Academic literature on the topic 'Onirism'
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Journal articles on the topic "Onirism"
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Nawrot, Jolanta. "Bronisław Maj – poeta oniryczny?" Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 5 (May 14, 2018): 128–44. http://dx.doi.org/10.24917/23534583.5.10.
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Bronisław Maj – oneiric poet? The article is an attempt to the characteristic of poetry written by Bronisław Maj, with the release of her dreamlike dimension. Dream in poems of this contemporary Krakow poet acts as cognitive function. It is also associated with figures of fatigue and breathing, characteristic for the creators of New Wave. In addtion, on May’s onirism affects a free use of the literary tradition of genres such as an epiphany, an elegy and a threnody. The authoress of the article interprets and analyzes the poems from a selection of poems titled Elegies, threnodies, dreams (2003), keeping its compositional order. She comes to the conclusion that the onirsism in the works of Bronisław Maj results from the deep, methaphysical relations to the reality, it hasn’t got the nature of the vision.
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Knežević, Jasmina. "Laza Kostić: Corypheus of onirism of Serbian romanticism literature." Bastina, no. 44 (2018): 25–53. http://dx.doi.org/10.5937/bastina1844025k.
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Kafure da Rocha, Gabriel, and Cleidimara Silva Madeira. "A metapoética do sonho em Bachelard: uma possibilidade hermenêutica das imagens do ar." Hermenéutica Intercultural, no. 28 (January 2, 2018): 83. http://dx.doi.org/10.29344/07196504.28.1057.
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ResumenEl presente trabajo busca examinar el problema de una hermenéutica en Bachelard, por medio de la lectura del texto El Aire y los Sueños. En ese sentido, se trabajará sobre la perspectiva de que si es posible una hermenéutica, cuáles son las relaciones de ruptura y continuidad que ese saber tiene con el hermetismo y posteriormente con la fenomenología. Así, se pretende entender los límites y los márgenes que tal interpretación puede dinamizar en términos de la imaginación simbólica en relación a los sueños aéreos descritos por el filósofo.Palabras clave: indeterminismo – onirismo – ánima – imaginario - Me- tapoéticaAbstractThis present work proposes to examine the problem of a hermeneutics in Bachelard by reading the text Air and Dreams. In this sense, we will work from the perspective that if an hermeneutic is possible, what are the relations of rupture and continuity that this knowledge has with her- metism and later with phenomenology. Thus, we intend to understandthe limits and the margins that such an interpretation can dynamize in terms of the symbolic imagination and in relation to the aerial dreams described by the philosopher.Keywords: Indeterminism - onirism - anima - imaginary – methapoeticsResumoO presente trabalho se propõe a examinar o problema de uma hermenêutica em Bachelard, por meio da leitura do texto O ar e os sonhos. Nesse sentido, iremos trabalhar sob a perspectiva de que se é possível uma hermenêutica, quais as relações de ruptura e continuidade que esse saber tem com o hermetismo e posteriormente com a fenomenologia. Assim, pretendemos entender os limites e as margens que tal interpretação pode dinamizar em termos da imaginação simbólica em relação aos sonhos aéreos descritos pelo filósofo.Palavras-chave: indeterminismo – onirismo – anima – imaginário - metapoética
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Chomiszczak, Tomasz. "„Nic dobrego”? Kilka uwag o próbach prozatorskich Zdzisława Beksińskiego." Poznańskie Studia Polonistyczne. Seria Literacka, no. 28 (February 19, 2017): 273–80. http://dx.doi.org/10.14746/pspsl.2016.28.14.
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The article concerns with still not well-known part of the artistic work of Zdzisław Beksiński (a famous photographer, painter and graphic designer). In the 1960s the artist was occupied with literature as well. He wrote short prose which reflected many modern literary fashions and trends, and even anticipated some of them. In his literary works Beksiński was especially influenced by the suggestive aesthetics of the onirism, geometric architecture, and anti-Utopian novels. Sometimes, his narration refers to modern pop culture: the technique of film or the convention of comic strips; what is more, he applies the style of commercials and propaganda slogans. The artist from Sanok also adored writing different variations of the same story which let him play with various genres and plots. But, whatever he did, it was all about the construction, the form. His literary texts record their narrator’s consciousness in a minimalist way, without any traditional literary frills. Therefore Beksiński unconsciously realized the idea postulated at the same time by Cortazar: each prose work should not be a “sum”, but rather a kind of “difference”. This prose substantially complements our knowledge of the whole art of Beksiński, a natural genius, and remains another alternative part of his creative activities.
