Academic literature on the topic 'Mythologie orientale'
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Journal articles on the topic "Mythologie orientale"
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López-Ruiz, Carolina. "Some Oriental Elements in Hesiod and the Orphic Cosmogonies." Journal of Ancient Near Eastern Religions 6, no. 1 (2006): 71–104. http://dx.doi.org/10.1163/156921206780602681.
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AbstractThis paper examines the oriental background of the so-called Orphic cosmogonies of ancient Greece. The first section explores the relationship between the motif of Zeus' swallowing the phallus of Uranos and a corresponding feature in the Hurrian-Hittite Song of Kumarbi. The second section examines the complex figure of Kronos, arguing all aspects of his personality can be understood better if we take account of the figure of El in Ugaritic mythology; in particular, the relationship between Kronos and the virtually homophonous and often related-figure of Khronos ("Time") can be better understood if we take account of West Semitic mythology.
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Lev, Efraim, Marco Ephraim, and Eran Ben-Arye. "European and Oriental mistletoe: From mythology to contemporary integrative cancer care." European Journal of Integrative Medicine 3, no. 3 (September 2011): e133-e137. http://dx.doi.org/10.1016/j.eujim.2011.05.052.
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Oliveira, Jelson Roberto de. "HAUSKELLER, Michael. Mythologies of Transhumanism. London: Palgrave Macmillan, 2016. 225p." Pensando - Revista de Filosofia 8, no. 15 (October 5, 2017): 369. http://dx.doi.org/10.26694/pensando.v8i15.6321.
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Apresentando-se como eticista, o filósofo Michael Hauskeller, professor do departamento de Filosofia, Sociologia e Antropologia da Universidade de Exeter, no Reino Unido, tem se dedicado àquilo que poderíamos chamar de “filosofia do melhoramento humano”, ou seja, à análise das consequências éticas do Enhencement Project. Depois de publicar dois livros sobre o assunto (Better Humans? Understanding the Enhancement Project, de 2013 e Sex and the Posthuman Condition, de 2014), Hauskeller acaba de lançar, pela prestigiada casa britânica Palgrave Macmillan, o livro Mythologies of Transhumanism, no qual analisa os mitos fundantes do movimento transumanista, que pode ser considerado ao mesmo tempo uma filosofia e uma ideologia, na medida em que milita a favor do controle sobre a nossa natureza a partir das utopias do progresso tecnológico ou, como ele bem define, por meio de um Weltanschauung, ou seja, uma visão particular do mundo orientada pela ideia de perfeição, segundo a qual “somos destinados, não como indivíduos, mas como espécie, a nos tornarmos melhores do que somos atualmente” (p. 55).
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L’Écuyer, Sylvia. "La transcendance en musique selon John Burke : parcours et entretien." Circuit 21, no. 1 (March 11, 2011): 11–21. http://dx.doi.org/10.7202/1001159ar.
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Le labyrinthe, un symbole millénaire qui se retrouve encore aujourd’hui sur les sols de pierre des cathédrales, est devenu pour le compositeur John Burke une sorte de laboratoire pour trouver l’essence de la démarche de la musique classique occidentale. Dans sa recherche de la transcendance, il s’est intéressé au labyrinthe tel que décrit dans l’ouvrage de Lauren Artress, Walking the Path, dont il a suivi les ateliers à San Francisco. Influencé par les ouvrages du mythologue américain Joseph Campbell, en particulier The Hero’s Journey, il a également exploré cette autre conception du voyage intérieur. Sur les traces de musiciens du xxe siècle comme Stockhausen et Boulez qui ont voulu évacuer l’expérience du concert classique avec les musiciens d’un côté et le public de l’autre, John Burke propose donc un espace musical où son langage classique infusé de philosophie orientale invite les musiciens et le public à entreprendre un voyage musical et spirituel très personnel.
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Kocik, Agnieszka. "Miroir en cuivre et plaque daguerrienne : autour de Salammbô de Gustave Flaubert." Quêtes littéraires, no. 5 (December 30, 2015): 55–64. http://dx.doi.org/10.31743/ql.238.
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The paper brings a motif of Salammbô’s preparations undertaken prior encountering Mathô. The scene becomes a motive for analysis of the paradigm of relation between a copper mirror and a daguerreotype plate. Both artefacts are made of the same matter. Being tools for discovering reality and outpouring into an imaginary world at the same time, both provide special dimension to the visual experience. Finally, both are epistemic metaphors. Since second half of 19th century copper finds a new place in mythology of the industrial object. Vast presence of copper in Flaubert’s Carthage impacts historical and oriental picturesqueness. Does Carthage resemble the legendary City of Copper?
