Dissertations / Theses on the topic 'History - Abstract'
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Engström, Alexander. "Inger Ekdahl : Swedish Abstract Expressionism." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182385.
Full textMeyertholen, Andrea Noel. "Blurring the lines| The invention of abstract in German literature since 1800." Thesis, Indiana University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3620621.
Full textIn December 1911, the public exhibition of Kandinsky's Komposition V shattered the world of Western illusionism as audiences knew and understood it - or so the traditional tale goes. Yet the relative abruptness with which abstraction supposedly shocks the art world not only presents a misleading impression; it in effect creates a great riddle. If the Western art world spent centuries organized under a unifying goal of perfecting imitation, why would it now so suddenly turn its back on its institutional underpinnings by challenging, negating, or exploding the principles it had worked so hard to develop? This project responds by rejecting the presuppositions of the riddle and arguing against the traditional narrative, claiming instead that the invention of abstract art in the 1910s was neither abrupt nor unprecedented, but was already being described, theorized, or created in the 19th century, only in literature rather than painting. Through close reading and literary analysis, I present three moments in the German literary canon in which abstract art is imagined or becomes theoretically possible: Heinrich von Kleist's Empfindungen vor Friedrichs Seelandschaft (1810), Johann Wolfgang von Goethe's poem "Howards Ehrengedächtnis" (1821), and Gottfried Keller's Der grüne Heinrich (1855, 1879). Composing these moments are three different authors who write at three different decades, speak through three different genres, and conceive three different modes of abstraction, none of which contemporaneously achieved painted form. Connecting these moments is the following argument: each constitutes an example of the invention of abstract art in a 19th-century literary text prior to the visual actualization of abstract art in the early 20th century. With such images in circulation well before 1911, this study features the crucial role of literature in foregrounding the cultural developments essential for abstract artworks to "speak for themselves" in the medium of painting by establishing certain preconditions involving need, spectatorship, and the self-awareness of the artist. Thus by conceptualizing abstract images in their writing, these three 19th-century German authors also produce necessary components of the theoretical grounding required for the 20th-century birth of abstract art.
Draguet, Michel. "Genèse et naissance de l'abstraction de Kandinsky à Malevitch: essai de définition de la notion de Permière abstraction, 1911-1918." Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213179.
Full textKrieglstein, Daniel. "Rethinking the Scientific Database| Exploring the Feasibility of Building a New Scientific Abstract Database." Thesis, Illinois Institute of Technology, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10827846.
Full textAbstract databases are essential for literature reviews, and in turn for the scientific process. Research into user interface designs and their impact on scientific article discovery is limited. The following study details the process of building a new abstract database and explores several user interface design elements that should be tested in the future.
The initial goal of this study was to test the feasibility of building a new abstract database. Using Crossref metadata, we concluded that the cost to produce parsing code for the entire data set proved prohibitive for a volunteer team. The legal, production, and design elements necessary to build a new abstract database are discussed in detail. This study should serve as a baseline for future abstract database testing.
O, Mianain Padraig Aquinas. "Abstract of An Choimhlint Pholaitiuil Agus Chulturtha sa Fhrithreifirmeisean in Eirinn, c.1530-c.1640." Thesis, University of Ulster, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267792.
Full textSlivo, Yalda. "Den rörliga bildens formlöshet : En studie av den rörliga bilden." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-148312.
Full textThis study aims at understanding the history and relation between the moving image and two modernistic art movements, minimalism and abstract expressionism.
Strahl, Lisa Beth. "Gender Construction and Manifestation in the Art of Elaine de Kooning." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/44952.
Full textPh.D.
As a woman whose career lifted off during the era of Abstract Expressionism, Elaine de Kooning is precariously positioned between her gender and her career. She began painting in the midst of a male-dominated movement and in later years continued to use very masculine themes in her art; however, her gender sets her apart from her mostly male colleagues during the Abstract Expressionist period. The mid-century expectation of machismo and masculinity shaped Elaine de Kooning’s art and career, and there is a tension within her art as she tried to fit the established (male) persona of the typical Abstract Expressionist artist while also maintaining a female identity. As the wife of Willem de Kooning, Elaine is most often discussed with respect to this relationship. Her name is infrequently mentioned in scholarship without reference to Willem, and her contribution to art history has only recently been studied in any length in Jane Bledsoe’s Elaine de Kooning (1992) and in a series of smaller gallery publications. Furthermore, Elaine has become recognized and respected, in some cases, more for her critical writings for Art News during the 1950s and 1960s than for her art. She was an artist turned art critic, and this crossover has further complicated the scholarly attention devoted to her. Elaine consistently revisited male-inspired subject matter: in her portraiture she painted predominantly male sitters; in her cave painting-inspired work she reflected a society of primitive male hunters; in her series of sports paintings she depicted male basketball and baseball players in dynamic postures; in her Bacchus series she investigated a male god and the vitality of the statue’s writhing male musculature; and in her bull and bison series she worked with the clichéd animalistic symbol of masculine strength and virility. These subjects, combined with the ejaculatory style of Abstract Expressionism’s loose brushwork and vibrant swirling colors, provide a unique contrast to the artist, herself, as a female personality.