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Asghar, Syeda Farina, Habib-ur-Rehman, Atta-ur-Rahman, and M. Iqbal Choudhary. "Phytochemical investigations onIris germanica." Natural Product Research 24, no. 2 (January 20, 2010): 131–39. http://dx.doi.org/10.1080/14786410802435950.
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Pépin, Jean Louis, Nathalie Raymond, Olivier Lacaze, Nathalie Aisenberg, Jérôme Forcioli, Eric Bonte, Arnaud Bourdin, Sandrine Launois, Renaud Tamisier, and Nicolas Molinari. "Heat-moulded versus custom-made mandibular advancement devices for obstructive sleep apnoea: a randomised non-inferiority trial." Thorax 74, no. 7 (May 3, 2019): 667–74. http://dx.doi.org/10.1136/thoraxjnl-2018-212726.
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RationaleCustom-made mandibular advancement devices (MADs) are reported as providing higher efficacy rates compared with thermoplastic heat-moulded MADs but at the price of higher costs and treatment delays.ObjectiveTo determine whether a thermoplastic heat-moulded titratable MAD (ONIRIS; ONIRIS SAS, Rueil Malmaison, France) is non-inferior to a custom-made acrylic titratable MAD (TALI; ONIRIS SAS, Rueil Malmaison, France) for obstructive sleep apnoea (OSA).MethodsWe conducted a multicentre, open, randomised controlled trial of patients with OSA refusing or not tolerating continuous positive airway pressure (CPAP). Participants were randomly assigned to a thermoplastic heat-moulded titratable device or a custom-made acrylic device for 2 months with stratification by centre and OSA severity. The non-inferiority primary outcome was a ≥50% reduction in apnoea–hypopnoea index (AHI) or achieving AHI <10 events/hour at 2 months. The non-inferiority margin was preset as a difference between groups of 20% for the primary outcome in the per-protocol analysis.Main resultsOf 198 patients (mean age 51 [SD, 12] years; 138 [72.6%] men; mean body mass index 26 [SD, 2.7] kg/m2; mean AHI 26.6/hour [SD, 10.4]), 100 received TALI and 98 ONIRIS. In per-protocol analysis, the response rate was 51.7% in the TALI group versus 53.6% in the ONIRIS group (absolute difference 1.9%; 90% CI: 11% to 15%, within the non-inferiority margin). Effectiveness was the same for severity, symptoms, quality of life and blood pressure reduction. Patients in ONIRIS group reported more side effects and adherence was slightly better with TALI.ConclusionIn patients with OSA refusing or not tolerating CPAP, the thermoplastic heat-moulded titratable MAD was non-inferior in the short-term to the custom-made acrylic MAD.Trial registration numberNCT02348970.
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Poliakow, Oleg. "Rêve-éveillé, onirisme et hypnose." Imaginaire & Inconscient 34, no. 2 (2014): 67. http://dx.doi.org/10.3917/imin.034.0067.
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Dos Santos, Agathe. "Le plan Voisin, entre ruines et onirisme." LC. Revue de recherches sur Le Corbusier 1, no. 1 (March 31, 2020): 85. http://dx.doi.org/10.4995/lc.2020.13375.
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El artista se pregunta cómo trasladar la utopía de un proyecto urbano soñado a una ruina muy real, la de los escombros de la ciudad de Dresde, al día siguiente de la Segunda Guerra Mundial. A través del tratamiento plástico, Dos Santos piensa en la representación del proyecto arquitectónico o urbano a través de recuerdos, reales o ficticios. Evoca, a través de su trabajo como artista, la diferencia entre el proyecto pensado, esbozado y su realización, pero también los vestigios del tiempo.
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Foye, Shane, and Shawn A. Steffan. "A Rare, Recently Discovered Nematode, Oscheius onirici (Rhabditida: Rhabditidae), Kills Drosophila suzukii (Diptera: Drosophilidae) Within Fruit." Journal of Economic Entomology 113, no. 2 (January 14, 2020): 1047–51. http://dx.doi.org/10.1093/jee/toz365.
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Abstract The spotted-wing drosophila, Drosophila suzukii Matsumura, is an exotic species in North America and represents a major threat to fruit production. Efforts to manage D. suzukii have focused primarily on insecticides, but such controls may, at times, be unreliable, given that D. suzukii larvae are often ensconced within fruit. The fruit interior, however, may represent suitable foraging substrates for carnivorous/entomopathogenic nematodes. In preliminary trials, a rare nematode species, Oscheius onirici Torrini et al., was shown to be highly virulent against D. suzukii when the nematodes were applied directly to fly larvae. To address the more important question of whether this nematode would be as virulent when applied to fruit, we set up assays in which blueberries were infested with D. suzukii larvae and then sprayed with O. onirici infective juveniles (IJs). Across two laboratory trials, O. onirici IJs suppressed D. suzukii puparia by 78.2%. Oscheius onirici IJs were able to search effectively within fruit substrates, find the fly larvae therein, and kill the flies before they could pupariate. Oscheius onirici, therefore, may represent a viable new bio-control agent for D. suzukii management and should be field-tested across a broader diversity of cropping systems.
