Petra Désirée. "The cinematic flâneur manifestations of modernity in the male protagonist of 1940s film noir /." Connect to this title online, 2004. http://eprints.unimelb.edu.au/archive/00000122/.
Full textPellini, Catherine. "La création artistique au service de l’affirmation identitaire, du mana wahine et des revendications politiques : l’art contemporain des femmes māori de Nouvelle-Zélande." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37185.
Full textChalikia, Martha. "Corps, art et société : l'identité féminine dans l'art contemporain russe avant et après la chute du mur de Berlin et ses répercussions dans les autres pays orthodoxes de l'Europe de l'Est." Paris 1, 2004. http://www.theses.fr/2004PA010704.
Full textRichard-Jamet, Céline Catherine Jeanne. "Les galeries de "femmes fortes" dans les arts en Europe au XVIe et au XVIIe siécles : une étude iconographique comparative." Bordeaux 3, 2003. http://www.theses.fr/2003BOR30061.
Full textOriginating from the Nine Worthies theme, from them they sometimes adopt the distribution, the Strong Women series blossom as early as the 15th century in Italy, then spread to France and the rest of Europe in 16th and 17th century. These series or galleries, constituted by heroines embodying precise virtues, are inspired by feminine qualities as praised by Salomon in "La femme de Caractère", extracted from his book "Proverbes". They are created only after the "hommes illustres" series, as counterparts, and later acquire their own autonomy. These cycles cover diverse functions depending on the country, the time period : in Italy, the first series serve the function of memory, they are commemorative, then they become edifying, through the cassoni who educate young wives ; in France, they allow to legitimate a regent accession to the throne and to support her power, process who was copied by the Dutch, the Florentine and Viennese court. Spain focuses on women from the Bible and fills its churches of cycles sculpted or painted on mirrors, destined to edifying the faithful ; the Belgium series educate the monks ; the Dutch engraved cycles praise women at home, whereas England seems to be apart. Queens, women from the Bible and amazons appear recurrently in series, to the detriment of vestals and saints. The most irreproachable heroines are disgracied, the most barbaric acts are justified
Soustre, de Condat Bérangère. "Entre memoria et conscience aristocratique : femmes, art et religion dans le Royaume de Sicile (XIe-1ère moitié XIIIe siècle)." Université catholique de Louvain, 2009. http://edoc.bib.ucl.ac.be:81/ETD-db/collection/available/BelnUcetd-03152009-123913/.
Full textBaiti, Mona al. "L'altérité intime et l'installation nomade dans l'art contemporain." Paris 1, 2011. http://www.theses.fr/2011PA010670.
Full textPicard, Marie. "Entre corps plastique et violence de l'esthétique : la féminité artistique des années 1970 à nos jours." Paris 8, 2010. http://www.theses.fr/2010PA083204.
Full textAll along the visual representation, the female body became an experimental area where the subject's integrity was greatly overlooked. During the seventies, feminism goes with the upsurge in the aesthetic field of an excessive female which multiplies mediums, shows the dirty and reverts the suffering violence. As if to contradict her bad image, the only possibility was to return her creative movement against her own body. Is it to find in the primary shape of violence the founder act of her artist's status, where the gesture's insolence is the insurmontable part of creation ? Through plastic’s body and aesthetic’s violence, the work is focussed around questioning of this "woman evolution" in the contemporary art, on the intimate woman body which expresses the power of subjectivity where transgression is necessary for the workmanship of an "identity body"
Beaumann, Guy. "Paul Belvaux ou l'incompatibilité des sexes : (lecture d'un art)." Besançon, 1993. http://www.theses.fr/1993BESA1008.
Full textFoucher, Charlotte. "Un symbolisme enfoui : les femmes artistes dans les milieux symbolistes en France au passage du siècle (XIXe-XXe)." Paris 1, 2012. http://www.theses.fr/2012PA010707.
Full textBertrand, Sophie. ""De fil en aiguille", les femmes sculpteurs à l'œuvre depuis 1950 : confrontations, explorations et quêtes, un dévoilement d'identités." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20074.
Full textThis research addresses the ways in which female artists have been working in the field of sculpture since 1950. Irrespective of the medium of expression they have chosen to explore, and of the works they have given rise to, the aim here is to understand the meeting between a work of art conceived by a female sculptor and the way in which it is viewed externally. This meeting marks the confrontation of two worlds: that of the observer − subject to his or her own perceptions and offering an often slanted interpretation and reading of the work − and that of the sculptress whose constructed work is subjected to judgement. The differences, and even misunderstandings, caused by these perspectives on sculptural works by women viewed externally lead to a deeper questioning of the artistic, material and intellectual routes followed by creative females in the area of sculpture. What are the material and symbolic elements that guide their searches in this art form? What are their sources of inspiration? What are they seeking to express via their artistic alternatives? Answering these questions may be difficult, but it can lead to the core of creation and, notably, to a perception of its processes. Although female sculptors have followed numerous paths, it nonetheless appears certain that some of them have striven to develop, over and above a physical mode of expression, a language that will reveal the truths within them. The expression of this language, of which they know the mysteries, is based on giving form to textile materials, using two principles of construction: needle and thread. Beyond a purely material approach, female sculptors come into contact with an imaginary territory of mythical tales that surround weaving, and the characters that people those tales such as Arachne, Penelope, Clotho or Atropos. In these inter-linked dimensions, where the intensity of working creatively with textiles melds with the contact with a world of symbols, weaving, creative women are continuing to trace out one of the significant paths they have been following in sculpture since 1950
Vernet, Anne-Laure. "Des femmes à l'oeuvre : mise en regard des conditions sociales d'accès des femmes à la création et à la reconnaissance artistique, et des biographies et oeuvres de Diane Arbus, Frida Kahlo, et Niki de Saint Phalle." Paris 8, 2005. http://www.theses.fr/2005PA082511.
Full textWestern culture, in which creative women evolve, imposes restraints regarding their bodies, their mobility, as well as their access to knowledge and freedom of thought. Thus they are kept in a subordination suitable to an assigned sexual role geared to childbearing and rearing. These limitations touch creative women in various ways : in their biographies, as stumbling blocks to their development ; in the art world, as a social sphere reasserting the sexual hierarchy ; in messages reflected in the arts, powerful conveyors of the social order's symbolic foundations. The social order thus reproduced in and by the art world is here seen brought to confrontation with the lives and works of three twentieth century Western artists, Niki de Saint Phalle, Frida Kahlo and Diane Arbus, who testify to the transgression of the system that women must undertake in order to exist in the world of artistic creation