Temple University--Theses
Wolf, Melissa Ann. "From Steamboats to Snow White| How the Mickey Mouse Short Films Between 1928 and 1934 Resulted in a Shift from an Abstract to a Naturalistic Animation Style in the Disney Studios." Thesis, University of California, Riverside, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10010562.
Full textThis thesis claims that between 1928 and 1934, technological developments, along with cultural shifts in the acceptance of machines in American society, led the studio away from the abstract style of their silent films toward the naturalism that would work to create the illusion of the fantasy worlds of Disney?s full-length feature films.
Trapp, Elizabeth J. "Cy Twombly's 'Ferragosto' Series." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276609006.
Full textAlvarez, Andrea. "Art Criticism, Scholarly Interpretation, and Curatorial Intent: A Reassessment of the 1998 Jackson Pollock Retrospective at the Museum of Modern Art." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/439.
Full textMcColm, Donna. "Opticality and the Work of Morris Louis (1912-1962)." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2180.
Full textMcColm, Donna. "Opticality and the Work of Morris Louis (1912-1962)." University of Sydney, 2007. http://hdl.handle.net/2123/2180.
Full textThis thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.
Konno, Ryoko. "L’abstrait et le concret dans la physique de Leibniz à l’époque de Mayence." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL023.
Full textIn this present work, we study the meaning of the abstract and the concrete in Leibniz's physics at the time of Mainz (1668–1672 March). Through his hylomorphism, Leibniz seeks to consider how to apply the concept of action to the body. In this perspective, his search for physics consists of two points: 1/ the search for the specific meaning of the substantiality of the body; 2/ the search for the extension of the use of action – these are essential subjects in his theology –. Thus understood, his reflection in the abstract theory show that the main concepts in his theory of motion - size, figure and movement - sont analysed according to the specific use in each context in which they appear. Thanks to this research, Leibniz receives the concept of the conatus by Hobbes. These reflections prepare the abstract side of his physics. During this process, Leibniz is also interested in the sensitivity of the human being. This subject is related both to the search for the fundamental nature of the human mind and to the phenomenality of the corporeal world. From there, Leibniz opened the way for the search for the sensitive phenomenon in physics, which constitutes the concrete side of his physics. With all this research, Leibniz founded his first two treatises in physics, which are divided into abstract theory and concrete theory. To integrate abstract and concrete into physics, Leibniz uses the concept of oeconomia. This shows that young Leibniz is seeking to establish physics, which is rooted in his metaphysics, but which is autonomous as a science
Schmidt, Marcos Santos. "Argumentação e condensação : o verbete mensalão"." Universidade Federal de São Carlos, 2010. https://repositorio.ufscar.br/handle/ufscar/5686.
Full textMensalão ( big monthly payment a fee out of the law which was paid for some politicians in Brazil): what is the functional argument for this meaning? How had have this expression brought about history, memory and meaning? Motivated by something that mobilized politics and the Brazilian media, we tried to answer this question from a linguistic position which is connected to the Semantics of an Event (GUIMARÃES, 2002), specially about the relation between the theory and the events foretell, a place that brings sense in the language. Thus, the meaning of a designation is prohibited inside the event and in the period of nowadays; on the other hand it mobilizes the originality of the language. The factual, as is presented by Gadet e Pêcheux (2004), on the other hand, induces the fault, the misunderstanding and the misinterpretation which the subjects cannot control; the functional of the language makes to understand the words and the meanings, but they are tensioned by a dispute inside the place they are originated. Therefore, for this work, we picked out sequences of headlines and reports from O Estado de São Paulo Brazilian newspaper, between 22th and 27th August, 2007, which was the period when the mensalão practices were being judged in STF (Brazilian Higher Federal Court), with the main objective is to show how this media identified the neologism between rows and rows. This study will use for the analysis the concepts of argumentation from Ducrot (1973), to whom the language does not inform, but shows the arguments that make us to produce specific conclusions, and of abstract, according to Guimarães (2004, 2005, 2007), in its semantic domain determination.
Mensalão : qual o funcionamento argumentativo que é movimentado por essa designação? Como esse verbete promoveu história, memória e sentido? Motivados por algo que mobilizou a política e a mídia brasileiras, procuramos responder a essas questões a partir de uma posição linguística que está filiada à Semântica do Acontecimento (GUIMARÃES, 2002), especialmente na relação com o tratamento que essa teoria dá à noção de acontecimento enunciativo, espaço de constituição dos sentidos na língua. Nessa medida, o significado de uma designação é produzido no acontecimento e na temporalidade que lhe é própria e que, por sua vez, mobiliza o real da língua. O real, conforme o apresentam Gadet e Pêcheux (2004), por sua vez, movimenta a falha, o equívoco e os deslizes de interpretação sobre os quais os sujeitos não têm controle; esse funcionamento de língua supõe também que os dizeres e os sentidos produzidos nos espaços de enunciação são tensionados pelo litígio. Assim, recortamos, para este trabalho, sequências de manchetes e textos de reportagens do jornal `O Estado de São Paulo΄, no período de 22 de agosto de 2007 a 27 de agosto de 2007, caracterizando os dias em que a prática do "mensalão" esteve sob julgamento no STF, com o objetivo de mostrar como esse veículo midiático identificou o neologismo em suas linhas e entrelinhas. Esse estudo deslocará como dispositivos de análise os conceitos de argumentação de Ducrot (1981), para quem a língua não informa, mas apresenta argumentos que fazem produzir determinadas conclusões, e de condensação, conforme Guimarães (2004, 2005, 2007) em seu domínio semântico de determinação.