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Saint Girons, Baldine. "Il principio marino del barocco. Sensualità, onirismo, provocazione." Rivista di estetica, no. 58 (April 1, 2015): 46–62. http://dx.doi.org/10.4000/estetica.384.
Full textDissertations / Theses on the topic "Onirism"
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Beaugé-Rosier, Jacqueline. "Onirisme et historicité." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq20902.pdf.
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Beaugé-Rosier, Marie Josephine Jacqueline. "Onirisme et historicité." Thesis, University of Ottawa (Canada), 1997. http://hdl.handle.net/10393/10098.
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Sjöblom, Matilda. "Greta Knutson och surrealismen : en studie av Greta Knutsons senare stilperiod utifrån verken La Surprise, Feu dans la maison och Det stulna brevet." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-26302.
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Denna uppsats undersöker hur den svenska konstnären Greta Knutson historiskt sett har kanoniserats i relation till sitt förhållande med den kände dadaisten Tristan Tzara och den franska surrealiströrelsen under 1920- och 1930-talet. Knutson hade en lång och produktiv karriär och uppsatsens intention är att flytta fokus från de tidiga dagarna i Paris med surrealisterna till hennes senare konstnärliga period, räknad från slutet på 1960-talet fram till hennes död 1983. Min tes är att en radikal stilförändring då skedde till ett, paradoxalt nog, mer surrealistisk konstnärligt uttryck. Med hjälp av Griselda Pollock och det teoretiska begreppet ”kanonisering” ifrågasätts varför denna senare period i stort har gått förbi konsthistorien och hur Knutsons relation till surrealismen sett ut. Genom en formalistisk analys presenteras därefter verken La Surprise, Feu dans la maison och Det stulna brevet, vilka är representativa för Knutsons senare konstnärliga period.This essay examines how Swedish born artist Greta Knutson has been historically canonised in reference to her relationship with the famous Dadaist Tristan Tzara and the French surrealist movement of the 1920’s and 1930’s. Knutson had a long and productive career and the overall purpose of my essay is to change focus from the early days in Paris with the Surrealists into her later artistic period, counted from the late 1960’s until her death in 1983. It is claimed here that she then made a radical change of style into, paradoxically, a more surrealistic artistic expression. Through Griselda Pollock and the term “canonisation” I’m exploring and questioning why Knutson’s later career has gone unnoticed in art history and I’m also looking at Knutson’s relation to surrealism. Through a formalistic analysis the artworks La Surprise, Feu dans la maison and Det stulna brevet are presented, which are representative for Knutson’s later artistic period.
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Kamoun, Sélima. "Apollinaire et Paris : de la ville vécue à la ville phantasmée." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA008.
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La rencontre de Guillaume Apollinaire avec Paris a été déterminante dans la vie du poète, tant sur le plan intellectuel qu'existentiel. Dans son œuvre où elle occupe une place de choix, la capitale française ne représente pas seulement un lieu de vie mais une source d'inspiration et d'écriture extrêmement féconde. Bien qu’héritée de toute une tradition littéraire de la ville qui s’est développée au XIXe siècle, la poésie apollinarienne de Paris est conçue sur le mode de l’« esprit nouveau » qui accompagne la naissance d’une ère placée sous le signe de la découverte et du progrès, et s’intègre aux recherches esthétiques des avant-gardes artistiques et littéraires caractérisées par l’audace et le goût de l’aventure. Entre tradition et invention, le Paris d’Apollinaire n’est pas seulement celui du « Pont Mirabeau » et de « Lettre-Océan » qui, d’Alcools à Calligrammes, témoigne d’une volonté de s’affranchir de certains « modèles » et de créer une poésie libre de toutes contraintes qui dit le « réel » en empruntant les voies de l’imaginaire, c’est aussi la capitale fascinée de l’infatigable « flâneur des deux rives », ou insolite et secrète du guide passionné ; c’est encore la ville subjective et mentale du « guetteur mélancolique » confronté à son passé douloureux, ou aux prises avec le monde moderne ; c’est, enfin, la ville rêvée et phantasmée de « l’enchanteur » des ponts et des noms de ParisGuillaume Apollinaire's encounter with Paris was a decisive event in the poet's life, both intellectually and existentially. In his artwork where Paris occupies a place of choice, the French capital does not only represent a place of life but a source of inspiration and extremely fertile writing. Although inherited from an entire literary tradition of the city that developed in the nineteenth century, Parisian apollinarian poetry is conceived on the mode of the "new spirit" that accompanies the birth of an era under the sign discovery and progress, and integrates with the aesthetic research of artistic and literary avant-gardes characterized by daring and the taste of adventure. Between tradition and invention, the Paris of Apollinaire is not only that of the "Mirabeau Bridge" and "Letter-Ocean" which, from Alcools to Calligrammes, demonstrates a desire to get rid of certain "models" and to create a poetry free of all constraints that says the "real" by borrowing the ways of the imaginary. Paris is moreover the fascinating capital of the tireless "stroller of both banks", or of the unusual, surreptitious and passionate guide; It is also the biased and cerebral city of the "melancholy watchman" confronted with his painful past, or grappling with the modern world. Paris is, finally, the dreamed and phantasmatized city of the "charmer" of the bridges and of the names of Paris
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Di, Santo Prada Sara Emilia. "Dino Buzzati et Claude Louis-Combet entre la chair et l'âme." Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1004/document.
