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Jafari, Jasmine. "The Persian Art of Denial." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/501.
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Rashti, Sogol. "Persian in practice." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/2003.
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Since the beginning of humankind, architecture has been a sacred source for all civilizations, and that has provided a gateway for man to reach the heavens above. In terms of concept and value, Persian art and architecture is considered as a rich source to be acknowledged. Within Persian architecture, the emphasis was placed strongly on beauty and sacred geometry; Persians calculated the proportions of heaven reflected upon them in the dimensions of buildings on the earth.
Iranian culture has utilized the written word as an art form; this goes beyond normal means of communication. Iranian calligraphers produced eloquent styles and patterns through their divine talent, and this was displayed in the architecture. Parviz Tanavoli, as the greatest contemporary artist of Iran, has a strong tendency to be attracted to words and letters which has a long history in Iranian culture.
Experimenting through aspects of cultural interaction in fine and applied arts has led to the understanding that when aesthetic elements of cultures are used to create a new design, it leads to both a new aesthetic creation and a fresh understanding of the cultures involved. This collection was designed and manufactured by concentrating on organic and curved forms and utilizing them in the design practice, while having a touch on cultural elements such as patterns and alphabets. The curved abstract shapes create a conceptual harmony, depicted in Persian patterns via functional three dimensional pieces.
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Daftari, Fereshteh. "The influence of Persian art on Gauguin, Matisse, and Kandinsky /." New York ; London : Garland publ, 1991. http://catalogue.bnf.fr/ark:/12148/cb37423050q.
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Khazaie, Mohammad. "The arabesque motif (islimi) in early Islamic Persian art : origin, form and meaning." Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391020.
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Fahimi-Far, Asghar. "Continuity and discontinuity in Persian art : a study in Qajarid mural decoration (1785-1925)." Thesis, Birmingham City University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272158.
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This study investigates the continuity and discontinuity of Persian traditional mural decoration and art, focusesing on the Qajarid period. The study intends to establish that cultural sources and forces such as religion, language and the socio-political environment have had an impact on the development and continuity in Persian mural decoration and art. Continuity and discontinuity of Persian art were parallel with the continuity and discontinuity of Persian cultural forces the rise and decline of art was closely associated with the development of national culture. Persian artistic traditions can be shown in continuity over three millennia was influenced by external sources, without radical change of direction. Continuity can be observed until the seventeenth century, to a peak of achievement as remarkable as the art of the Safavids. Three main epochs may be seen in Persian culture; the pre-Islamic. Islamic and contemporary epochs. National culture and art was formed and evolved in antiquity, and then continued and was enriched by the assimilation of Islamic beliefs during the next epoch and it finally merged with international styles very slowly during the post- Safavid epoch due to the strong impact of western culture and art, finally changing definitively during the Qajarid period. The assimilation of Persian art with European art led to the sudden decline of Persian art as a self-contained, self- dependent style.
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Irannejad, Sara. "A Thousand and One Interconnections: Exploring Experiences of Persian Diasporic Identity Through Contemporary Visual Art Practice." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/384285.
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My personal experiences of migrating from Iran to Australia inform my practice and
perspectives on the notions of ‘home’ and ‘belonging’ in the relationship of diasporas with their
adopted environment. In formulating these issues, this exegesis follows a practice-based,
exploratory, and interdisciplinary methodology to examine the multiple senses of place in the
experiences of diasporas. I employ an allegorical framework in which I juxtapose Iranian and
Australian elements, creating hybrid works of art where the final reading is greater than the sum
of their parts. I accomplish this through an exploration of various mediums, including image
transfer, body projection, pokerwork, and video transitions.
I collect images, fragments, and objects that have authentic metaphoric meanings related to Iran
and Australia. Through my process-based studio practice, I revise, amend, and adapt these
items, placing them in compositions that suggest new spaces of meaning. I particularly draw
from the allegories of the ‘Persian Paradise Garden’ manifested in miniature paintings, carpet
designs, and poetry—among other traditional depictions. I argue that using traces of Australian
nature and history within this allegorical framework is an effective model for interpreting
‘home’ as a ‘garden of contemplation’, and a possible means for translating cultural
‘interruption’ and ‘interconnection’ in contemporary art practice. Additionally, due to its central
significance in relation to Iranian identity, the mytho-historical poems, and miniatures of
Shahnameh (The Book of Kings) written by Abu al-Qasem Ferdowsi in the eleventh century, is
also integral and greatly acknowledged in this research.
The paradoxes of displacement—past and present, tradition and contemporary, and East and
West—are evoked in the work of artists Shirin Neshat, Mona Hatoum, Shahzia Sikander, and
Hossein Valamanesh. Through studying the practices of these artists and my studio works, this
exegesis is intellectually indebted to the theories of ‘hybridity’ and ‘third space’, conceptualised
by Homi Bhabha and extended by Nikos Papastergiadis and others. These theories propose that
interactive and evolving spaces appear when two cultural poles collide, acting as
interconnecting channels between the two—the place of origin and the place of adoption: in this case Iran and Australia.<br>Thesis (Professional Doctorate)<br>Doctor of Visual Arts (DVA)<br>Queensland College of Art<br>Arts, Education and Law<br>Full Text
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Sadeghi, Asal. "De l'art persan à la création iranienne contemporaine des entrelacs texte-image-son." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20071.
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De nombreux arts traditionnels et contemporains présentent une inventivité et une vitalité remarquable, cependant pour beaucoup ils ne sont peu ou pas étudiés.L'approche choisie dans ce mémoire tentera d'examiner la création artistique iranienne du point de vue de son ancrage dans la tradition, ainsi que dans les rapports texte-image-son qui caractérisent l'art persan.Ma démarche consiste à trouver des solutions plastiques (en peinture) qui expriment les rapports entre l’intérieur et l’extérieur. Les différents modes de représentation et les effets formels servent à l’extériorisation des sensations. Donc il en résulte différents niveaux d’interprétation : d’abord celui qui consiste à examiner les messages qui nous viennent de la perception, puis celui du langage et de l’expression plastique qui interprète les formes et reconstruit le message. Il existe aussi un décalage entre l’interprétation plastique d’un état mental (en peinture) ; et l’observation et l’enregistrement de la réalité (par le son) qui servent ici de point de départ pour la peinture<br>Many traditional and contemporary arts have remarkable inventiveness and vitality, and little or no study.The approach chosen in this project will try to examine the Iranian artistic creation from the point of view of its anchoring in the tradition, as well as in the text-image-sound relationship that characterizes Persian art.My approach is to find plastic solutions (in painting) that express the relationship between the inside and the outside. The different modes of representation and the formal effects serve to externalize sensations. So it results in different levels of interpretation: first of all to examine the messages that come to us from perception, then that of the language and the plastic expression which interprets the forms and reconstructs the message. There is also a gap between the plastic interpretation of a mental state (in painting); and the observation and recording of reality (by sound) which serves here as a starting point for painting
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Lic, Agnieszka. "Christian stucco decoration in southern Mesopotamia and the Persian Gulf region, sixth to ninth centuries." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:23636a63-9682-4a2a-b27b-49f2f3df59ac.
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Christian archaeology and art of the region under the jurisdiction of the Church of the East in the Late Antique and early Islamic period is an underresearched field of studies, which exists in between more developed disciplines such as Byzantine and Syriac studies as well as Early Christian, Sasanian and Islamic archaeology and art history. However, archaeological excavations of the last century, especially in southern Mesopotamia and the Persian Gulf region, now allow research to be conducted on the most important medium of artistic expression of the region - stucco. Considered from the technological, stylistic and iconographic point of view and within the aforementioned cultural contexts, it reveals that the Christian stucco production of the region was shaped by Sasanian traditions and contemporary Byzantine and Islamic influences, but also that it developed an innovative and highly creative vocabulary of forms and motifs. It was especially among the Gulf communities of Sir Bani Yas, al-Qusur and other sites that this transformative approach towards traditional and contemporary artistic models manifested itself within a short period between the late seventh and the early ninth centuries. Slightly more conservative is the character of Christian art of southern Mesopotamia in the eighth and early ninth centuries. An interesting exception is a relief found at a church in Koke in the region of Seleucia-Ctesiphon, in which the Sasanian technique of deep relief is combined with the Byzantine dress of the person represented. This fusion of culturally divergent elements testifies to the double identity of the Christians living under the Sasanians - and later, in the early Islamic caliphate - who were recognized as a part of society but distinctive for their religion.