Lynch, Regina. "Corporeal Modernity: Shared Concepts in the Work of Jackson Pollock, Martha Graham, and Merce Cunningham." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197560.
Full textM.A.
Although working in two different mediums, Jackson Pollock, Martha Graham, and Merce Cunningham created works during the 1940s and 1950s that share several analogous formal characteristics, as well as a body-centered process that reminded viewers of both the corporeality of the artists and of themselves. My thesis identifies and interprets the formal analogies evident in each the artists' approach to asymmetry, repetition, gravity, and space. I argue that the common aspects among the works of the three artists resulted from their participation in a shared modernist discourse circulating post-war America, especially in New York. This discourse provided the artists access to common sources of inspiration, such as the writings of Carl Jung, Native American imagery, and Asian cultures. Each of these elements characterizes the work of all three artists, along with similar ideas concerning the individual, national identity, and modern technology.
Temple University--Theses
Thiéry-Riboulot, Véronica. "Le mot Laïcité : histoire et usages contemporains." Electronic Thesis or Diss., Sorbonne université, 2020. http://www.theses.fr/2020SORUL055.
Full textThis dissertation establishes that the new ways in which French word laïcité has been used in France since 1989 reflect a semantic evolution. It first examines the history of the word through empirical analysis of various bodies of texts. It begins with the study of the medieval form lai and the words that preceded it in ancient languages. Lai is also compared with the English word lay. These lexical evolutions are appreciated in their historical, pragmatic and intralinguistic contexts. Then the fact that laïcité, which initially belongs to the anticlerical lexicon, is derived from laïque, a relatinized word from the ecclesiastical lexicon, is questioned. This paradox is explained by examining, within lexical networks, the phenomena of specialization, axiological evolution, availability and polysemic tension. Atypical competition between the two neologisms laïcism and laïcité in the 19th century is then commented. The historical part ends with the description of the dynamic derivatives of laïque in -is- and the uses of laïcité, which appears in two phrases, until 1989. Then comes the analysis of contemporary uses of the word, based on distinctive features of the abstract nouns: laxity in the enunciative context, lack of tangible reference accompanied by terminological or definitional statements, degree of abstraction and semantic variations in the nominal phrase, recourse to allegory. The dissertation concludes with a survey that measures the extent of the meanings given to the word today
Dallyn, Yana. "Esoterism i konst – konst för de invigda : Tolkningar av Hilma af Klint och hennes verk genom det esoteriska prismat." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-190370.
Full textDebrocq, Aliénor. "Le Surréalisme-Révolutionnaire et Cobra à l'épreuve de la violence: contribution à l'histoire des représentations." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209695.
Full textS’appuyant sur un certain nombre d’affirmations émanant des acteurs de Cobra comme des historiens ayant écrit sur le sujet, l’auteur s’est penché sur la question de la violence picturale et théorique au sein de ce mouvement. Picturale, par la propension des artistes à brouiller la lisibilité de la composition et des figures, par leur volonté de « faire brut » et enfantin, de « mal peindre », de maltraiter le sujet en le rendant méconnaissable, hybride, défiguré. Théorique, par un certain nombre de déclarations (pour la plupart, parues dans la revue Cobra) véhémentes, engagées, politiques, relatives au climat sociopolitique de l’après-guerre comme au contexte artistique et culturel contemporain.
Au cours des recherches, il est apparu que la violence de Cobra était plus ambiguë que ce qui avait été imaginé initialement. Elle relève en réalité d’une forme d’instrumentalisation émanant des acteurs, qui ont multiplié les effets rhétoriques, les attitudes et les déclarations allant dans ce sens, conduisant Cobra à user d’une violence « décorative » nettement instrumentée :un outil utilisé par les artistes dans la construction de leur image, de leur identité individuelle et collective. Cette piste a ainsi débouché vers d’autres résultats que ceux imaginés au préalable mais n’en a pas moins permis de réévaluer le mouvement sur le plan de l’histoire des représentations, en étudiant les stratégies développées par ses membres dans les œuvres et les discours. La mise en perspective critique de ceux-ci a permis de cerner la capacité rhétorique de certains membres de Cobra, qui ont valorisé l’image d’un mouvement artistique résolument « moderne », c’est-à-dire violent et revendicateur, tout en puisant leur inspiration dans certaines formes d’art primitives et brutes.
La thèse s’articule de façon thématique, autour de quatre pôles révélateurs des formes et du sens de la violence détectée dans les œuvres et les discours des Cobra :
Répondre à la guerre – Cobra face au siècle
Une violence générationnelle
Le primitif ou le jeu de la violence
Aspirations libertaires
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Pedroso, Anderson Antonio. "Vilém flusser : de la philosophie de la photographie à l’univers des images techniques." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL103.