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Dans le cadre d’une étude comparatiste, ce travail vise à analyser, en les rapprochant pour la première fois, les univers créatifs de l’écrivain italien Dino Buzzati (1906 – 1972) et de son confrère français Claude Louis-Combet (1932 –), selon la dualité chair et âme, qui est une constante de leur oeuvre respective. Les deux auteurs, par le biais de l’autobiographie romancée, de la réélaboration mythique, comme d’une vision originale de l’art figuratif, ont exprimé une sensibilité et un imaginaire étonnamment proches. Ils auront été accompagnés par des figures légendaires et des amis artistes, afin de guider le lecteur vers la dimension fantasmatique et mystique de son inconscientAs part of a comparative study, this work aims to analyze, by bringing them together for the first time, the creative worlds of the Italian writer Dino Buzzati (1906 – 1972) and his French colleague Claude Louis-Combet (1932 –), according to the flesh and soul duality, which is a constant in their works. Both authors, through the fictionalized autobiography, the mythology reworking, as an original vision of figurative art, expressed sensitivity and imagination surprisingly close. They have been accompanied by legendary figures and fellow artists, to guide the reader into the mystical and fantasy dimension of his unconscious
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Bui, Thi Thu Thuy. "La crise de l’exil chez Linda Lê : l’itinéraire du deuil dans la trilogie consacrée à la mort du père." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20024.
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L’exil et le deuil, en relation dialectique, sont très présents dans l’œuvre sombre et peuplée de personnages misanthropes de Linda Lê. La trilogie est nourrie par le traumatisme de la perte du père, du pays et de la langue. La question de la langue affecte profondément l’écrivaine. En effet, son abandon voulu de la langue natale pour celle du pays d’adoption engendre un sentiment de trahison. A partir de son exil du langage, Linda Lê construit un langage de l’exil : celui de l’obscurité, du trouble, de la crise, aggravée par la mort du père abandonné. L’écriture lui est une nécessité pour faire le deuil et un pharmakon contre la folie. Hétérogène dans leur forme, chacun des livres de la trilogie correspond à une étape du deuil. Homogène dans le fond, ils représentent différents aspects de la quête du père. Imprégnée du vécu de l’auteure, la trilogie est néanmoins une œuvre de fiction avec une part d’extravagance et d’onirisme. La construction du récit reflète donc une indécision générique, marquée par la cohérence entre mémoire et imagination, conscient et inconscient. De plus, la trilogie témoigne d’une dualité culturelle : un pan tourné vers le passé vietnamien et l’autre vers le présent européen. Enfin, la dualité sentimentale entre amour et colère fait apparaître une idéologie très lêesque, apparemment paradoxale mais en réalité logique et philosophique : la vie naît de la mort, la mort est cachée au sein de la vieExile and mourning, in dialectical relation, are of paramount importance in Linda Lê’s books which are populated by misanthropic characters. The trilogy is nourished by the traumatic loss of the father, the country and the language. The writer is deeply affected by the issue of the language. In fact, she deliberately abandoned her native tongue for that of her adopted country thus generating a feeling of betrayal. From her “exile of language”, Linda Lê constructs a “language of exile”: one of obscurity, of confusion, of crisis, aggravated by the death of her abandoned father. Writing is necessary for her in order to go through mourning and is a pharmakon against madness. Heterogeneous in their form, each book of the trilogy corresponds to one stage of grief. Homogeneous in their substance, they represent the different aspects of the father’s quest. Steeped in the personal experience of the author, the trilogy is nevertheless a work of fiction with a part of extravagance and onirism. The construction of the story also reflects the generic indecision, marked by the coherence between memory and imagination, conscious and unconscious. In addition, the trilogy is a testimony to a cultural duality with the Vietnamese past on the one hand and the European present on the other. Finally, the sentimental duality between love and anger is a mark of the “lê-esque” ideology: paradoxical in appearance but logical and philosophical in reality: life is born from death and death is hidden within life
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Bako, Burada Alina Ioana. "Dinamica imaginarului poetic : grupul oniric românesc." Bordeaux 3, 2009. http://www.theses.fr/2009BOR30057.