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Honari, Leila. "Farsh-e-Parandeh: Animated Mandalic Carpet Projection: Exploring the Links between Proto-Animation Techniques in Persian Traditional Arts and the Foundation of Animation and Cinema." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/388648.
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This thesis probes associations between ancient Persian arts, which have a circular or
mandalic structure, and the various nineteenth-century optical toys that were vital stages
in bringing movement to cinema; and examines if the aesthetic links between them are
coincidental or may be the result of a discontinuous historical trajectory. Research
findings indicates that ancient items that have been found in archaeological digs from
Persia hold a significant clue and may be an important piece of the jigsaw of
understanding the antecedents of film and moving image—in particular, animation. This
thesis builds on an iconographic analysis of a selection of historical artefacts from
Persia and compares and contrasts them with the nineteenth century optical toys such as
the zoetrope and phenakistoscope. These theoretical and historical dimensions have
been incorporated into the creative practice exploring the above associations creatively
and affectively. Farsh-e-Parandeh (roughly translated as ‘Flying Carpet’ from Farsi), as
an animated aerial-projected installation —a moving-image version of a traditional
Persian carpet— reflects renowned philosopher Attar’s Conference of the Birds (AD
1177) as a reference point for mandalic structures of Persian and Sufi mystical stories.
Farsh-e-Parandeh challenges the notion of moving-image production history as a
necessarily linear projection. This installation instead constructs an immersive, holistic
engagement based on cyclic patterned arrangements that harken back to nineteenthcentury
moving image forms of early animations.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Griffith Film School<br>Arts, Education and Law<br>Full Text
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Sheikhi, Shoustari Masoud. "An investigation into representations of women in Iranian New Wave cinema." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10150.
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In an analytical look into the history of the formation of Iranian New Wave cinema, this research explores the key elements that constitute integration between the women representation and the evolution of New Wave visual narrative. The paper will preliminarily examine the public’s response to the early representation of women in classic Iranian cinema and discusses the impact of the socio-political modifications, imposed by the process of modernisation, on the reception of the early representation by the Iranian public. The paper then discuss aspects of the philosophical framework in relation to the role of gender in the conception of artwork. The artistic growth of Forugh Farrokhzad, a prominent figure in modern Persian poetry and the New Wave Iranian cinema will be explored. Through the example of Farrokhzad, the intention is to identify the key elements regarding the influence of Persian poetry on the formation of New Wave visual narrative. This brings the paper to the third chapter where the implications of the Islamic revolutionary regime’s regulatory frameworks on the image of women in cinema will be discussed. Also the paper examines the role that the representation of women plays as an instrument of the Islamic republic to generate a process of reproduction of new national culture. In contrast, the alternative response of independent filmmakers to the mainstream representation of women will be explored by the means of re-examination of the structure of the film star system, the aesthetic of censorship and the act of viewing approach in relation to images of women. In the final chapter, the connection between my film practice and the characteristics of Iranian New Wave visual narrative is established through analysis of the key elements associated with the representation of gender in the works of New Wave filmmakers such as Forugh Farrokhzad, Rakhshan Bani-Etemad, Bahram Beyzai, and Abbas Kiarostami.
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Mihan, Shiva. "Timurid manuscript production : the scholarship and aesthetics of Prince Bāysunghur’s Royal Atelier (1420-1435)." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277827.
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Considered one of the pinnacles of the arts of the book in the entire history of Persian art, the life of the Timurid prince, Bāysunghur (1397-1433) and his royal library-atelier have been studied for more than a century. Yet previous scholarship, although solid on it own terms, has not combined study of the entirety of production with sustained analysis of individual productions of Bāysunghur’s atelier. Prior to this study, a number of manuscripts were completely neglected, and several others were studied only briefly. What is more, the single extant document describing procedures and progress in the atelier, although well known, demanded further clarification on various levels. This dissertation discusses in six chapters the operation and productions of the library with particular attention paid to its highlight, Bāysunghur’s famous Shāhnāma. After an introduction to the field and an overview of previous studies, I turn to the report of the head of the atelier, clarifying some technical terms and establishing the date of the report. Secondly, the corpus of Bāysunghurī productions is examined chronologically and in relation to the librarian’s report, with individual manuscripts analysed with regard to their textual and aesthetic traits and their placement in an art historical context. Next, the Shāhnāma of Bāysunghur, which for many years has been inaccessible for close scholarly study, receives extended treatment. The final chapter presents a discussion of the textual and aesthetic content of the corpus and reconsiders the role of the atelier supervisor. The overall aim is to enhance and extend understanding of the arts of the book in a unique royal library, that of Prince Bāysunghur.
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Draycott, Catherine M. "Images and identities in the funerary art of Western Anatolia, 600-450 BC : Phrygia, Hellespontine Phrygia, Lydia." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:6654d163-aaca-4aca-a695-4ef8bec2d6dd.
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The dissertation analyses the reliefs and paintings on thirty-one different tombs in Western Anatolia erected between 600 and 450 BC, in order to illuminate the ways in which non-Greek elites were identified on their memorials. The tombs from three areas are treated: Phrygia, Hellespontine Phrygia and Lydia, where the primary language groups were Phrygian, Mysian and Lydian. There is little literary evidence for these regions, and what there is tends to focus on political developments. Descriptions of people and society are few, and tend to represent them from an outside perspective, grouping them according to cultural characteristics which differentiate them from Greeks. It is clear, however, that the regions were important, prosperous places, controlled by illustrious grandees and land marked with a relatively high proportion of monumental tombs. Of these monumental tombs, there is a relatively high number decorated with striking and articulate images. There is much to be gained from examining the images on these tombs, as ‘indigenous’ sources for how elite Western Anatolians described themselves. Previous approaches to the tombs and their images have tended to look at them individually or in smaller groups, and to concentrate on the transmission and reception of Persian and Greek culture in the Achaemenid provinces. This dissertation contributes a broader comparative study of the decorated tombs, focussing on the kinds of statuses the images represent and the cultural forms these took. By comparing the various methods of self-representation, it clarifies patterns of identities in Western Anatolia and their relationship to historical circumstances. The dissertation is divided into five chapters. An introduction outlines the scope and sample, the historical background, previous studies of the monuments, the definition of ‘identity’ and the methods of analysis adopted here. Three case study chapters present the regions and the decorated monuments within them. A concluding chapter synthesises three aspects: social identities (roles and spheres of life represented); geographic and chronological patterns; and cultural affiliations and orientations. The dissertation concludes that a tension between Persian identities and local traditions is evident in some of the tomb images, which relates to the political upheavals in Western Anatolia and the Aegean at the time of the Persian Wars.
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Crews, Anthony Michael. "“The Art of Ruling the Minds of Men”: George H. W. Bush and the Justifications for Intervention in the Gulf War." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1289594839.
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Khalili, Clifford Meena. "Visualizing Cultural Impermanence Through Entropic Design." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2094.
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Entropy is a process of gradual decline as a system loses the strength to maintain itself. It begins with disorder and results in complete transformation. As a multi-cultural American, it has been my experience that the maintenance of my Iranian heritage parallels this concept. A method of visual communication that incorporates entropy is able to express notions of impermanence, disorder and transformation. This project is focused on employing entropy in the process of design and image making by using the transformation of my cultural identity as primary content.