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Khei, Yok Man. "A Historical Quest for Little People (Hobbits) in English and Chinese Literature." International Journal of Comparative Literature and Translation Studies 9, no. 2 (July 25, 2021): 15. http://dx.doi.org/10.7575/aiac.ijclts.v.9n.2p.15.
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Written records on little people (Homo floresiensis) or ‘Hobbits’ are legions in either occidental or oriental history, let alone the excavation finding of a 1.06 meter (3.6 feet) 30-year-old adult female at Liang Bua cave on the remote Indonesian island of Flores in 2003. In English and Chinese literature, there are indeed no meagre narratives of little people, let alone the records found in the Chinese historical documentation and Buddhist scriptures as early as 770 BC. The main thrust of this qualitative research is to examine the little people in literature believed to be a different species or new human by comparing English and Chinese mythologies, literary creations with historical documentations and current archeological findings in light of historical research—an approach which identifies social and cultural history drawing from three main sources, namely, primary, secondary and oral tradition where accessible.
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Gadamska-Serafin, Renata. "Góry Kaukaz jako wrota Orientu. Motywy orientalne w twórczości Tadeusza Łady-Zabłockiego." Góry, Literatura, Kultura 11 (July 17, 2018): 111–41. http://dx.doi.org/10.19195/2084-4107.11.9.
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THE CAUCASUS AS A GATE TO THE ORIENT. ORIENTAL MOTIFS IN TADEUSZ ŁADA-ZABŁOCKI'S OEUVREThe East, its culture and literature were always part of the rich, erudite poetic imagination of Tadeusz Łada-Zabłocki 1811–1847, a tsarist exile to the Caucasus. He spoke Oriental languages Georgian and Persian and had a thorough knowledge of the Koran, a short fragment of which he even translated probably from French. Although today we only have his poetry inspired by the Caucasian mountains, he was also no stranger to extensive travel accounts unfortunately, his Dziennik podróży mojej do Tyflisu i z Tyflisu po różnych krajach za Kaukazem Journal From My Journey To and From Tiflis Across Various Countries Beyond the Caucasus and notes from his Armenian expedition were lost. An important source of inspiration for Zabłocki, encouraging him to explore the East, were the Philomaths’ translations of Oriental poetry by Jan Wiernikowski and Aleksander Chodźko, while his model of reception of the Orient were the oeuvres of Mickiewicz primarily his Crimean and Odessa Sonnets, Byron and Thomas Moore especially the fragment of Lalla Rookh — Paradise and the Peri. The exile brutally brought Zabłocki into contact with the real Orient, terribly dangerous and diametrically different from the one described by Western travellers. It is, therefore, not surprising, that their superficial and simplified accounts were criticised by the Polish poet and soldier.Zabłocki’s oeuvre, both pre-exile and Caucasus period works, is full of various Oriental reminiscences: from the Biblical topos of the Paradise ab Oriente, through numerous splendid images of Caucasian nature, scenes from the life of Caucasian highlanders, poetic imitation of the metre of Caucasian folk dances, apt ethnographic observations in the verses, borrowings from Oriental languages, extraordinarily sensual eastern erotic poems, to translations of texts of Caucasian cultures Tatar, Azeri and Georgian songs. Zabłocki drew on both folk culture of Caucasian tribes, and on Eastern mythologies as well as universal culture of the Islamic world. He presents an ambivalent image of Caucasian highlanders in his poetry: sometimes they acquire traits of noble, free, valiant and indomitable individuals, typical of the Romantic idea of highlanders, on other occasions the label “Son of the East” becomes a synonym of Asian barbarity.Freed from the service in the tsarist army, Zabłocki planned travels across nearby Persia, Asia Minor, and even Arabia, Nubia and Palestine. However, the plans never became a reality, owing to a lack of funds and the poet’s early death of cholera.Zabłocki’s “Eastern” oeuvre fully reveals the “liminal”, demarcational nature of the Caucasian mountains, for centuries constituting the limes between Europe and Asia, the East and the West, a meeting place of the Christian and the Muslim Orients.]]>
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Athias, Renato. "Territoriality and Space Among the Hupd'ah and Tukano of the River Uaupés Basin." Estudios Latinoamericanos 23 (December 31, 2003): 5–30. http://dx.doi.org/10.36447/estudios2003.v23.art1.