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On a fait une présentation purement théorique qui nous a aidé à trouver les instruments pour connaître le groupe d’écrivains roumains étudiés. Les chapitres introductifs ont éclairci la notion d’image onirique par rapport à l’image en général, et ensuite au rêve et à la rêverie. L’imaginaire onirique a été expliqué en partant des définitions classiques afin de mettre le concept dans un cadre plus général, tel qu’il est conçu par les poètes qui ont écrit entre 1964-1974, et qui se sont donné le nom de « Le Groupe Onirique ». Il s’agit d’un mouvement littéraire qui a surgi malgré le réalisme socialiste qui s’est imposé dans la littérature roumaine de l’époque. Le mouvement s’est revendiqué du surréalisme français (surtout de la peinture surréaliste), mais aussi du romantisme, en essayant de trouver une vision personnelle. Pour les écrivains de cette période, être onirique signifiait être différent des autres « versificateurs ». Il faut aussi dire que l’onirisme s’est manifesté non seulement dans la poésie, mais également dans la prose. Cependant, on a analysé uniquement la poésie, comme partie relevant de ce mouvement et les articles publiés par les oniristes ont servi de schémas d’analyse. La plus importante partie de cette thèse a été l’analyse herméneutique des œuvres poétique de Leonid Dimov, Emil Brumaru, Daniel Turcea, Vintilă Ivănceanu, Virgil Mazileascu. On a découvert les images oniriques et les symptômes de l’imaginaire onirique qui la rendent différentes des autres poésies de l’époque. On a découvert le rapport entre la poésie onirique et la peinture, et surtout entre la poésie onirique et la peinture surréaliste. En effet, la subjectivité et le critère esthétique pénètrent profondément dans la littérature et la peinture pendant le surréalisme et également dans l’onirisme. Pour conclure, la thèse vise le renouvellement d’une période de la poésie roumaine, mais aussi comment elle se situe par rapport au mouvement européen dans le contexte littéraire européenA purely theoretical presentation has been written which helped us fins the instruments to get to know the group of Romanian writers studied in this thesis. The introductory chapters have explained the notion of dream image in report to the image in general, and then to the dream and day-dreaming. The dream imaginary has been explained starting from the classical definitions in order tu put the concept in a larger context. This imaginary is conceived by the poets who wrote between 1964-1974, and who called themselves „The Dream Group”. It is a literary movement which appeared despite the socialist realism which had imposed itself in the Romanian literature of the epoch. This new movement is born from the French sur-realism (especially the sur-realist painting), but also from romanticism, trying to find a personal vision for itself. For the writers who belong to this period, being „dreamy” means being different from the other verse writers. It must be also said that this movement has manifested not only in poetry, but also in prose. However, it is only the poetry that has been analysed and the articles published by the dream poets have served as a scheme for analysis. The most important part of the thesis was the hermeneutical analysis of the dream poetry from the mentioned period in the works of the following poets: Leonid Dimov, Emil Brumaru, Daniel Turcea, Vintilă Ivănceanu, Virgil Mazileascu. In a distinctive chapter it was analysed the report between dream poetry and the sur-realist painting as well as the hybrid volumes published by Leonid Dimov together with the sketches draw by Florin Pucă and Ioan Donca. In conclusion, the thesis re-contextualised a period of the Romanian poetry in report to the European literature
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Reis, Priscila Camargo. "O onirismo ativo da libertação animal: contribuições para olhares não-especistas na Educação Ambiental." reponame:Repositório Institucional da FURG, 2013. http://repositorio.furg.br/handle/1/6087.