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Trinidad, Jaime. "Yo, Mi Persona y México." BYU ScholarsArchive, 2021. https://scholarsarchive.byu.edu/etd/8955.
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For as long as I can remember, I have struggled with understanding who I am. What makes me is something I try to make sense of through art. When I started working on this my graduation show, the idea behind it was to make a portrait of the Mexico I know, but when the pandemic hit, I found myself locked down at home, completely alone in a new country for the first time. This led me to question my existence and the belief systems I espoused and prompted me to try to understand myself better in the context of a foreign culture. As a result, the concept behind the show evolved from being about the Mexico I know to exploring who I am and how my upbringing has shaped my art and trying to make sense of my existence.
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Mohafez, Arash. "Approche comparative des systèmes musicaux classiques persan et turc : origines, devenirs et enjeux." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100080.
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La thèse présente étudie de façon exclusive quelques aspects fondamentaux des liens entre la musique classique persane et la musique classique turco-ottomane. Le premier chapitre est une esquisse des liens historiques des musiciens persans avec le milieu culturel ottoman, et l'influence qu'ils ont eue sur la musique classique de cet empire. Le second chapitre dégage des liens entre certains aspects du répertoire instrumental attribué aux compositeurs persans des XVIe et XVIIe siècles dans les manuscrits ottomans d’Ufki et de Cantemir avec ceux du répertoire classique persan le plus ancien transmis jusqu'à nos jours ; le répertoire qâjâr. Sous l’angle des convergences et divergences des écoles classiques persane et turque contemporaines, le troisième chapitre se focalise sur le concept fondamental de mode et entreprend de comparer les particularités de cinq éléments constitutifs modaux dans les pratiques turque et persane actuelles. Le quatrième chapitre, en vue d'une démonstration concrète des théories modales développées dans le chapitre précédant, analyse des affinités et des divergences de cinq maqâms turcs actuels d’une même famille modale, Ushshak, Beyati, Huseyni, Muhayyer, Arazbâr, dont la substance est comparable dans la tradition persane actuelle, soit Shur, Abu ‘atâ, Hoseyni/Bayât-e Kord/Hejâz/Dashti, Owj, et Shahnâz. Le dernier chapitre est une approche anthropologique destiné à présenter une tentative concrète de revivification du répertoire des « ‘Ajamlar » dans les milieux des musiciens iraniens contemporains, et à étudier les réactions de ces derniers faces à ce répertoire inconnu en Iran tiré des sources ottomanes<br>This thesis studies exclusively some fundamental aspects of the links between the Persian classical music and the Turkish-Ottoman classical music. The first chapter is an outline of historical connections of Persian musicians with the Ottoman cultural environment, and the influence which they have had on the classical music of this empire. The second chapter identifies the links between some aspects of the instrumental repertory attributed to Persians composers of 16th and 17th centuries in Ufki and Cantemir’s Ottoman manuscripts and those of the oldest Persian classical music transmitted to our days; the qâjâr repertory. From the angle of convergences and divergences between contemporary the Persian and the Turkish classical schools, the third chapter focuses on the fundamental concept of mode and undertakes to compare the particularities of five modal constituent elements in the current Turkish and Persian practices. The fourth chapter, with a view to concrete demonstration of modal theories developed in the previous chapter, analyzes the affinities and differences of five current Turkish maqâms of a same modal family, Ushshak, Beyati, Huseyni, Muhayyer, Arazbâr, whose substance is comparable in the current Persian tradition, with Shur, Abu ‘atâ, Hoseyni/Bayât-e Kord/Hejâz/Dashti, Owj, et Shahnâz. The last chapter is an anthropological approach intended to present a concrete attempt to revivification of the “‘Ajamlar” repertory in contemporary Iranian musicians’ circles, and to study the reactions of these latter facing this unknown repertory in Iran taken from the Ottoman sources
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Fougeras, Nathalie. "Persona et jeu dans les cinématiques numériques." Paris 8, 2007. http://www.theses.fr/2007PA082796.
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Cette recherche porte sur la relation entre, d’une part, la notion de jeu et, de l’autre, ce que nous nommons persona. La combinaison de ces deux notions met en perspective une forme d’écriture que nous nommons « persona-jeu » dans des cinématiques numériques. La cinématique est donc ici examinée depuis l’animation du personnage mis en mouvement à l’image. Un jeu scénarisé par le personnage-image filmique ou un jeu interactif de contrôle de l’image-personnage interactive. Cette scénarisation du personnage s’apparente ainsi à un jeu que nous nommons « marionnettique » depuis la manipulation exercée d’une "prise en main" de la dite persona-jeu à écrire. La notion de masque à jouer ressort étymologiquement du terme de persona, pointant ainsi la dynamique fictionnelle du jeu du personnage. Pour ce qui concerne la persona-jeu écrite en temps réel, l’avatar virtuel est directement piloté sur écran ou par le biais de capteurs embarqués sur le corps d’un performer. Chaque jeu déroule ainsi une tension tentée comme une certaine dramaturgie « persona-jeu »<br>This research addresses the relationship between what we call “persona” and the notion of “play” in digital cinematics : a “persona-play“. It aims at introducing this relationship some specific dynamics in digital cinematics. Namely, it shows how animation, that is the way a character is set in motion pictures, develops a play that implies a certain type of scenarization of the character-image, or, differently, an interactive manipulation, controlling the image-character. The notion of “mask to be played” is implied by the term of “persona“, emphasizing the dimension what is referred to as a “puppet play”. The interactive “persona-play” develops a “puppet play“ that emphasizes the dynamics of the real-time manipulation of a virtual character, be it directly manipulated on a screen or through sensors installed on the body of a performer. Each play is then the occasion of an expression of a tension within a scenario, considered as a dramatic writing “persona-play“
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Hosseini, Rad Abdolmajid. "Miniature persane : analyse plastique - source d'inspiration." Rennes 2, 1997. http://www.theses.fr/1997REN20008.
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La miniature persane est remarquablement liée à la littérature iranienne et à la poésie romanesque, épique, mystique. . . Traditionnelle en Iran, elle est puissamment vivante et participe à l'expression plastique contemporaine. Les miniaturistes d'aujourd'hui s'appuient sur l'espace "imaginal" de la tradition en développant le fantastique des émotions sensorielles intégré à la scénographie naturaliste. Mais les créateurs iraniens contemporains cherchent à inventer une nouvelle pensée plastique. Ecrite avec une synchronie visuels - textes rigoureuse "miniature persane : analyse plastique - source d'inspiration", est une étude appuyée sur la lecture contemporaine de la plastique visuelle. La première partie évoque l'esthétique et la symbolique du monde "imaginal" liées aux sources littéraires. Elle analyse le traitement graphique de la figuration humaine jusqu'au XXe siècle. La seconde partie examine le système d'expression de l'espace lié à la combinaison des points de vue familiers ainsi que la qualité du paysage paradisiaque. Elle approfondit la poétique des rythmes animant les scénographies sans ombre portée et l'expressivité des couleurs saturées. Sont également étudiés le fantastique des ornementations ainsi que les modes d'intégration de la calligraphie iranienne dans la miniature. La troisième partie tente une réflexion sur la miniature contemporaine en cherchant a savoir si la belle tradition des persans peut encore être à la source d'une expression bien vivante ? Des travaux personnels issus des rythmes à vivre de la miniature sont présentés dans les dernières pages de cette partie, accompagnes d'une brève représentation de leur structure. Enfin une chronologie générale de la peinture persane est proposée ainsi qu'un glossaire<br>The Persian miniature is remarkably linked to Iranian litterature and to romantic, epic, mystical poetry. Traditional in Iran, strongly alive, it takes part in the contemporary plastic expression. Miniaturists of today lean on the "imaginal" space of tradition by developing the fantastic of sensory emotions, that is integrated to the naturalist scenography. But the creative Iranian contemporaries seek to invent a new plastic thought. Written with a rigorous synchrony visual-texts "Persian miniature : plastic analysis - source of inspiration", is a study insisting on the contemporary perusal of visual plastic. The first section evokes esthetics and symbolic of the "imaginal world" related to literary sources. It analyzes the graphic processing of human figuration until the XXe century. The second section examines the system of expression of the space concerning the familiar viewpoint combination as well as the quality of the heavenly landscape. It deepens the poetical of rhythms animating shadeless scenographies and the expressivity of saturated colors. Also, the fantastic of ornamentations and integration modes of the Iranian calligraphy in the miniature are studied. The third section is devoted to a reflection on the contemporary miniature by trying to find whether the beautiful tradition of Persians can still be the source of a well alive expression ? Personal works respring from lively rhythms of the miniature are presented in the last pages of this section, with short representation of their structure. Finally, a general chronology and a glossary of the persian paint are proposed
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Samet, Tehrani Mehrdad. "La philosophie de la couleur persane : du XVe siècle à nos jours." Paris 1, 2006. http://www.theses.fr/2006PA010543.