Full textThe thought of Vilém Flusser (1920-1991) has given rise to an abundant critical bibliography on his contributions in the field of communication, where his wager on a "new imagination" brings together art, science and technology, under the aegis of his philosophy of photography. The archaeology of his thought, proposed here, is constructed alongside this disciplinary underpinning of his work in the theories of communication and media: it involves the notion of art that Flusser developed during his career, in order to grasp the deployment of this artistic dimension, its status and its contours, in his thought. Flusser's notion of art is inseparably linked to history: the traumatic experience of exile becames central in his critical thinking regarding all totalitarianism. The practices and knowledge that underpin his relationship to the world and guide the development of his conception are worked on by a Kulturgeschichte, seen from the perspective of a "post-history". But there is, in particular, a playful thinking of the game, where the objective is less to play within the established rules than to thwart the rules, to "play to change the game". In other words, it is a radically dialogical and polyphonic way of thinking, whose Kommunikologie, shaped as metatheory, directs the development of Flusser's work. His historical trajectory and the knowledge associated with it contribute to the construction of a cybernetic way of thinking that sketches the fundamental lines of a Kunstwissenschaft, in which he proposes a kind of iconoclasm without giving up images
Ferris, Natalie. "'Ludic passage' : abstraction in post-war British literature, 1945-1980." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:5b3034e6-3a32-4684-b8a0-eb91cfc756c6.
Full textMiller, Shelby E. ""The Cult of Cézanne:" Marcel Duchamp, Clyfford Still, and Banksy." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149471175808765.
Full textHedlin, Hayden Malin. "Out of Minimalism." Doctoral thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-3589.
Full textBrown, Peter James. "Ecology of smallmouth bass Micropterus dolomieu early life history in three north temperate lakes /." Link to abstract, 2004. http://epapers.uwsp.edu/abstracts/2004/Brown.pdf.
Full textLevrat, Régine. "La culture cotonnière en Afrique soudanienne de la zone Franc depuis les débuts de la colonisation : l'exemple du Cameroun." Bordeaux 3, 2007. https://www.dawsonera.com/abstract/9782296212718.
Full textStarting from a general study on cotton (ecological and historical), this thesis deals with the history of the spreading of the cultivation of the cotton by France in its African colonies. After the first attempts, diversified and with unequal results (failure in "AOF" and Cameroun, questionable success in AEF), in 1950 was put in place organizations which ensured the success of this approach: IRCT (Institut de Recherches du Coton et des Textiles Exotiques) and CFDT (Compagnie Française pour le Développement des Fibres Textiles). This cultivation and the companies who promoted it, CFDT and national subsidiaries which relayed it, invested of a mission widened to the whole development, played a preponderant role in the raising up of this area, by applying an identical plan based on the small producers and the integration of the chain from the production of the "cotton-graine" to the commercialization of the fiber, as it is well illustrated with the case of the Cameroun. From the example of the cotton, the analysis widens to the economical politic of France vis-à-vis these African countries, during the colonial age and after, pointing out their situation of dependence in regards of their former mother country and international bodies (BM and OMC), setting the problem of a disparity North/South in the present system of globalization dominated by the US through the action of falling quotations and subventions
Emsley, Clive. "Aspects of the history of crime, police and policing in Europe since c.1750." [S.l.], 1999. http://dart.open.ac.uk/abstracts/page.php?thesisid=186.
Full textMathieu, Romain. "Supports/Surfaces pris aux mots : Stratégies discursives d’une avant-garde picturale." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3057.
Full textIn the artistic context of the late sixties and early seventies, Supports/Surfaces distinguishes itself by being both a pictorial and theoretical avant-Garde, the exhibition of artworks being accompanied by texts that were produced in considerable quantity. This study questions the singular situation of these discursive approaches developed by an avant-Garde claiming a pictorial process. It therefore questions how Supports/Surfaces self-Defines through its texts and the works produced by the artists. To constitute the history of the group involves to analyse the productive or inhibitive aspects that these writings may have had. The discourses of the artists, as a key action of this avant-Garde, proceed to a bringing to light and simultaneously to a blindness. The study of this action, the analytic reading of these texts in relation to the artworks, finally constitutes an answer to the injunction of this movement by turning it back on itself. This approach allows to consider the formal transformations, as elaborated in their works by the artists gathered under the name Supports/Surfaces, inside a whole combination of relations between literary and artistic fields as well as political and theoretical fields. It gives to the “Supports/Surface time” its dense and plural content, and it allows to consider the place of the movement in the history of painting and of art of that period
Rolph, Sheena Elizabeth. "The history of community care for people with learning difficulties in Norfolk, 1930-1980." [n.p.], 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=83.
Full textHofmann, Catherine L. "The development and evaluation of a nature journaling guide /." Link to Abstract, 2004. http://epapers.uwsp.edu/abstracts/2004/Hofmann.pdf.
Full textTimmermans, Benoît. "Les origines romantiques de la pensée abstraite: histoire et enjeux de l'algèbre moderne." Doctoral thesis, Universite Libre de Bruxelles, 2007. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210698.
Full textDay, Therese. "What does it mean to be a learning support teacher? : a life-history investigation of ten learning support teachers in the east-coast of Ireland." Thesis, n.p, 2002. http://dart.open.ac.uk/abstracts/page.php?thesisid=104.