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Partindo-se de reflexões que envolvem a exploração animal com os três aspectos da ecologia e com o onirismo ativo vivenciado e propagado pelos defensores dos direitos animais, procurou-se criar dispositivos com micro-intervenções urbanas que foram realizadas em diversos espaços. Objetivou-se sensibilizar as pessoas através da Educação Estética para a condição que impomos aos demais animais. O trabalho apontou a importância do movimento de Libertação Animal para o contexto da Educação Ambiental, enquadrando-se nos estudos que relacionam ética, estética, saúde e educação. Buscou-se mostrar que a instrumentalização dos animais não-humanos perpassa por quase todas nossas atividades e não raras vezes, essas práticas estão igualmente associadas à exploração humana e ambiental. As intervenções foram capturadas em fotografia e filmagem e transformadas em um recurso áudio-visual. Procurou-se, desta forma, contribuir com a Educação Ambiental Não-Formal disponibilizando-se um material didático a ser utilizado enquanto fomentador de espaços de diálogo para problematizar a situação dos animais não-humanos e como ela também nos afeta, abrindo, assim, caminhos para que seja possível desenvolver uma Educação Ambiental com perspectiva da inclusão da consideração moral pelos animais. Esta pesquisa qualitativa apresenta cunho experimental e se propõe a ser produtora de reflexão a cerca do especismo e como ele se reflete em nosso corpus social, individual e educacional.
Beginning with reflections that involve animal exploitation with the three aspects of the ecology and the active oneirism lived and propagated by the animal rights defenders, we created urban micro interventions accomplished at many different places. Aiming to sensitize people through Aesthetic Education to impose the condition that the other animals this work indicated the contribution of Animal Liberation to the Environmental Education context. It is framed in studies that relate ethics, aesthetics, health and education. Search to show that the nonhuman- animals instrumentalization permeates almost all of our activities and not infrequently, these practices are also associated with human and environmental exploitation. The interventions were photographed and filmed and became an audio visual resource. This way, we intended to contribute to Non Formal Environmental Education providing an educational material to be used while developers forums for dialogue to discuss the plight of nonhuman animals and as it also affects us, thereby opening avenues to be able to develop an Environmental Education perspective with the inclusion of moral consideration for animals. This qualitative study presents experimental nature and aims to be producing the reflection about speceism and how it is reflected in our social, individual and educational corpus.
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Boschi, Carina. "La spatialité dans l'oeuvre d'Antonio Tabucchi : onirisme, espaces de la langue, souvenir et écriture du réel." Paris 3, 2002. http://www.theses.fr/2002PA030036.
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Si l'espace constitue pour le lecteur une dimension bien réelle de la découverte du récit, le concept critique recouvre en revanche des domaines multiples, de la disposition textuelle aux questions du contexte énonciatif, du cadre et du 'point de vue', ou des paysages. Dans l'œuvre narrative de l'écrivain italien contemporain Antonio Tabucchi, l'espace concentre des thèmes majeurs, ainsi que des motifs stylistiques et des problématiques de composition qui singularisent l'écriture. La matérialité du texte, et la présence insistante du paratexte, mettent d'abord en relief une présentation du livre comme voyage. Une perception morcelée de l'écrivain et de l'homme contemporain se dégage de parcours initiatiques, où le cheminement géographique nourrit et révèle la progression de l'individu. L'aspiration revendiquée à une proximité de l'écriture est paradoxalement entravée par le commentaire de l'auteur, qui s'insinue dans la fiction pour orienter, baliser et encadrer la lecture. L'approche linguistique de la désignation des lieux (deixis spatiale, topographie et toponymie), souligne l'importance des mots 'courts' (adverbes et prépositions) dans un vocabulaire accessible, répétitif mais riche en évocations exotiques. .In the stories of the contemporary italian writer Antonio Tabucchi, the question of space coagulates thematic, stylistic and linguistic singularities. A fragmented conception of the writer's personality and of contemporary man emerges from initiatory courses, in which geographic route feeds and reveals the individual's psychological progression. An analysis of the books' material presentation and of the texts' narrative structures reveals a first - and somewhat 'primitive' - conception of literature as travel. The affirmed hope for a proximity of tone is contradicted by the author's comment, which insinuates into fiction in order to orientate and frame reading options. A linguistic approach of spatial designation (deixis, topography and toponimy) complements the study of narrative settings (catographic analysis) and allows to isolate caracteristic spatial references. .
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Malaure, Julie. "Penser les mécanismes de la création à la fin du XIXe siècle : entre scientisme et onirisme." Paris 8, 2007. http://www.theses.fr/2007PA083681.