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A l'aube de la civilisation persane, la valorisation du Soleil accompagne celle de la lumière et de la vision. Dans le culte de Mehr (Mithra )l'ascension visionnaire mystique, est accompagnée de photismes colorés. Cette traduction" visuelle" des degrés ascensionnels se retrouve aussi dans la vision mystique de Najm Kobra et Semnani. Cette recherche met l'accent sur l'influence du manichéisme sur la formation et l'évolution de la miniature persane, en même temps que l'inspiration manichéenne de Sohrawardî (le concept de l'intermonde). Le cadre du XV· siècle nous procure les éléments esthétiques qui nous permettent d'établir des liens entre le concept polychrome persan, basé sur l'opposition des contraires (complémentaires) et les théories modernes de la couleur: les gris colorés obtenus par la juxtaposition des couleurs opposées.
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Abrishami, Homeira. "Génération de motifs persans." Paris 8, 2010. http://octaviana.fr/document/156463229#?c=0&m=0&s=0&cv=0.
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Notre recherche propose une classification exhaustive des divers motifs ornementaux islamiques persans, basée sur une réunion et une confrontation des classifications jusqu’alors répertoriées, à partir de documents historiques persans et de recherches occidentales décisives. Elle s’avère singulière par la place qu’elle redonne aux motifs persans, notamment pré islamiques, qui ont influencé les motifs islamiques ultérieurs. Nous valorisons ensuite des motifs et techniques persans plus récents (boteh, khataï et girih), dont le développement a été localisé et qui ont ensuite rayonné sur l’ensemble islamique. À l’aide de nombreuses illlustrations, nous les décrivons et en expliquons les techniques de création, en soulignant le rôle que les mathématiques grecques et persanes ont joué au cours des époques. Nous y analysons ensuite l’importance de la cristallographie, du XIXe au XXe siècle, reliant d’abord les symétries (ordres 2, 3, 4, et 6) des cristaux aux pavages périodiques des ornements géométriques. Puis nous mettons en rapport la quasi-périodicité (symétrie d’ordre 5) et le travail de Penrose avec la technique traditionnelle du girih. Enfin, nous abordons la génération automatique de motifs ornementaux par ordinateur<br>This research offers an exhaustive classification of Persian Islamic ornamental patterns, based on a combination and a comparison of previous classifications, using historical Persian documents and decisive European scholarship. This research is unique because of the importance which we accord to Persian patterns, particularly to the Pre-Islamic ones that influenced later Islamic motifs. We then emphasize more recent Persian patterns and techniques (boteh, khataï et girih), whose development was local but influenced the entire Islamic world. Using many illustrations and examples, we describe these patterns and explain the process of their creation, highlighting the role that Greek and Persian mathematics played for centuries. We then analyse the importance of crystallography, from the XIX to XX centuries, first by linking symmetries of crystals (2, 3, 4 and 6 folds) with the periodic tilings of geometric ornaments, then by assimilating quasi-periodicity (5 fold symmetry) and Penrose’s tilings with the traditional technique of girih. Finally, we survey automatic computer generation of ornamental patterns
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Yamamoto, Kumiko. "The oral background of Persian Epics : storytelling and poetry /." Leiden : Brill, 2003. http://catalogue.bnf.fr/ark:/12148/cb38998044f.
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Houbolt, Jacob Jozef Herman Christiaan. "Surface sediments of the Persian Gulf near the Quatar peninsula /." Ann Arbor (Mich.) : UMI, 1995. http://catalogue.bnf.fr/ark:/12148/cb37463387q.
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Baharmast, Bita. "Recherches esthétiques sur les tapis persans du XVIème au XIXème siècle." Paris 1, 1994. http://www.theses.fr/1994PA010516.
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Le tapis persan fait l'objet d'une analyse esthétique, laquelle permettra de découvrir son identité artistique. Notre corpus contient un nombre important du tapis de la période Séfévide, XVIeme-XVIIeme siècles, époque qui coïncide avec la floraison de cet art. Or, afin de pouvoir réaliser une étude comparative, nous avons étendu nos recherches jusqu'au XIXeme siècle. Ce travail est rédigé en cinq parties, divisées chacune en plusieurs chapitres. Dans le tapis persan, conforme tout à fait à l'esthétique de l'art musulman, le caractère national qui tire son origine du passe religieux-culturel du pays ne fait pas défaut. L'aspect particulièrement intéressant consiste dans la fusion de l'art abstrait et l'art figuratif de l'islam. Deux règnes sont présents dans l'univers du tapis ou on peut dénombrer trois mondes: le monde représenté, le monde autonome et le monde ésotérique. Le règne végétal coexiste avec le règne animal et c'est grâce à ce dernier que l'esthétique du tapis révèle une forte influence de la miniature persane<br>Aesthetic research on the Persian carpet leads us to discover its artistic identity. To study this subject the collection contains a big number of Safavid's carpets (XVIth-XVIIth centuries). This period is well-known as being a flowering time for this art. Therefore, to realize a comparative study we extended our research up through the XIXth century. This work has been divided into five parts which contained several chapters. The Persian carpet expresses the originality of islamique art and finds its basis into the cultural and religious passt. The interesting particular aspect underlines the union of islamic abstract and figurative arts. The universe of carpet presents two "kingdoms", in which three worlds are discovered: representative world, autonomous world and esoteric world. In the Persian carpet, the animal kingdom coexisting with the vegetable kingdom reveals a strong influence of Persian miniature
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Ahmadzadeh, Hashem. "Nation and novel : A study of persian and Kurdish narrative discourse /." Uppsala : Uppsala Universitet, 2003. http://catalogue.bnf.fr/ark:/12148/cb39036286s.
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Balaÿ, Christophe. "La genèse du roman persan moderne /." Téhéran : Louvain : Institut français de recherche en Iran ; diff. Peeters, 1998. http://catalogue.bnf.fr/ark:/12148/cb369856755.
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Balaÿ, Christophe. "La Genèse du roman persan moderne." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37611547v.
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Hume, Benjamin Charles Clayton. "Are specific coral-Symbiodinium partnerships associated with survival in extreme temperature environments of the Persian/Arabian Gulf?" Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/359136/.
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Talattof, Kamran. "The politics of writing in Iran : a history of modern Persian literature /." Syracuse (N.Y.) : Syracuse university press, 2000. http://catalogue.bnf.fr/ark:/12148/cb409644141.
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Perse, Kissel Walter. "Aules Persius Flaccus, Satiren /." Heidelberg : C. Winter Universitätsverlag, 1990. http://catalogue.bnf.fr/ark:/12148/cb354530026.