Full textJohns, Robert Geraint. "From farm training to therapy : a case study in the history of social work from a macro-micro social policy perspective." Thesis, n.p, 2002. http://library7.open.ac.uk/abstracts/page.php?thesisid=86.
Full textAndrieu, Mélanie. "Une spécificité Cobra, les oeuvres collectives: émergence d'une pratique et exemplarité de Christian Dotremont." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209838.
Full textCe travail est structuré en trois points. Le premier établit une étude du contexte artistique et social des années précédent Cobra puis la mise en place du groupe. Le second aborde les années d’intense activité "officielle" du groupe, au service du collectif. Enfin, le troisième propose de suivre l’évolution post-Cobra des œuvres collectives et des recherches sur l’écriture et la peinture. / This thesis is a study of the Cobra movement through one of its characteristic components: the collective works. First of all it's about understanding the movement, its origins (three countries), its influences and its purpose of a free art, open, experimental, involvement with life. In a social after-war context, often politicized, Cobra defends collective action, notably defined in concepts of anti-specialism and inter-specialism. We should therefore underline the origins of this practice and undestand different aspects that it shows, in particular through publications, exhibitions or shared creations. The poet Christian Dotremont, leader and soul of Cobra, promotes cooperative work by collaboration and contributes to its development by stimulating artistic meetings. He is the purveyor and permanent "agitator" of this concept. The words-paintings that he creates with other artists, take part of his major thinking about writing and painting. This link interpellates a few Belgian artists like Pierre Alechinsky, but it fascinates Christian Dotremont who keeps experimenting on it, in order to reach what he calls the logograms, a remarkable fusion of painting and poetry, and a culmination of a life-time of research.
This work is structured in three parts. The first one draws a study of the artistic and social context of the years preceding Cobra and the setting up of the group. The second one talks about years of intense "official" activity of the group serving collective way of work. Finally, the third one offers to follow the post-Cobra evolution of collective works and researches about writing and painting.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Barry, Mohamed. "La théorie des nullités dans la doctrine après le Code civil." Thesis, Lyon 3, 2013. http://www.theses.fr/2013LYO30048/document.
Full textCan we speak of a theory of nullity in the doctrine after the Civil Code? This is the question we sought to answer in this work. Indeed, the answer usually given to the latter requires clarification. According to the response after the Civil Code, there was a theory of nullity in the doctrine. First, there was a classical doctrine which is composed mainly of lawyers of the nineteenth century. Then, next to this doctrine, there was a doctrine called modern, composed mainly of lawyers of the twentieth century. If, to construct a general theory of nullity, the classical doctrine has used the state of the act, the modern doctrine, she has used the criterion related to the purpose of the rule breached.In this study, we sought to renew this response, first by highlighting the limits of the idea of a classic or modern doctrine and the other by showing the inadequacy of these general theories, built by the authors after the Civil Code, the positive law. This allowed us to propose to abandon any overall vision and doctrine on the theory of nullity. Also, it was proposed to replace this global vision by various design nonentities. A diverse design first, with regard to doctrine, to the extent that there is no one side the classical doctrine and other modern doctrine. But also various design regarding the theory of nullity itself, insofar as there is no single theory for all types of contracts, but various theories that espouse the specifics of each contract.These are the conclusions we have reached the end of this work
Barclay, Robert Leslie. "A critical analysis of actions taken upon historic musical instruments through the period of the early music revival from the beginning of the 20th century to the 1990s." Thesis, n.p, 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=3.
Full textKorzilius, Jean-Loup. "De l'oppression a l'emancipation : la peinture abstraite en allemagne (1933-1955)." Paris 1, 1993. http://www.theses.fr/1993PA010616.
Full textVan, Zyl Annemarie. "'n Vergelykende ondersoek na die residensiele argitektuur van die Victoriaanse periode in Engeland en Suid-Afrika : die impak van abstrakte determinante op uiterlike vormgewing." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86546.
Full textENGLISH ABSTRACT: Architecture is a complex concept, and as such many factors contribute to its creation. These factors include geographical, economical and climatological aspects, but above all architecture is formed by the specific times, circumstances and lifestyle of the creator. The human being, with his background, ideas and values, shapes and influences the architecture surrounding him, and is also shaped and influenced by it. Therefore, when the lives and opinions of people are radically changed, it follows inevitably that their way of architectural expression will also change. There are marked differences between domestic buildings erected during the Victorian period in England and South Africa. English domestic buildings consist of long uniform terraced rows of two or more storeys, while freestanding single-storeyed houses are the norm in South Africa. A large percentage of English buildings are built with unfinished bricks (sometimes stone), while the bulk of South African buildings are finished in plaster. The general roofing material for Victorian houses in South Africa, namely corrugated iron, are not used on English houses at all. English roofs are most often covered in slate tiles. The very elaborate wood and/or cast-iron decorative elements so typical of the Victorian style in South Africa are largely absent in England, and most English buildings also do not have an architectural element comparable to the South African veranda. All styles which occurred in England during the Victorian period are termed Victorian, but in all cases it refers to the period, not the style. Although in South Africa other styles from the Victorian period are sometimes also referred to as Victorian, a clearly distinguishable style with unique characteristics developed at the end of the nineteenth century in South Africa. This style came to be known as Victorian. This study investigates the underlying reasons for the differences which exist between the Victorian architecture of England and South Africa.