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Short description (adapted from the Text):
The aim of this text is to present a vision of the territorial occupation of the indigenous groups that live in the Uaupés Basin, focusing on inter-ethnic relations and the models of spatial occupation of the Maku and Tukanoan (Oriental) indigenous groups that inhabit this region. The idea of this exercise is to indicate elements for a possible analysis of the concept of territoriality used by the Indians that live in this region. The basic of this work is the hypotheses on the indigenous presence in the Uaupés basin, presented by Nimuendajú and which an, albeit with a number reservations, accepted by the majority of the anthropologists working in this part of the Amazon. Ideally, archeological studies would be made to prove these hypotheses, but both the mythology and the oral tradition of these populations appear to ratify them. (…)
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Chinchilla Sánchez, Kattia. "La tradición mítica del hermafrodito o andrógino en la antigüedad y la edad media." Revista de Filología y Lingüística de la Universidad de Costa Rica 21, no. 1 (August 30, 2015): 17. http://dx.doi.org/10.15517/rfl.v21i1.20260.
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Según la mitología griega, Hermaphroditus era hijo de Hermes y Afrodita, de ahi su nombre. En el conocimiento mítico este dios unifica los niveles opuestos de sexo: masculino y femenino. La manifestación andrógino, que nace de los griegos en Occidente, se extiende hasta nuestros días, pasando a formar de la alquimia. En este artículo analizamos el fenómeno de hermafroditismo simbólico, la génesis oriental del dios y su culto en el contexto griego y latino, el andrógino en el judaísmo y el cristianismo. Por lo tanto, vamos a ver cómo el andrógino no es una forma excéntrica, pero, en cierta medida, vive con nosotros como una convivencia (sexual, moral, espiritual y psíquica), porque somos oriatures dialécticas que aglutinan y asimilan la "coincidencia de los opuestos ".According to Greek mythology, Hermaphroditus was the son of Hermes and Aphrodite, so his name. In the mythic knowledge this god unifies the opposite levels of sex: masculine and feminine. The androgyne manifestation, born from the Greeks in Occident, is extended until our days, passing to form of alchemy. In this article we analize the phenomena of symbolic hermaphroditism, the oriental genesis of the god and its cult in the greek and latin context, the androgyne in the Judaism and Christianism. Therefore, we will see how the androgyne isn't a eccentric form but, in certain measure, lives with us like a coexistence (sexual, moral, spiritual and psychic), because we are dialectical oriatures that agglutinate and assimilate the "coincidence of the opposites".
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Cuesta Torre, María Luzdivina. "Más sobre los orígenes y fuentes de la materia referida a Tristán." Estudios Humanísticos. Filología, no. 16 (December 1, 1994): 27. http://dx.doi.org/10.18002/ehf.v0i16.4220.
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<p>Este artículo completa otro anterior en el que se consideraban los problemas del arquetipo de Tristán e Iseo y la relación de esta leyenda con elementos de la cultura celta y con la novela persa Wïs y Räimïn. En esta continuación se comentan otras relaciones entre la materia relativa a Tristán y diversos elementos procedentes de Oriente, del folclore universal, de la mitología clásica y de la misma sociedad contemporánea a las primeras versiones escritas de la leyenda. Del examen de todos estos materiales se concluye que la historia de Tristán e Iseo surge como conglomerado de diferentes fuentes y tradiciones.</p><p>This article completes another one in which problems about the archetype and Celtic origins of Tristan legend have been treated. Now we discusses relationships among Tristan and several elements from Oriental culture, universal folklore, classical mythology and contemporaneous society. Tristan's legend is the result of the intermingling of all them.</p>
Dissertations / Theses on the topic "Mythologie orientale"
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Zaleski, Valérie. "Les êtres animés dans les décors de stuc du royaume d'Ayuthayā." Paris 4, 2006. http://www.theses.fr/2007PA040104.