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Forster, Matthias. "Die strafrechtliche Verantwortlichkeit des Unternehmens nach Art. 102 StGB." Bern Stämpfli, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2792539&prov=M&dok_var=1&dok_ext=htm.
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Lokon, Elizabeth J. "OPENING MINDS THROUGH ART (OMA): AN ART PROGRAM FOR PEOPLE WITH DEMENTIA." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1229536912.
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Kazerouni, Alexandre. "Le miroir des cheikhs : musée et patrimonialisme dans les principautés arabes du golfe Persique." Thesis, Paris, Institut d'études politiques, 2013. http://www.theses.fr/2013IEPP0063.
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Cette thèse s’attache à déconstruire, à localiser et à inscrire dans des dynamiques politiques locales d’abord, régionales et internationales ensuite, la perception qui s’est faite jour à compter du milieu des années 2000, que « le Golfe », espace aux contours rarement définis, serait devenu le lieu d’un développement culturel de très grande ampleur. Cette nouvelle image internationale des principautés arabes du golfe Persique, éloignée de leur association traditionnelle aux hydrocarbures et à la guerre, repose sur deux phénomènes distincts, voire opposés : la formation d’un marché de l’art arabe et iranien basé à Dubai qui se fait le reflet de la formation de nouvelles bourgeoisies dans les grands pays voisins, et la multiplication des annonces de musées à forte visibilité internationale au Qatar et à Abou Dabi qui ont pour cible prioritaire un public européen. Les musées sont l’objet principal de cette étude, le marché son objet secondaire. En croisant l’histoire et la science politique, une typologie binaire des musées golfiens et l’évolution du rapport de force entre les trois grandes composantes sociales des populations nationales des principautés depuis les années 1960, il apparaît que le musée, cette institution d’origine européenne qui sous sa forme moderne est apparue au XVIIIe siècle et qui compte au nombre des premières formes d’espaces publics, est dans les principautés arabes du golfe Persique un outil de renforcement de l’autoritarisme. Ce rôle qui est le sien depuis le temps de sa genèse dans les années 1960, s’est accentué au Qatar et à Abou Dabi depuis la Guerre du Golfe de 1990-1991<br>This doctoral thesis aims at deconstructing, spatializing and inscribing in local and then international political dynamics the new perception emerging in the West that presents « the Gulf », a region whose boundaries are rarely defined, as the place for a large scale cultural development. This new international image of the Arab principalities of the Persian Gulf, that no longer reduces them to oil and war, but associates their names to culture, relies on two different phenomenons : the birth of an Arab and Iranian art market based in Dubai that reflects the formation of new elites in the neighbouring regional powers on the one hand, and the rise of a new type of museums targeting a European audience first, characterized by their international visibility, in Qatar and in Abu Dhabi on the other. The museums are the main object of this research, the art market its secondary one. By mixing political science and history, a binary typology of the museums and the evolution of the balance of power between the three main social components of the national communities in the Arab principalities since the 1960, the museum, this institution of European origin born in its modern form in the 18th century as one of the earliest forms of public spaces, appears as a tool for the consolidation of authoritarianism. This role that the museums has been playing since the 1960s, when the regional importation of this cultural model started, has even increased in Qatar and in Abu Dhabi since the end of the 1990-1991 Gulf War. Since that period, the new museums are actively taking part to the political marginalization of the national bureaucracy
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Monshizade, Arezou. "L'eau, comme élément d'ambiance : le jardin persan, entre rareté et abondance." Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENH036.
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L'eau anime un paysage particulier par ses qualités physiques et aussi par la vie et l'activité qu'elle apporte, où qu'elle se trouve, mais l'homme peut être confronté à un contexte de rareté ou d'abondance de cet élément fondamental selon les régions du monde. L'eau, pour ses qualités esthétiques et environnementales, est perçue comme une ressource précieuse. Par la relation perceptive, significative et symbolique qu'elle crée avec l'homme, elle inspire les concepteurs et les architectes qui se nourrissent de cette relation pour imaginer différents espaces ou monuments où le liquide et le solide s'allient ou se fondent. Avec les développements de la science moderne et la notion d'environnement durable, l'eau a été transformée en « H2O » comme une matière à consommer qui tendrait à perdre ses capacités sensibles. D'autre part, les menaces qui planent sur cette ressource du fait qu'elle devient rare, en font un enjeu majeur du futur. C'est pourquoi les éléments « naturels » comme l'eau méritent une attention particulière : ils constituent à la fois des facteurs constitutifs d'une ambiance et des domaines fondamentaux de gestion environnementale se rapportant à des problèmes écologiques de première importance. En ce sens, notre recherche vise à articuler une écologie des environnements physiques et naturels à une esthétique des ambiances architecturales et urbaines. Il en va ici du rapport entre le matériel et l'immatériel, question particulièrement importante dans le cadre d'une théorie des ambiances. Tenant compte de cette problématique de recherche, nous avons choisi le jardin persan, à l'origine « paradeiza » (paradis), pour étudier les relations sensibles à une ressource dans un contexte où elle est rare. Bien que ces « paradis » soient situés en contexte désertique, l'eau y joue un rôle fondateur et omniprésent et elle est traitée sous différentes formes et dispositifs. Ainsi, malgré sa ¨rareté¨ dans les régions arides - notamment dans les deux jardins étudiés au centre de l'Iran -, l'eau se révèle alors comme élément construit de l'espace aussi bien qu'élément « formant » de l'ambiance. Nous nous posons la question plus précisément de savoir comment se forme l'ambiance visuelle, sonore, thermique et dynamique à partir d'une quantité minimale d'eau disponible en ces deux jardins. On se concentre plus précisément sur la dimension plurisensorielle de l'eau qui éveille et fait interagir nos sens en considérant principalement les rapports entre la proportion quantitative d'eau utilisée et la qualité de l'ambiance. L'objectif de ce travail est de dégager les principes et les dispositifs architecturaux utilisant l'eau comme élément d'ambiance, d'imaginaire, de structuration spatiale et de support d'usage dans l'aménagement des jardins à l'avenir. Les méthodes mises en œuvre pour évaluer l'impact de l'eau dans la perception de l'ambiance des jardins ont consisté, dans un premier temps en des enquêtes à partir de la mémoire sensible et basées sur les souvenirs et les récits d'une dizaine visiteurs. Cela nous permet d'énoncer une première interprétation sur la mémorisation des ambiances en référence à l'eau. Deuxièmement l'observation des espaces et usages in situ nous aide à repérer les dimensions objectivables de la présence de l'eau. Enfin, nous avons recueilli in situ des commentaires de perception en mouvement auprès d'une vingtaine de visiteurs qui expriment certains effets sensibles et pratiques de l'eau dans le milieu du jardin<br>Where water is found it animates a particular landscape by its physical qualities and also by the life and activities it brings forth, however man may be confronted with a context of both scarcity or abundance of this fundamental element in different regions of the world. Water is, for its aesthetic and environmental qualities, perceived as a valuable resource. Through the relation is has with man– perceptual, significant and symbolic – it inspires designers and architects who benefit from this relationship for imagining different spaces or monuments where the liquid and the solid combine or merge. With the developments of modern sciences and the notion of environmental sustainability, water has been turned into “H2O” as a material for use which tends to lose its sensory quality. On the other hand, the threats to this resource make it a major issue in the future. For that reason, "natural" elements such as water deserve special attention: they are both the constitutive elements of an ambience and also fundamental for environmental management in relation to environmental issues of primary concern. In this sense, our research aims at articulating an ecology of natural and physical environments for the aesthetics of architectural and urban ambiences. The research concerns the relationship between material and immaterial, questions of particular importance in the context of a theory of ambience. With respect to this problem of research, we have chosen the Persian garden, originally "paradeiza" (Paradise), to examine the sensory relationships of a resource in a context where it is scarce. Although these "paradises" are located in desert environment, water plays a fundamental and ubiquitous role and it is processed in different forms and devices. Thus, despite its “rarity” in arid regions – especially in the two gardens studied in central Iran – the water is revealed as an element for constructing the space as well as also an element “forming” the ambience. To be more specific, we ask about how visual, auditory, thermique, and dynamic ambiences are formed from a minimum amount of water available in these gardens. We focus on multisensory dimensions of water that awake and make our senses interact by considering mainly the quantitative relationship between the proportion of water used and the quality of the ambiance. The aim of this work is to identify the principles and architectural features using water as an element of ambiance, imagination, spatial structure and support of use in designing gardens in the future. The methods used to evaluate the impact of water on the perception of ambiance of the gardens consists of, in the first place, surveys concerning sensorial memory and based on the memories and narratives of the visitors. This allows us to formulate an initial interpretation of memories of ambiance in relation to water. Secondly, observations of spaces and uses in situ help us to identify the objective dimensions of the presence of water. Finally, we collect comments in situ of perception of motion with a score of visitors who expressed certain sensible effects and practical effects of the water in the gardens
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Knutson-Person, JoDean Lynn. "What are the effects of science outreach by college students with elementary school children?" Montana State University, 2011. http://etd.lib.montana.edu/etd/2011/knutson-person/Knutson-PersonJ0811.pdf.