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Suite aux découvertes scientifiques du milieu du XIXe siècle sur l’évolution, comment penser la Création? Cette rupture dans la pensée n’annonce pas seulement la fin d’un monde mais l’ouverture vers de nouvelles interrogations. Celles-ci trouvent leur incarnation dans un personnage de roman de Flaubert, l’anachorète de "La Tentation de saint Antoine". Le saint y incarne le malaise et les doutes fin XIXe. Parce qu’il concentre à la fois les signes d’une crise temporelle sur un fond de mythe universel, l’artiste va s’identifier à cet archétype. Par artiste, nous entendons un groupe d’artistes rassemblés ici en vertus d’affinités intellectuelles : Victor Hugo [1802-1885], Gustave Moreau [1826-1898], Odilon Redon [1840-1916], August Strindberg [1849-1912] et Alfred Kubin [1877-1959]. Ces « solitaires de l’art » incarnent un courant de pensée dont on trouve une assise théorique chez deux penseurs : Nietzsche et Kierkegaard. Cette étude, pluridisciplinaire, couvre donc la période des dernières décennies du XIXe et empiète légèrement sur le XXe siècle. Ce qui permet de former un groupe fonde notre réflexion : ces artistes pensent la genèse comme un tout. S’y rejoignent celles du cosmos, des espèces, de l’œuvre d’art et de soi. Ainsi, de l’observation des mécanismes de création naturelle, à leur mise en pratique dans l’art, la question est de découvrir de qui est en œuvre : des coïncidences, le hasard, une projection psychologique ? La réflexion glisse de la physique à la métaphysique, comme le siècle passe de Darwin à Freud. La pensée des mécanismes de création abandonne alors progressivement un rationalisme contesté pour découvrir tout le potentiel créateur de la subjectivitéFollowing the scientific discoveries of the middle of the XIXth century on the evolution, how to think Creation? This rupture in the thought does not announce only the end of a world but the opening towards new interrogations. Those find their incarnation in a character of novel of Flaubert, the anchorite of "The Temptation of Saint Anthony". The Saint incarnates uneasiness and doubts of the end of the XIXth. Because he concentrates at the same time the signs of a temporal crisis and universal myth, the artist will identified with this prototype. By artist, we mean a group of artists gathered here in virtues of intellectual affinities: Victor Hugo [1802-1885], Gustave Moreau [1826-1898], Odilon Redon [1840-1916], August Strindberg [1849-1912] and Alfred Kubin [1877-1959]. These "Recluses of Art" incarnate a stream of thought which finds a theoretical base among two philosophers: Nietzsche and Kierkegaard. This study, multi-field, covers the period of the last decades of XIXth, encroaching few years up the XXth century. What makes it possible to form a group found our reflection: these artists think the genesis like a whole. Meet (reach/join?) there those of cosmos, species, artwork and oneself. Thus, from the observation natural creation’s mechanisms, to their practical application in art, the question is to discover how it works: coincidences, fate, psychological projection? The reflection slips of physics to metaphysics, as the century passes from Darwin to Freud. The thought of mechanisms of creation then gives up gradually a rationalism disputed to discover all the creative potential of subjectivity
Books on the topic "Onirism"
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Buciu, Marian Victor. Țepeneag: Între onirism, textualism, postmodernism. Craiova: Aius, 1998.
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1837-1911, Jensen Wilhelm, ed. Bertgang: Fantasia onirica. Bergamo: Moretti & Vitali, 2012.
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Hernández, Angela. Onirias: Poesía e imagen. Santo Domingo de Guzmán, D.N., República Dominicana: Banco Central de la República Dominicana, 2012.
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Belli, Carlo. Il cipresso bianco: Fantasia onirica. Milano: All'insegna del pesce d'oro, 1990.
Find full textBook chapters on the topic "Onirism"
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Cappozzo, Valerio. "Dalla carta al cielo « propter unum principium ». Il simbolismo onirico medievale tra agiografia e letteratura." In L’épaisseur du temps, 369–85. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.stmh-eb.5.125843.
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Dubosc, Fabrice Olivier. "Nossa Senhora de Lampedosa, Protectress of Slaves and Refugees: On Mourning, Cultural Resilience and the Oniric Dimension of History." In Border Lampedusa, 175–90. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59330-2_11.
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"SAINT ONIRIA`." In Beautiful Angiola, 251–56. Routledge, 2013. http://dx.doi.org/10.4324/9780203960042-39.
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"El onirismo en la pintura de España según Homero Aridjis: una perspectiva comparatista." In La luz queda en el aire, 217–38. Vervuert Verlagsgesellschaft, 2005. http://dx.doi.org/10.31819/9783964562715-017.