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Un rappel des données utiles (échanges entre Ayuthayā et ses voisins, conclusions des historiens d’art et informations brutes livrées par les sources sur les wat) précède une description critique du décor des wat, mais aussi des vestiges à la lisière géographique ou historique du royaume, relevant des styles de Lopburī (mais restaurés après), d’Ū Thōng, de Thonburī, ou du Lān Nā. L’étude des êtres animés (Buddha, thevadā et créatures mineures de la mythologie : nāga, makara, hamsa, garuda. . . ), compliquée par le manque de données sur le bouddhisme et l’iconographie, les mutilations, la fragilité du matériau et sa facilité de facture, autorisant superposition de couches et de styles, combine typologie et situation des figures et s’appesantit sur celles non encore étudiées. Elle reflète bien l’intégration des traditions khmère, cinghalaise, de Sukhōthaï et du Lān Nā, mêlées au substrat môn, et manifeste l’importance de la cosmologie décrite par le Traïphūm, matérialisée sur les sanctuaires par les thēphanom. Tant certaines images du Buddha que celles de divinités dénotent de liens avec le Lān Nā, mais les images du Buddha au bras ramené contre la poitrine, figurées jusqu’à la fin du XVIIe siècle, auraient perpétué un trait iconographique ancien, antérieur à l’établissement de l’orthodoxie cinghalaise et refléteraient l’importance, soulignée par les études philologiques, du môn en Asie du Sud-est pré-cinghalaise. Le problème des décors attribués tantôt au XVIIe siècle ou au XVIIIe siècle, touchant les wat Laï, Phāï Lōm, Chulāmanī, Nakhorn Kōsā, Tawet, Chœng Thā ou Thammiarāt, a aussi été abordé, de même que la tendance à la désincarnation ou « végétalisation » des figuresBefore describing wats, including some on the edge of the historical or the geographical field of the Ayuthayā Kingdom, from the so-called Lopburī, Ayōthayā, Thonburī, or Lān Nā styles in the Siamese realm, we recall useful datas (history of the relationship between Ayuthayā and it’s neighbourgs, periodization previously given by historians of art and raw informations about wats in the chronicles). The study of animated beings (Buddha, thevadā or minor beings in the cosmology as nāga, makara, hamsa, garuda. . . ) is paying much attention to those yet unstudied and combines their typology and their situation, but was quite complicated by the lack of data concerning buddhism and iconography, as well as by the ruins of the remains and the peculiarity of the stucco, allowing layers of different styles. It reflects how different traditions from Khmer, Sinhalese, Sukhōthai and Lān Nā arts were integrated to a Mōn heritage, and, with the thēphanom, to which extent the buddhist cosmology given by the Traiphūm has been an essential component of religious architecture. While some Buddha images and deities reveal an influence from Lān Nā, other Buddha images with the arm against the chest, shown till the end of the XVIIth century might reveal an old character, prior to the establishement of the Sinhalese orthodoxy, which could show the importance of Mōn as has been stressed by other studies on Southesat Asia. The matter of the decoration of some wats such as Wat Laï, Wat Phāï Lōm, Wat Chulāmanī, Wat Nakhorn Kōsā, Wat Tawet, Wat Chœng Thā. . . Belonging either to the XVIIth or to the XVIIIth century has also been stressed here, as well as the tendancy of the beings to get “vegetalized”
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Balbir, Nalini. "Etudes d'exegese jaina : les avasyaka." Paris 3, 1986. http://www.theses.fr/1986PA030074.