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This project focused on developing a service learning group of college students to do science outreach with elementary students as a win-win opportunity to increase the content knowledge of all the students involved, give the college students the opportunity to empower the elementary students, and fulfill some of the needs of the college awareness program at an elementary school. Analysis of this project was completed using results from pre- and post-outreach experience questionnaires as a way to establish demographic information of the participants, get comparative awareness and interest of college and science information, and find some common points to make connections between the groups of students. Questionnaires were also used for the classroom teachers to understand how outreach benefited their classroom. Journals were utilized with college students as well as wrap-up meetings after each outreach experience in order to document personal experiences both as a mentor as well as students growing in their own content mastery. I also kept notes of the experience from my viewpoint.
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Douglas, Hillary F. "Voices of individuals with disabilities in art museum programming| A person-centered approach." Thesis, The University of Arizona, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589571.
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<p> This study documents an experience in which a small group of cognitively and developmentally disabled adults expressed their personal goals and views related to art museum visits. A review of literature related to disability studies, museum access and inclusive programs, art therapy, and person-centered thinking provide background and context. Case study and qualitative interviews are used as methodologies to support an investigation of the use of person-centered thinking in the implementation of art museum programming for the study participants. Person-centered thinking is considered and assessed as an approach to structuring meaningful collaborations between visitors with disabilities and art museums. Data collected in the forms of visual and written response, observation, and documentation of interviews inform the findings, discussion, and analysis of the study’s research goals. The resulting case study may be used by museums to structure visits with similar groups. This study contributes to a growing body of knowledge pertaining to how museums can best collaborate with disabled populations to create inclusive programs.</p>
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Van, Ruymbeke Christine. "Science and poetry in medieval Persia : the botany of Nizami's Khamsa /." Cambridge : Cambridge University Press, 2007. http://catalogue.bnf.fr/ark:/12148/cb41209098p.
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Schneider, Klaus. "Unternehmensstrafbarkeit zwischen Obstruktion und Kooperation : strafrechtliche Begünstigung und Aussagedelikte im Rahmen der Strafbarkeit juristischer Personen nach Art. 102 StGB /." Bern : Stämpfli, 2009. http://aleph.unisg.ch/hsgscan/hm00279918.pdf.
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Guntrip, Elizabeth Denham, and res cand@acu edu au. "A Pentecostal Study of Daniel’s Prince of Persia (Daniel 10:13)." Australian Catholic University. School of Theology, 2006. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp139.17052007.
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Aim.C. Peter Wagner is a well-known missiologist. In the late twentieth century Wagner became interested in the means by which the devil, as the enemy of God, obstructs the spread of the Gospel. Based on his reading of Daniel 10:13 [20-21], a passage referring to the prince of Persia, he concluded that the earth is ruled by Satan’s angels, whom he terms “territorial spirits.” The same chapter mentions other supernatural beings, Michael, one of the chief princes and the prince of Greece. In Wagner’s understanding Scripture reveals the existence of good and evil spirits having authority or control over specific geographical regions. Further, Wagner believed he had discovered why evangelism is ineffective in some locations - territorial spirits blind the minds of the populace and need to be bound spiritually to remove hindrances to the gospel’s reception. Wagner devised a prayer methodology called Strategic Level Spiritual Warfare (SLSW), to accelerate world evangelisation by strategically targeting designated cities or locations with aggressive prayer to disarm the spiritual powers of wickedness. SLSW depends for effectiveness on the associated practice of spiritual mapping,” entailing foundational research into an area’s historical and spiritual background preceding the prayer programme. Wagner believes SLSW to be both divinely revealed and empirically verifiable. The SLSW methodology spread with startling rapidity to many sectors of Christianity. SLSW became associated with Pentecostalism, and is now mistakenly assumed to be a Pentecostal teaching. This thesis aims to show this is inaccurate. Scope. C. Peter Wagner, an Evangelical, is associated with Third Wave groups who deliberately distance themselves from the Pentecostal label. Classical Pentecostalism is differentiated historically from the later Charismatic Renewal Movement. Third Wave groups are a separate more recent spiritual movement, sometimes known as neo-charismatics. Neither Wagner’s theological nor ecclesial location is Pentecostal, but this fact has not helped negate the mistaken assumption that his teaching originated within Pentecostalism. In order to demonstrate the difference between Wagner’s demonology and that of Pentecostalism, their respective interpretive methods need to be compared. This task was approached firstly by showing what comprises a Classical Pentecostal hermeneutic. Three distinctive principles were identified for a conventional Pentecostal reading of Scripture, namely: (1) the Protestant Reformation principle of Sola Scriptura, (2) a pneumatic approach to interpreting Scripture and (3) biblical revelation, not self-revelation, in the community of faith. In the past, Pentecostals depended on academic writings stemming from within Evangelicalism. This was a dependence of convenience, since historically Pentecostalism had no systematic theology, nor until comparatively recently a critically active academia. The disadvantage of this borrowing has been that Pentecostals have been obliged to filter out anti-Pentecostal bias evident in much Evangelical literature. The text Daniel 10:13 was then exegeted using these principles. This narrow focus is based on Wagner’s use of this text as the foundation of his demonology. Using a combined theological and literary approach, stances on reading the book of Daniel in general and Daniel 10:13 in particular were discussed. The relaxation of tensions between the factions which divided biblical scholarship for much of the twentieth century has allowed some cross-fertilization of ideas and methods, without reducing the ideological chasm separating the camps. The history of the text was recognised but meaning was sought more particularly from the form of the extant text. The results were tested against the principles of Pentecostal hermeneutics. Finally, Wagner’s writings on SLSW were appraised. His hermeneutical method was compared with the Pentecostal hermeneutical principles, the Pentecostal reading prepared from the exegesis, and the demonology of two Classical Pentecostal writers. Discussion of SLSW was confined to Wagner as the initiator of the concept. Wagner’s specific contribution has been in relating a hypothetical demonic hierarchy according to their perceived function (not simply the degree of power they may possess). He is well aware that his theory stands or falls on the issue of whether demonic spirits can legitimately be seen as occupying territories. Conclusions. Whilst some aspects of Wagner’s demonology and hermeneutic are held in common with that of Pentecostalism, the mistaken identification of SLSW as Pentecostal has led to confusion. Notwithstanding Wagner’s high view of Scripture and enthusiasm for evangelism, the hermeneutic employed in his interpretation of Dan 10:13 is not consistent with that of Classical Pentecostalism. The conclusion reached was that C. Peter Wagner’s teaching on SLSW should not be labelled Pentecostal.