AFRIKAANSE OPSOMMING: Argitektuur berus op 'n komplekse basis, en as sodanig is daar talle faktore wat tot die skepping daarvan aanleiding gee. Hierdie faktore sluit onder meer in geografiese, ekonomiese en klimatologiese aspekte, maar bowenal word die argitektuur geskep deur die spesifieke tydsgees, agtergrond en leefstyl van die skepper daarvan. Die mens, met inbegrip van sy agtergrond, idees en waardes, vorm en beïnvloed die argitektuur wat hom omring, en word self ook daardeur gevorm en beïnvloed. Wanneer die lewens en sienings van mense dus verander, volg dit vanselfsprekend dat hulle argitektoniese uitdrukkingsvorme ook sal verander. Woonhuise wat tydens die Victoriaanse periode in Suid-Afrika opgerig is, verskil opvallend van dié in Engeland. Engeland se woonhuise bestaan uit lang aaneengeskakelde rye huise (terraces), wat oor twee of meer verdiepings strek, terwyl enkelverdieping alleenstaande geboue die norm in Suid-Afrika is. Geboue in Engeland vertoon ook 'n opvallende uniformiteit wat in Suid-Afrika ontbreek. 'n Groot persentasie Engelse geboue is van ongepleisterde baksteen (soms klip) gebou, terwyl Suid-Afrikaanse geboue oorwegend afgepleister is. Die algemene dakmateriaal vir Victoriaanse huise in Suid-Afrika, naamlik sinkplaat, word glad nie op Engelse huise gebruik nie. Die oordadige versieringselemente uit gietyster en/of hout wat so tipies van die Victoriaanse styl in Suid-Afrika is, is grootliks afwesig in Engeland, en die meeste Engelse geboue het ook nie 'n bou-element wat vergelykbaar is met 'n Suid-Afrikaanse stoep nie. Alle style wat in Engeland tydens die Victoriaanse periode voorgekom het, word Victoriaans genoem, maar in alle gevalle word die tydperk bedoel, en nie die styl nie. Hoewel daar in Suid-Afrika ook soms na ander style van die Victoriaanse periode as Victoriaans verwys word, het daar teen die einde van die negentiende eeu 'n eiesoortige styl met unieke kenmerke in Suid-Afrika ontwikkel wat as Victoriaans bekend staan. Hierdie studie ondersoek die dieperliggende redes vir die verskille wat tussen die Victoriaanse argitektuur van Engeland en Suid-Afrika bestaan.
Andrieu, de Levis Jean-Charles. "De la ligne claire à la ligne « pas claire » : émancipations esthétiques de la bande dessinée en France et aux États-Unis à l’orée des années 70." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL103.
Full textThe Clear Line naturally constituted itself as an ideal graphic style for the comic strip by deploying an aesthetic turned towards the clear legibility of the images, guarantying their narrative performativity. By building a graphic universe oriented towards the neutralization of the author's plastic imprint, it strangely restricts the expressive resources of the representation. At the dawn of the 1970s, many American and French authors tried to radically redefine the canons of the ninth art and explore the figural potential of the image and narrative: the icon and the narrative linearity are then disturbed by multiple experiments. They are placed in imbalance and access through this instability to an unsuspected wealth. Comics discover this ambiguity and the uncertainty of an experimental practice no longer normed. Tormented, the image reaches a poetic power that extends the field of expression of the ninth art.We wish to observe the conditions of emergence of these dissenting authors and works parting with the "classical" aesthetic, and analyze the stylistic processes used to divert the comics from the conventions of the Clear Line. The various strategies we have identified, to the levels of intensity developed by the authors, lead to a conversion of images and narratives, gradually moving away from figurative and narrative limpidity towards a growingly assertive figural confusion
Agache, Annie. "Antonin Fanart et son temps : étude d'un paysagiste comtois et contribution à l'étude de la vie sociale en Franche-Comté au XIXe siècle." Besançon, 1990. http://www.theses.fr/1990BESA1017.
Full textMackenrott, Oscar. "Spel, historia och faktatexter : Vilken sorts textbaserad fakta i historiska datorspel finner spelaren mer intressant?" Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-19882.
Full textDet finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.
Viculin, Marina. "Histoire de la nouvelle tendance." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040103.
Full textNew Tendancy movement (NT) is an international group of artists united in the sixties(1961 - 1973) around the exhibition programme at the Gallery of Contemporary Art (Galerijasuvremene umjetnosti) in Zagreb. During its existence, the movement gathered around twohundred artists and differents groups such as GRAV, T, N, Zero, Equipo 57, Dvizhenije, MID etc.The first phase of the movement that lasted until 1968 was characterized by the geometricabstraction and lumino-kinetic art. During the second phase, New Tendancy opened thechapter of numerical arts
Zalaya, Baez Ricardo. "Escultura matemática: definición, antecedentes en la historia del arte, desarrollo, perspectivas de evolución y clasificación por conceptos matemáticos." Doctoral thesis, Universitat Politècnica de València, 2008. http://hdl.handle.net/10251/2661.