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On appelle avasyaka les six actes religieux "obligatoires" auxquels doivent se soumettre religieux et laics jaina. Le bref livre ou ils se trouvent exposes a ete le point de depart d'une abondante litterature de commentaires: les avasyaka. Edites en inde au debut du siecle, ces textes sont restes largement inexploites malgre leur importance reconnue par plus d'un savant. Leur etude se justifie donc. Elle se veut d'abord philologique, et se compose de trois volumes. Volume 1 (pp. 1-585). L'introduction decrit le corpus choisi (la niryukti, la curni et deux tika), envisage les problemes du recit, moyen essentiel de la predication dans ces textes,et inclut un tableau synoptique de l'ensemble de la niryukti. Le corps de l'etude se divise en deux parties. La premiere ("methodes et sujets de l'exegese") comprend cinq chapitres et procede a l'edition critique ou a l'analyse de portions selectionnees: 1. Les methodes de l'exegese litterale: description et recensement des procedes formels (etymologie, synonymie. . . ); 2. Excroissance de l'exegese: l'histoire universelle, i. E. La mythologie jaina,et surtout les premier et dernier jina: examen d'episodes significatifs et de la structure de la description; 3. L'exegese encyclopedique: deux topiques (themes empruntes a la tradition anterieure); 4. Traitement des materiaux canoniques dans le corpus; 5. La discipline, matiere a exegese (le repentir; les entraves a la perfection des actes rituels les causes de suspension de l'etude du texte sacre). Volume 2. (pp. 586-976): seconde partie: "le narratif, instrument de l'exegese". Etude des formes narratives et des modalites de leur insertion; traductions et resumes nombreux. Volume 3: annexes (pp. 1*-111*): a. Repertoire des faits grammaticaux remarquables. B. Glossaires et index des comparaisons. C. Metres de la niryukti. D. Noms d'ouvrages cites dans la curni. E. Bibliographie des travaux d'ernst leumannThe present work deals with jaina exegetical literature as exemplified by the cluster of texts which has grown around the avasyakasutra expounding the six "necessary" religious duties of the monk or the layman. Though they have been edited in india, these books still need to be studied carefully. The dissertation has three volumes. Volume 1 (pp. 1-585) contains an introduction describing the four main commentaries. It includes a complete survey of the niryukti and an overview about the narratives which have a prominent place in these works. The first part of the study is divided into five chapters. It focusses on the methods and themes implied by the exegesis through the detailed study of selected parts of the texts. 1. Methods implying literal explanations of important notions (etymology, synonymic collocation); 2. Jaina mythology set in the frame of scolastics. 3. Study of two common places of a general purport for jaina ethics. 4. Treatment of inherited canonical material in the prose commentaries. 5. Commentaries on subjects connected with various religious exercises. Volume 2 (pp. 586976) contains the second part which exclusively focusses on narrative material and mainly includes translations or summaries of stories in order to show how they are inserted within the dogmatical frame. Volume 3: (pp. 1*-111*) appendices: a. List of remarkable grammatical features. B. Glossaries and index of comparisons. C. Metres of the niryukti. D. Names of works quoted in the curni. E. Bibliography of ernst leumann's works
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Mesquita, Fábio Luiz de Almeida. "Schopenhauer e a Índia: apropriações e influências da Asiatisches Magazin, Mythologie des lndous e Asiatick Researches no período de gênese da filosofia schopenhaueriana." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-04092018-095517/.
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Este estudo analisa a presença, apropriação e influência da Índia no período de gênese da filosofia de Schopenhauer (1811-1818). De modo a sustentar tal tese, este trabalho buscou conjurar rigor histórico e filosófico. Os materiais históricos analisados são três obras consultadas pelo filósofo e que foram tomadas de empréstimo nas bibliotecas de Weimar e de Dresden, entre os anos de 1813 a 1816: Asiatisches Magazin (dois volumes), Mythologie des Indous (dois volumes) e Asiatick Researches (os nove primeiros volumes). Nelas estão presentes conceitos indianos importantes para Schopenhauer, por exemplo: Māyā, Brahman, Ātman, Brahmā, Viṣṇu, Śiva, liṅgaṃ, saṁnyāsins, Buddha, Tat tvam asi, metempsicose, nirvāṇa, dentre outros. Conceitos igualmente presentes nos Manuscritos schopenhauerianos, assim como em sua obra capital, O mundo como vontade e representação, publicada em 1818. O objetivo é demonstrar que a \"Índia schopenhaueriana\" se fez a partir de contribuições para além da obra Oupnek\'hat (Upani?ads). De fato, como se buscou evidenciar, as três obras aqui analisadas foram fundamentais para o entendimento adquirido pelo filósofo acerca do hinduísmo e budismo.This study analyzes the presence, appropriation and influence of India in the period of genesis of the Schopenhauer\'s philosophy (1811-1818). In order to sustain such a thesis, this work tries to develop a rigorous analyzis, both philosophic and historic. The historical materials analyzed here are three works consulted by the philosopher and borrowed from the libraries of Weimar and Dresden between 1813 and 1816: Asiatisches Magazin (two volumes), Mythologie des Indous (two volumes) and Asiatick Researches (the first nine volumes). In them it can be found important Indian concepts to Schopenhauer, such as Māyā, Brahman, Ātman, Brahmā, Viṣṇu, Śiva, liṅgaṃ, saṁnyāsins, Buddha, Tat tvam asi, metempsicose, nirvāṇa, among others. Concepts that are present in the Schopenhauerian Manuscripts, as well as in his capital work, The World as Will and Representation, published in 1818. My goal is to demonstrate that the \"Schopenhauerian India\" was built upon contributions that transcendend those he obtained from the Oupnek\'hat (Upani?ads). Indeed, as I will try to prove, these three works on India were fundamental to the understanding acquired by the philosopher about Hinduism and Buddhism.