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Balafrej, Lamia. "Objets de performance : Les peintures du Bustân de Sa'di signées Behzâd (v. 894 H./1488)." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3042.
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Cette thèse est consacrée à l'étude des peintures d'un des manuscrits les plus importants de la tradition persane : une copie du Bustân de Sa‘di réalisée à la cour timouride de Herât vers 894 H./1488. Elle démontre que ces peintures incarnent un changement de fonction de la peinture, d'un dispositif de représentation à un objet de performance. Les peintures présentent plusieurs aspects inédits, qui contredisent la fonction illustrative généralement associée à la peinture persane de manuscrit. La surface de la peinture se couvre de formes qui n'ont aucun rapport avec le texte qu'elle est censée illustrer (chapitre I). Le peintre a également inséré des vers poétiques dans les peintures, qui évoquent le spectateur et constituent un panégyrique de l'image (chapitre II). On note aussi une miniaturisation des formes, visible en particulier à travers la prolifération de motifs linéaires infimes. La finesse de la ligne s'accompagne de la présence, dissimulée dans les détails de la composition, de la signature du peintre Behzâd (chapitre III). Ces aspects donnent à la peinture une dimension réflexive, qui détourne le spectateur du contenu de l'œuvre au profit d'un questionnement sur le statut de l'image et le talent du peintre. Ce changement de fonction s'explique par le rôle croissant du majlis, une assemblée où artistes, poètes et patrons se réunissent pour discuter des œuvres. Dans ce contexte qui annonce l'émergence des écrits historiographiques sur l'art, la peinture est conçue comme un objet de performance, où le peintre dissémine des éléments qui indiquent son talent, et que le spectateur peut utiliser en retour pour créer des discours et des fictions sur l'artiste<br>This dissertation examines the paintings of one of the most important manuscripts of the Persianate book tradition: a copy of the Bustân of Sa‘di, executed in the Timurid court of Herât, ca. 894 H./1488. It argues that these paintings embody a shift in the understanding of painting from a device of representation to an object of performance. In the three chapters of the dissertation, I analyze several new characteristics that appear in the paintings of the Bustân. First, the painting becomes filled with elements that are not related to the text copied in the book (chapter I). Second, the monuments depicted are inscribed with poetic verses emphasizing the admiration of the viewer towards the paintings (chapter II). Lastly, the visual information becomes extremely miniaturized. The most meticulous details appear to be minute linear motifs. This emphasis on the line accords with the presence of the signature of the painter Behzâd, embedded in each composition (chapter III).All of these elements shift the attention of the viewer from the content represented in the paintings to the artistic process that led to their creation. By contrasting the paintings with the historical scenarios of their reception, this dissertation sheds light on a hitherto unnoticed aspect of late 9th/15th century Persian painting, one which foreshadows the development of art historiographical writings: the paintings signed “Behzâd” are conceived not only as representational devices, but also as objects of performance, that the painter uses to inscribe his gesture, and whose contemplation causes the viewer to elaborate discourses and fictions on the artist
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Hunter, Catherine Wood. "Flesh for fantasy : exposing the sexualised and manipulated female persona in contemporary women's media." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/21213.
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Thesis (MA)--University of Stellenbosch, 2005.<br>ENGLISH ABSTRACT: This thesis focuses on the representation of women in media aimed at women. A critical
examination of visual communication (magazines, advertising and visual story-telling1) will
demonstrate that the media may be regarded as highly influential in the way women perceive
their bodies, reproduction and sexuality.
I begin by examining the presentation of the ‘ideal’ woman as an instance of the Pygmalion
complex. This reading of the media’s formulation of the female ideal aims to demonstrate
the psychological effects of the Pygmalion complex on women, and illustrates how the
resultant striving for perfection drives production and consumption. I shall demonstrate how
the image of the ‘ideal’ woman is increasingly more sophisticated and convincingly
portrayed through the use of digital manipulation, plastic surgery, excessive dieting and
exercise regimes. I propose that the average woman is left feeling inadequate and is
undermined by the voice of her own cultural representation.
This thesis also investigates the persistence of the virgin / whore binary in the media’s
depiction of female sexuality. I propose that this is an essentialist and dualistic presentation
of female sexuality as either ‘good’ (surrendered, submissive and conforming – i.e. the
virgin); or ‘bad’ (transgressive, explicit, dangerous and destructive – i.e. the whore). I further
suggest that this polarised appropriation of women’s sexuality deprives women of ownership
of their own sexuality. I also propose that the media’s treatment of female sexuality presents
women as being in competition within one another for male attention and approval and that
this representation damages female solidarity.
Finally I demonstrate that pornography has infiltrated all aspects of popular culture, from
magazines to music videos. My hypothesis is that this use of pornographic conventions
depicts the rape and abuse of women as normative, commonplace and even entertaining, and
that this has a detrimental effect on both women’s and men’s sexual and social wellbeing.<br>AFRIKAANSE OPSOMMING: Hierdie tesis is gerig op hoe vroue in die media wat op vroue gerig is, verbeeld word. 'n
Kritiese ondersoek van visuele kommunikasie (in tydskrifte, reklame en visuele verhaling2)
sal toon hoe die media as uiters invloedryk beskou kan word ten opsigte van hoe vroue hul
eie liggame, voortplanting en seksualiteit beskou.
Ek begin deur die voorstelling van die 'ideale' vrou as 'n voorbeeld van die Pygmalionkompleks
te ondersoek. Hierdie beskouing van die media se formulering van die ideaal van
vrouwees is daarop gerig om die sielkundige effek van die Pygmalion-kompleks op vroue te
demonstreer en illustreer hoe produksie en verbruik deur die strewe na perfeksie wat as
gevolg van hierdie formulering ontstaan, aangedryf word. Ek sal toon hoe die beeld van die
'ideale' vrou, as meer en meer gesofistikeerd, oortuigend weergegee word deur middel van
digitale manipulasie, plastiese snykunde, oormatige volg van diëte en oefenprogramme. Ek
voer aan dat die gemiddelde vrou hierdeur met die gevoel gelaat word dat sy tekortskiet en
ondermyn word deur die boodskap van die publikasies wat haar eie kulturele beeld
verwoord.
Hierdie tesis ondersoek ook die volhardendheid van die tweeledige voorstelling van vroulike
seksualiteit in die beelding van maagd en hoer wat in die media aangebied word. Ek voer aan
dat dit 'n wesenlike en dualistiese voorstelling van vroulike seksualiteit as óf 'goed'
(uitgelewer, gedwee en konformerend – d.w.s. die maagd), óf 'sleg' (oortredend/sondig,
eksplisiet, gevaarlik en vernietigend – d.w.s. die hoer) is. Ek stel verder voor dat hierdie
gepolariseerde toe-eiening van die vrou se seksualiteit vrouens van eienaarskap van hul eie
seksualiteit ontneem. Ek stel ook voor dat die voorstelling van die vrou se seksualiteit soos
dit in die media aangebied word, suggereer dat vrouens ter wille van die aandag van 'n man
en om goedkeuring te wen met mekaar kompeteer en dat hierdie voorstelling skade doen aan
die gevoel van solidariteit tussen vroue.
Ten slotte demonstreer ek hoe pornografie reeds alle aspekte van die populêre kultuur vanaf
tydskrifte tot musiekvideos binnegedring het. My hipotese is dat hierdie gebruik van
pornografiese konvensies die verkragting en mishandeling van vroue as normatief, alledaags
en selfs vermaaklik uitbeeld en dat dit 'n nadelige effek het op die seksuele en die sosiale
welsyn van mans sowel as vroue.
41
Flower, Laura Yvonne. "If paranoid beliefs are mistaken, why do the beliefs persist? : Cognitive Maintenance factors in Paranoia." Thesis, University of Southampton, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525738.