Full textZalaya Baez, R. (2005). Escultura matemática: definición, antecedentes en la historia del arte, desarrollo, perspectivas de evolución y clasificación por conceptos matemáticos [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/2661
Palancia
Körling, Mia. "Konstnär eller medium? Andlighet och konst i receptionen av Hilma af Klint." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-16153.
Full textNatech, Souab. "Histoire d'une rencontre entre musicalité et plasticité chez trois peintres Whistler, Klee, Schneider : ou l'évolution synesthésique du fait pictural vers une peinture musicale." Saint-Etienne, 2007. http://www.theses.fr/2007STET2127.
Full textThe relationship between music and painting remains today a kind of ideal. Since the end of the nineteenth century both artists and musicians demonstrate a partiality for this topic. In my work, i try to understand the nature of the different parallels between music and fine arts, in the work of james mcneill whistler, paul klee, gerard schneider. In this analysis, we will see the different degrees of interaction between music and the pictorial in painting. First, we will study the more evident aspects of the relationship between theme and script. The development of this analysis will follow the evolution of painting to abstraction vis-a-vis the more abstract art form : music. At the same time as the pictorial element becomes independent in regards to the subject, the music element will provide an essential structural contribution in painting. Observing the rules that frame musical composition permits painters to find answers to the difficulties encountered in composing their own art. Finally, we will consider complex sensory perception, the synaesthesic relationship between music and painting. In this analysis of the relationship between music and painting, we will compare our outlook with two aesthetic interpretations. Etienne souriau in "la correspondance des arts. " on the other hand, we will consider, as did merleau-ponty, a kind of idealistic union of art forms having a similar provenance. The relationship between music and painting in the works of whistler, klee and schneider will be examined in the light of these insights
Decaens, Simon. "Une histoire de la théorie des treillis au sein de l'American Mathematical Society entre 1933 et 1948." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC308.
Full textIntroduced in 1933 by Garrett Birkhoff, Lattice Theory seems to settle, in about fifteen years, as an autonomous domain of mathematics, whose rise takes place in a context of circulation of modern algebra in the United-States. The current work questions the appearance and development of a theory of lattices, its links to modern algebra and the role of the American Mathematical Society (AMS) in this process. After problematizing the historiographical category of a theory, we will consider the theory of lattices through three different biases. First, we will approach it through the article of G. Birkhoff and Øystein Ore, often considered as founders for the theory. Here, the theory is an object explicitly identified by the actors to designate and link their works together. However, as an analytical category, it hides their diversity by joining them into a same non-problematized denomination. Secondly, the theory will be considered at a larger scale, from the publications of members of the AMS interested in lattices. From here, it appears as a set of practices shared by a collective of mathematicians. Finally, in a last chapter we will approach the promotion of Lattice Theory within the AMS. I will try to show that it benefits from both the status of an « american abstract algebra » and the positions of its promoters within the society
Roy, André. "LE «DRAME HUMAIN» CHEZ POLLOCK ET ROTHKO Authenticité, subjectivité et quête existentielle dans la peinture abstraite américaine du milieu du 20e siècle." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27846/27846.pdf.
Full textPalix, Nicolas, Julia L. Lawall, Gaël Thomas, and Gilles Muller. "How Often do Experts Make Mistakes?" Universität Potsdam, 2010. http://opus.kobv.de/ubp/volltexte/2010/4132/.
Full textCampos, Beatriz Pinheiro de. "Quirino Campofiorito e Mário Pedrosa: entre a figuração e a abstração. A crítica de arte e o surgimento da arte abstrata no Brasil (1940 a 1960)." Universidade Federal de Juiz de Fora, 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/2298.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
O presente trabalho propõe uma leitura comparada dos textos críticos de Quirino Campofiorito e Mário Pedrosa e tem o intuito de abranger a área de estudo da História da Crítica de Arte, bem como propor novos olhares para a produção da crítica de arte brasileira . Os textos aqui analisados datam do final da década de 1940 até o final da década de 1960. Os temas estudados vão desde a função da crítica de arte segundo os críticos, passando pela questão da pintura de paisagem, as questões da arte bruta, ou a arte dos “loucos”, da arte primitiva ou naif, até culminar na questão central deste trabalho, a da arte abstrata e das vanguardas abstrato-formais brasileiras. O trabalho buscou apresentar um dos grandes debates criado pelos críticos, o da abstração, através de uma revisão de alguns aspectos que se tornaram importantes para o entendimento do conceito de arte abstrata no pensamento de cada crítico, demonstrando como se deu o surgimento da arte abstrata no Brasil através dos olhos da crítica de arte, e como essa relação influenciou direta e indiretamente à edificação da abstração no cenário artístico brasileiro. O intuito deste trabalho é proporcionar ao leitor uma análise comparada e, através dela, propor como os discursos críticos são importantes para se entender como, através das décadas, alguns conceitos relacionados à arte mudam, e como as referências dos críticos de arte são importantíssimas para se compreender tais mudanças.