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Bartkowiak-Lerch, Magdalena. "Locus amoenus nell’Hypnerotomachia Poliphili: strumento interpretativo del viaggio onirico sapienziale." In Tra l’antica sapientia e l’imaginatio. Nuovi studi sul Polifilo. Ksiegarnia Akademicka Publishing, 2020. http://dx.doi.org/10.12797/9788381382632.06.
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Geronimo, Giuliana, and Salvatore Giannella. "Employing Real-Time Game Technology for Immersive Experience (VR and Videogames) for all at MAIO Museum." In Virtual and Augmented Reality in Education, Art, and Museums, 263–82. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1796-3.ch013.
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3D real time game technologies create an opportunity to design interactive immersive experiences developing affordable, easy-to-use, and incredible virtual worlds for Museums. This chapter presents the potential of these technologies for the development of edutainment content for their visitors at MAIO - Museum of Art Taken Hostage in Cassina de' Pecchi (Milan). The Museum presents the story of 1,623 masterpieces such as Michelangelo, Tiziano, Raffaello, and Canaletto that were stolen in Italy during World War II and never found again. Visitors can explore the artworks through 2 installations: MAIO Virtual Museum, through VR inside an oniric 3D environment, and MAIO Play, a multiplayer video game.
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Longo, Umberto. "1) Le fiabe sulla pietra. Il medioevo onirico di Coppedè a Roma." In Middle Ages without borders: a conversation on medievalism. Publications de l’École française de Rome, 2021. http://dx.doi.org/10.4000/books.efr.28237.
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"ASPECTOS ESTETICO-RECEPTIVOS EN EL DISCURSO ONIRICO DE LOS CUENTOS DE JORGE LUIS BORGES." In Jorge Luis Borges: variaciones interpretativas sobre sus procedimientos literarios y bases epistemológicas, 61–82. Vervuert Verlagsgesellschaft, 1995. http://dx.doi.org/10.31819/9783964567185-005.
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"Le Cauchemar familier de l’artiste: Les réflexions onirico-poétiques des Poèmes Saturniens de Verlaine." In Träumen mit allen Sinnen, 39–56. Brill | Fink, 2021. http://dx.doi.org/10.30965/9783846765920_004.
Full textConference papers on the topic "Onirism"
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Watt, Alexander, Jason Wichert, Justine Staniszewski, Nathaniel Nakles, Yvonne English, Mike Bright, Michel Havet, Erik Bardy, and Mark Reuber. "Temperature and Heat Flux Data-Logger for Use in Tunnel Ovens: An International Partnered Project." In ASME 2018 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/imece2018-86076.
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The Grove City College (GCC) European Study Center (ESC) is a program that allows mechanical and electrical engineering students to study abroad in the junior and senior year fall semester, respectively, and graduate in four years. The ESC is activity partners with a local institution called Oniris, which specializes in food science engineering, and veterinary science (an affiliate with the French Ministry of Agriculture). Electrical engineering students that participate in the program carry out their yearlong capstone design project (Senior Experience in Electrical Design (SEED)) in partnership with Oniris. For the 2016–2017 academic year, participating electrical engineering students completed a project titled Ultra-Low-Cost Flexible Sensor Array, or “Low-Cost Array” (LCA), designed for commercial tunnel-style ovens. The LCA features low cost ($200), flexible programmability, and ease of use (based on the widely available Arduino). The purpose of the project was to develop a low-cost data-logger to operate inside tunnel-style ovens to record temperature from thermocouples (and other analog signals, i.e. heat flux) for thirty minutes in an environment up to 250 °C. This study evaluates the LCA compared to other data-logging systems, and its performance in high temperature environments by a series of experiments. In addition, an idea of its commercialization potential was explored by interviewing industrialists and academics on-site. Experimental results showed that: (1) data logged from the system were close to values recorded by current systems used for both temperature and heat flux measurements, and (2) the system performed well at 240 °C for thirty minutes (maximum temperature of oven). In addition, the interviews revealed that although most interest was in a tunnel-style oven data-logger, it seems feasible to incorporate changes to satisfy needs for other markets, especially those of a general-purpose data-logger.
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Ragazzoni, Roberto, Renato Falomo, Carmelo Arcidiacono, Emiliano Diolaiti, Jacopo Farinato, Matteo Lombini, Brice Le Roux, et al. "ONIRICA: an infrared camera for OWL with MCAO low order partial correction." In SPIE Astronomical Telescopes + Instrumentation. SPIE, 2006. http://dx.doi.org/10.1117/12.673171.
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Kotelnikova, S. S. "CONCEPTUAL MEANING OF DREAM IMAGES AND ONIRIC PLOT IN THE MUSICAL ALBUM «DAY OF SILVER» BY BORIS GREBENSHIKOV." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-116.
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