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West, David Reid. "Some cults of Greek goddesses and female daemons of oriental origin : especially in relation to the mythology of goddesses and demons in the Semitic world." Thesis, University of Glasgow, 1990. http://theses.gla.ac.uk/1263/.
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In Chapter One we discuss the evidence for Mycenaean trade and colonisation in the Orient, and for oriental trade and colonisation in the Aegean and Greece. We begin with such subjects as archaeological artefacts, artistic motifs and styles of architecture, then consider the linguistic evidence, such as toponyms, personal names and the LA tablets. The evidence for contact is overwhelming. In Chapter Two we consider the evidence for Semitic motifs in the iconography, mythology and names of Greek goddesses connected with nature. Thus Semitic influence is clear in the case of Artemis and Rhea as lion-goddesses, Britomartis as a `Mistress of the Beasts', Leto as a goddess of the sacred palm, and Demeter as a mare-goddess. Reha seems to be partly Anatolian. Chapter Three is concerned with the goddess Athena and other avian daemons. We begin (Section A) by discussing the oriental origins of Athena's owl, snake, aegis and Gorgon, relying mainly upon the evidence of iconography. Then (Section B) we consider three epithets of Athena which seem very Semitic. Finally (Section C) we discuss the sirens, which are avian demonesses somewhat reminiscent of Athena's chthonian character. In Chapter Four we first analyse (Section A) as much of the character of the goddess Hekate as possible, in both iconography and literature. It is clear that Hekate is a very demonic goddess. Then (Section B) we discuss various theories concerning the origin of Hekate. The Anatolian theories in particular are unconvincing. The Semitic origin of Hekate is tested (Section C) with reference to the character and motifs of both E-S and W-S demons and demonesses. It is concluded that Hekate is an evolute of Lamashtu. Finally (Section D) other Greek chthonian daemons (e.g. Mormo, Empousa, Gello) are compared with both Hekate and Lamashtu. Some (e.g. Mormo, Empousa) are Greek daemons with Semitic motifs in their characters. We conclude that Lamia is another evolute of Lamashtu, and that Gello is derived from the Mesopotamian Gallu demon.
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Veillon, Charlène. "Mythes personnels et mythes pluriels dans l'oeuvre de Kimiko Yoshida : une esthétique de l'entre-deux, 1995-2012." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010510.
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L'œuvre principalement photographique de Kimiko Yoshida (née le 23 juin 1963 au Japon et installée en France depuis 1995) se fonde sur la création de « mythes» à travers ses autoportraits. Les « mythes du Photographe» à l'origine des « fonctions» de son œuvre - visant entre autres à « informer, représenter, surprendre, faire signifier, donner envie» selon Roland Barthes dans La chambre claire - trouvent leurs sources dans la société, la culture, l'époque auxquelles l'artiste appartient et par conséquent également dans ce qui touche à la singularité de la personnalité, du vécu, de l'histoire à l'échelle intime de celui-ci. De fait, le titre général de cette étude énonce une quête des « mythes personnels et pluriels dans l'œuvre de Kimiko Yoshida », dont le thème de « rentre-deux» constitue la posture esthétique majeure, l'artiste et son œuvre se trouvant entre Japon et Occident, entre figuration et abstraction, entre réalité et fiction, entre citation et transgression. Ce discours fictionnel par l'image et dans l'image subit différentes métamorphoses qui forment les quatre axes fondateurs de la thèse, à savoir l'entre-deux particulier du « personnage conceptuel» défini par Gilles Deleuze et Félix Guattari dans Qu'est-ce que la philosophie / appliqué à la « signature» Kimiko Yoshida : l'étude d'un entre-deux géographique et culturel définissant un « syncrétisme» artistique singulier: les illustrations des différentes dimensions spatio-temporelles perceptibles dans l ' œuvre de Kimiko Yoshida, notamment à travers les (enjeux des couleurs des images : et l'interrogation concernant la place du sujet à l'image, entre trace et absenceThe work of Kimiko Yoshida (born on June 23rd, 1963, in Japan and living in France since 1995), mainly based on photography, is founded on the creation of « myths ». This study is about searching, defining and analysing the « functions » of Kimiko Yoshida's self-portraits. The « myths of the Photographer », at the origins of her work's functions - aiming. amongst others, to « inform, represent, surprise, signify, create desire» according to Roland Barthes' Camera Lucida - are rooted in the society, the culture and the time the artist belongs to, and as a consequence also in the