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Steenblik, Peter C. "Hâfez and Betinis: a Conductor’s Approach to Ancient Persian Poetry As Voiced by a Twenty-first Century, Western Composer." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822732/.
Full textAbstract:
The choral music of Abbie Betinis is being widely performed and commissioned by prominent high school, university, and civic choruses. This study examines From Behind the Caravan: Songs of Hâfez, a five-movement work by Betinis for women’s chorus, vielle, oud, and Persian percussion. Four ghazals by Hâfez of Shiraz, a fourteenth century Sufi poet, are used as the text for Betinis’s Caravan. When considering a performance of this work, a conductor must understand proper treatment of the text, available translation options, Hâfez’s vast world of imagery, vocal demands inherent to the work, alternate instrumentations available and the benefits of each, how to approach improvisatory passages, how to engage heterophonic elements, and how to prepare a Western choir and audience with very little to no understanding of the philosophies of Sufism that heavily influence the work. This study addresses the body of practical knowledge gained after a year of examining, researching, teaching, and performing this work.
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Gadea, Benavides Héctor. "The Foreign Corrupt Practices Act and the criminal responsibility of the company." THĒMIS-Revista de Derecho, 2016. http://repositorio.pucp.edu.pe/index/handle/123456789/110036.
Full textAbstract:
Due to the possible adoption in Peru of the criminal responsibility for companies and of the corporate compliance programs, the author analyzes the position that the United States has adopted facing the acts of corruption abroad, which legal basis is the Foreign Corrupt Practices Act.In the present article, the author will do an study of this regulation, covering its scope, who are imputable by it and the possible situations that generate criminal responsibility. All of this developed over the position taken by the jurisprudence in notorious corruption scandals.In addition, the development of the effectiveness of the compliance figure will be studied as well as the implementation of incentives for the corporations to adopt prevention policies.<br>A raíz de la posible adopción en el Perú de la responsabilidad penal para empresas y de los programas de compliance, el autor analiza la postura que ha tomado el ordenamiento de Estados Unidos frente a los actos de corrupción en el extranjero, cuya base normativa es el Foreign Corrupt Practices Act. En el presente artículo, el autor hará un estudio de esta regulación, cubriendo sus alcances, quiénes son imputables y los posibles supuestos de hecho.Todo esto sobre la base de la postura que ha adoptado la jurisprudencia frente a sonados escándalos de corrupción. Además, se estudiará el desarrollo de la eficacia de la figura del compliance y la implementación de incentivos para los empresarios de adoptar políticas de prevención.
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Steffen, Urban. "Der Betrieb gewerblicher Art : die Zusammenfassung von wirtschaftlichen Tätigkeiten der juristischen Personen des öffentlichen Rechts /." Baden-Baden : Pro-Universitate-Verlag, 2001. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=009294084&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Guérin, Charles Chiron Pierre Lévy Carlos. "L'élaboration de la notion rhétorique de "persona" au Ier siècle av. J.-C. antécédents grecs et enjeux cicéroniens /." Créteil : Université de Paris-Val-de-Marne, 2007. http://doxa.scd.univ-paris12.fr:8080/theses-npd/th0253520.pdf.
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Nadjm, Soheyla. "L'art et la technique du conteur en Iran." Paris 3, 2006. http://www.theses.fr/2006PA030127.
Full textAbstract:
Le but de cette thèse consiste à présenter l’art et la technique du conteur en Iran. Après avoir donné la définition générale du conte et du conteur, j’en fais autant pour le naghal (conteur) et le naghali (conte) en Iran. J’évoque ensuite dans un chapitre séparé ses racines et son histoire, ainsi que la classification de ses diverses formes, selon ses multiples aspects, pour approfondir cette définition. J’ai choisi les thèmes et le contenu que j’aborde ici sous les différents aspects du conte épique, du conte religieux, du conte régional (en raison de ses particularités) Dans un chapitre consacré aux conteurs religieux, je précise également leurs formes variées en décrivant leur aspect spectaculaire et leurs modalités rituelles. Quant au conte épique, l’un des types le plus théâtral de naghali en Iran, j’illustre son aspect spectaculaire et le lieu où il se déroule (la maison du café, aujourd’hui maison de thé) Le Livre des Rois (Chah nameh) est sa source première et le toumar (manuscrit d’un conteur dans lequel il note les histoires qu’il raconte) son objet et instrument essentiels<br>The subject of this thesis is the presentation of the art and the technique of the story teller in Iran. After the general definition of the story teller and the story, I explain the specific definition of the story teller (naghal) and story (naghali) in Iran. In a special chapter I treat the origins and the historic evolution of the subject as well as the classification of the different forms considered under different aspects. I have chosen the themes and the content and consider them under different angles, as well for the epic tale, the religious tale and the regional or local tale(because of its specificities) In one chapter treating the religious tale, I precise also the different firms by writing about their spectacular aspect and the ritual modes. Concerning the epic tale, one of the Iranian types of tale (naghali), I illustrate its spectacular aspect and the space where it takes place (the café is the today’s tea house) The Book of the Kings (Chah nameh) is its first source and the toumar (the note book of the story teller in which he notes the tales and stories he is telling) is its essential object and instrument
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Thackwray, Elizabeth C. "The Gulf Cooperation Council, 1981-1994." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc935605/.
Full textAbstract:
The purpose of this study is to analyze the foreign policy outcomes of the Gulf Cooperation Council (GCC) to understand the extent to which a Regional Intergovernmental Organization (RGO) consisting of developing nations is able to promote regional cooperation. Much of the literature on integration and the formation of Intergovernmental Organizations was developed with regard to western nations. These approaches are examined for their contributions to foreign policy behavior analysis and with respect to understanding why small and developing nations join such organizations. Final analysis of the outcomes using two scales to measure the organization's ability to promote regional cooperation reveal that the level of success was moderate and the level of political action undertaken by the GCC was generally moderate to low. Leadership is supportive of the organization but both external and internal factors contribute to the modest levels achieved so far. Issues of national sovereignty and a decade of regional conflicts affected the ability of the organization to achieve greater levels or regional cooperation.
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Lessan-Pezechki, Homa. "Système verbal et deixis en persan et en français : d'après les traductions persanes de "La peste", "La chute" et "Caligula" d'Albert Camus /." Paris ; Budapest ; Torino : l'Harmattan, 2002. http://catalogue.bnf.fr/ark:/12148/cb38904338h.
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Daucourt, Monica Hazan. "Comment peut-on être Persane ou Peruvienne ?: On le devient." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849679/.
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Cette analyse littéraire examine les parallèles entre les deux romans Lettres persanes de Montesquieu (1721) et Lettres d'une Péruvienne de Françoise de Graffigny (1747) en se concentrant sur le sort des femmes et leur rébellion contre la claustration. Leurs révoltes transformatrices révèlent une volonté qui refuse et puis transcende les barreaux de leur captivité pour vivre librement. La philosophie de Simone de Beauvoir (1908-1986) personnifie leurs luttes pour devenir et exister, ce qui se traduit par leur capacité de dévoiler leur vraie nature. Elles se battent contre le néant de leurs existences où elles ne peuvent que succomber aux contraintes imposées. Elles se battent pour se définir et pour devenir. Cependant, c'est Graffigny qui nous offre une réponse plus proto-féministe dépassant les paramètres masculins de la société. Son livre répond directement aux Lettres persanes pour créer une nouvelle femme iconoclaste qui transcende les barrières de la société pour se réinventer.
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Berg, Gabrielle Rachelle van den. "Minstrel poetry from the Pamir mountains : a study on the songs and poems of the Ismâí̂lîs of Tajik Badakhshan /." [S.l.] : [s.n.], 1997. http://catalogue.bnf.fr/ark:/12148/cb37091706f.
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