This paper proposes a comparative reading of the critical works of Quirino Campofiorito and Mário Pedrosa, aiming to cover the study of the History of Art Criticism as well as proposing a new approach to the production of Brazilian art critics. The texts analyzed hereof date from the late 1940s to the late 1960s. The topics studied range from the function of art criticism for the critics - through the issue of landscape painting, raw art (or the art of "crazy"), the primitive or naive - resulting in the central discussion of this work: abstract art and avant-garde abstract-formal in Brazil. This work aims to present one of the great debates created by art critics - that of the abstract art - through a review of some aspects which are now important to the understanding of the concept of abstract art through the work of every critic, demonstrating how the emergence of Brazilian abstract art took place through the eyes of art criticism and how this relationship, both directly and indirectly, influenced the creation of abstract art in Brazilian artistic scene. The objective of this study is to provide the reader a comparative analysis and, through it, point out how important critical discourses are in order to fully understand how related art concepts change over the years and how these critics references are essential to understand such changes.
Hoffmann, Ana Maria Pimenta. "A arte brasileira na II Bienal do Museu de Arte Moderna de São Paulo : o premio melhor pintor nacional e o debate em torno da abstração." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279117.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta Dissertação focaliza a H Bienal do Museu de Arte Moderna de São Paulo que representa um alto momento da cultura brasileira, onde ao lado de outros eventos comemorativos do IV Centenário da cidade de São Paulo, possibilitou trazer ao público brasileiro e internacional uma ampla e bela exposição, com retrospectivas históricas e a ocorrência de uma acalorada competição para uma distribuição inédita de prêmios, onde destaca-se a divisão do prêmio de Melhor Pintor Nacional. Este estudo destaca o amplo debate sobre arte abstrata ocorrido naquela ocasião. A presença de críticos internacionais de arte no Júri de Premiação, de representantes nacionais neste Júri, bem como de outros atuantes na imprensa possibilitaram o contraponto, dentro de um grupo bem diverso e ativo. Este debate é recuperado neste estudo, através de entrevistas de época, bem como de comentários da imprensa naquele momento. Para contextualizar este debate a nível nacional, são recuperados os antecedentes que engrandeceram o cenário das artes plásticas no Brasil, destacando-se o Salão de Maio organizado por Flávio de Carvalho em 1938, a criação em São Paulo do Museu de Arte de São Paulo (Masp), em 1947, e o Museu de Arte Moderna de São Paulo (MAM-SP) em 1948 e a efervescência dos debates sobre a evolução da arte no pais associados a estes eventos
Abstract: The 2nd Biennial at the Museu de Arte Moderna in São Paulo represents a very bright moment for Brazilian culture. At the occasion, several other events celebrated the 4th Centennial of the city of São Paulo. The 2nd Biennial presented a very fine collection, with several retrospective exhibitions and a much disputed contest for a series of new awards, being Best National Painter" the most remarkable. The 2nd Biennial had several important antecedents, events that richly improved the arts scene in Brazil. Among them, the 'Salão de Maio1, organized in 1938 by Flávio de Carvalho, and the foundation of both Museu de Arte de São Paulo (MASP) in 1947 and the Museu de Arte Moderna de São Paulo (MAM-SP), in 1948. Several international art critics, important Brazilian critics and writers with strong presence in the newspapers composed the Award Jury. Thus, the jury was a very distinct and diversified group, which generated considerable impact on the press coverage. The critical debate ensued by the 2nd Biennial is therefore an important aspect of the present study
Mestrado
Mestre em História
Latour, Marie-Josée. "Contribution à l'étude de l'automatisme surrationnel." Master's thesis, Université Laval, 1989. http://hdl.handle.net/20.500.11794/17609.
Full textMészáros, Flóra. "Hungarian Artists in Abstraction-Creation." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040088.
Full textThis dissertation focuses on the international artistic group, called Abstraction-Création (1931-1936. Out of the approximately 100 members joining the association a few were Hungarian artists, namely Étienne Béothy, Alfred Reth, Lajos Tihanyi and Ferenc Martyn, whereas László Moholy-Nagy received an external membership. A deeper research into the Parisian non-figurative formations of the 1930s, including Abstraction-Création, only took shape in the 1970s. Since then, Abstraction-Création has been discussed only occasionally, and a deeper discussion concerning the structure, the goals, or the history of the group is still missing. The same applies to the research on individual Hungarian artists; while for each of them the participation in the forum was presented as an important stage of their lives, so far only the participation of Béothy and Martyn has been examined in detail. Beyond the basic goal of the study to concentrate on Hungarian artists in the group, the re-evaluation and a new examination of Abstraction-Création are also placed in the focus. Based on a theoretical and historical analysis, the study compares Abstraction-Création with two non-figurative Parisian groups, clarifying the differences between them and pointing out that Abstraction-Création could not be viewed as a combination of the two of them. Drawing on hitherto unanalyzed documents, the author gives an overview of the organizational structure of the forum, and discusses, from an entirely new perspective, the role of the committee, their debates, their formation and cessation and their platforms, including their meetings, gallery and journal. The dissertation demonstrates the relation between Abstraction-Création and Surrealism by means of a stylistic and theoretical analysis. It claims that through the activities of the Hungarian members, all the facets of the group can be shown, particularly because of the fact that they did not form a special group within the association, but had their different individual roles and routes. The author presents what the original aims behind the admission of the Hungarian members were and how they benefited from the participation. The dissertation depicts the Parisian abstract period of Hungarian artists in the 1930s in an international artistic context and against a broader historical background