singularity of his/her personality, experience, and intimate story. Thus, the general title of this study brings forwards a research of « personal and plural myths in Kimiko Yoshida's work of art», whose topic of the « in-between » is the main aesthetic position, the artist and her work situated between Japan and the West between representation and abstraction, between reality and fiction, between quotation and transgression. The fictional speech through and in the image undergoes several transformations which make up the four founding lines of this thesis, that is to say the distinctive in-between of the « conceptual character » defined by Gilles Deleuze and Félix Guattari in Whut is Philosophy ) applied to Kirniko Yoshida's name : the study of a geographical and cultural in-between defining a singular artistic « syncretism » : the illustrations of the several perceptible space-time dimensions in Kimiko Yoshida's work, notably through the games/aims of the images' colours : and the questioning about the subject in the image, between trace and absence
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Ting, MingChiao, and 丁明巧. "The Interpretation of the Oriental mythology in painting-The Description of Creation by Ming-Chiao Ting." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/89444691903047679509.
Full textAbstract:
碩士國立臺中教育大學
美術學系碩士班
100
Art creation is a combination of imagination and reality as well as an interweaving of fantasy and truth. I made use of academic painting style and took myths as the symbolic element of my work for the interpretation and allusion of modern social phenomenon. Arranging the ideas strategically and incorporating the concept of heroism in my painting, which reflects the conflicts and contradictions of the times and embodies the life value and true essence of humanity. This painting research has drawn knowledge from Chinese folklore and fairy tales, analyzed Western literature and painting schools and interpreted the classical and romantic feelings of oriental myth as expressed in the artworks. To sum up, this study narrates the motivation and purpose of personal creation and research in Chapter I, so as to illustrate the methods, procedures and research scope of this paper. The analysis is mainly based on the spiritual connotation of the myth, heroic personality, ideologist's academic opinions as well as art schools in terms of theoretical basis. Chapter II explores the social human spirit and life philosophy conveyed behind the myths and legends from the ideals of new classicalism, the emotion of romanticism and classical aesthetics in order to establish their own theoretical foundation for creation. Chapter III discusses one by one the creative forms and creative research subjects by reviewing literature. The theme is explained by three parts, namely the quest for a hero, men and women of the times and fear of doomsday. Chapter IV interprets "Oriental myth", analyzing creation motivation, content and form of seven works, interpreting media and techniques used in the creative process. Chapter VI provides a conclusion that the knowledge obtained by the researcher through my four-year study may serve as a reference for future artistic creations expecting to imbue them with more boldness.
Books on the topic "Mythologie orientale"
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The encyclopaedia of Middle Eastern mythology and religion. Shaftesbury, Dorset: Element, 1993.
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Le ciel en Polynésie: Essai d'ethnoastronomie en Polynésie orientale. Paris: Harmattan, 2005.
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Tempesta, Alessandra. Le raffigurazioni mitologiche sulla ceramica greco-orientale arcaica. Roma: G. Bretschneider, 1998.
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Chong-ju, Yi, ed. Wae uri sinhwa inʾga: Tongbuga sinhwa ŭi ppuri, "Chʻŏnʾgung taejŏn" kwa uri sinhwa. Sŏul-si: Tong Asia, 1999.
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Dwight, Whitney William. Oriental and linguistic studies. Delhi, India: Sri Satguru Publications, 1987.
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Moreau, Marie-Christine. Nouvelles orientales, ou, L'actualité du mythe. Toulouse: CRDP Midi-Pyrénées, 1995.
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Brahma in the West: William Blake and the Oriental renaissance. Albany, NY: State University of New York Press, 2003.
Find full textBook chapters on the topic "Mythologie orientale"
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Lambrichs, Louise L. "Mythologies nationales, déni collectif, mécanisme de répétition et travail de mémoire. La guerre en ex-Yougoslavie comme cas d’école." In Mémoire et histoire en Europe centrale et orientale, 281–88. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.104783.
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