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Huang, Hui Zhen. "Les nouvelles de Maupassant en Chine : étude de réception". Paris 3, 1987. http://www.theses.fr/1987PA030A12.
Pełny tekst źródłaThis thesis is dealing with the diffusion and the appraising in china of the works of guy de maupassant who is among the most famous french author in this country. The first part analyses the translations of various books of guy de maupassant in different periods, from 1917 to 1985. His novel "deux amis" translated by hu shi in 1917 may be considered as the first introduced in china and li qing ya as the best chinese translator of maupassant whose role, personnality, number and quality of translations have been overhauled. The second part introduced the chinese appreciations and critics of maupassant's novels. A special emphasis has been put on contes et nouvelles choisis de maupassant which includes 63 novels translated and issued in two volumes with several reeditions. " la parure " and " mon oncle jules " are the most wellknown and appreciated. The third and last part aims at understanding the influence of de maupassant on the chinese litterature. A special attention has been put on the comparison between " une vendetta " and " boule de suif " on one side and the chinese plays " l'orphelin de la maison tchao " and " sai jin hua " on the other side. The last one specially draws clearly its inspiration from " boule de suif "
Kong, Qian. "La traduction et la réception de Stendhal en Chine (1922-2013)". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040149.
Pełny tekst źródłaThe study hereby presented tackles the history of the translation and reception of Stendhal in China since the 1920s. The aim is to point out, by the comparative approach, different images of the novelist and features of reception of Stendhal’s works in China during different periods. The study of Stendhal in China is closely associated with social and political contexts of China’s society. The Red and the Black, the most translated foreign novel in China, is sometimes considered as a masterpiece of realist literature, sometimes as a poisonous weed against the Communist Party. The reception of Stendhal in China reflects the whole history of reception of western literature to some degree. We have tried to reveal the essential factors for the reception of Stendhal in China and the transformation of his literary works during this experience in the foreign culture and society
Yuan, Yuan. "Réception et création : les littératures féminines française et chinoise au XXe siècle". Besançon, 2010. http://www.theses.fr/2010BESA1015.
Pełny tekst źródłaThis study aims at probing, measuring and describing the relationship between the Chinese and French female literature of the twentieth century. It concentrates particularly on the most representative female writers from both countries and their works that reflect female consciousness. The Chinese female writing in the 1920s-1940s shows strong feminist thought, similar to French female writing of the period. However, there was no direct communication between these two female literatures and the influence of French literature on the first generation of contemporary Chinese female writers came from males writers. The French feminist literary theory formed during the 1970s has become the theoretical pivot and practical model for the Chinese female writing in the 1990s, yet continually influenced by Chinese female writing in the 1920s-1940s. The use of the comparative method helps to show that Chinese contemporary female literature is “the fruit” of the combination of the development of Chinese female literature herself, the influences of western feminist theories and western literature, especially French literature
Sun, Wei-Shiuan. "L'art des graphimages chinois modernes et contemporains : approches de l'interculturalité et de l'intercompréhension". Paris 1, 2011. http://www.theses.fr/2011PA010623.
Pełny tekst źródłaAmbrosio, Marjorie. "Une esthétique de la déstabilisation : poétique de la fugue dans Birds of Passe, After China, The Garden Book et The Bath Fuges de Brian Castro". Thesis, Avignon, 2014. http://www.theses.fr/2014AVIG1140/document.
Pełny tekst źródłaAustralian writer Brian Castro is the author of ten novels, among which Birds of Passage (1989), After China (1992), The Garden Book (2005) and The Bath Fugues (2009) – the four works at the core of the present study. Owing to his Chinese origins and his elaborate style, literary criticism in Australia has labelled him an ethnic writer whose novels are deemed overly – and overtly – complex and opaque.Our thesis aims at establishing why Castro’s works, precisely because of their sophistication, deserve an alternate approach. We start with a historical survey of Australia’s “national” and “multicultural” literature. This will bring to light how Castro, being well aware of his nation’s love for social, cultural and literary categorizations, strives to break free from them.This desire permeates the whole of his literary endeavour, and our analysis borrows from several traditions of literary criticism to determine the characteristics of Castro’s unique aesthetics. To achieve this, the musical form of the fugue is a particularly powerful analytic tool, in that this musical genre allows us to better understand the elaborate mechanisms at work in the way the author approaches, among others, characterization, plot and diegesis.Far from the easy reads that Australia’s literature market promotes, Brian Castro’s unique works of fiction are an invitation to embrace destabilization in order to examine a prose whose poetic force will help the reader liberate themselves from established racial, cultural and literary categories
Wu, Tianchu. "La réception de Victor Hugo en Chine". Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030014.
Pełny tekst źródłaThis thesis aims to study in a complete, systematic and thorough way the reception of Victor Hugo in Chin, a receiving country which presents for over a hundred years translations and research as abundant as various of the French writer. It fits into the perspective of world literature and uses mainly the theory of cultural transfer (transfert culturel) initiated by Michel Espagne. The idea is to highlight, alongside the importance of the Chinese host context, the geopolitical complexity that characterizes the recognition of the author of Les Misérables in China. The first part, which is divided into four chapters, maps the circulation and translation of Hugo’s works from France to China, by browsing other cultural areas, namely Japan and Russia. The second part, composed of two chapters, deals with the chronological analysis of the interpretation and the metamorphosis of the works conveyed and translated in China in a more detailed way, borrowing the imagological approach. Two representative portraits of the writer are sketched respectively: the romantic and the humanist. This research shows finally that Hugo’s reception in China, whether in terms of circulation, translation or interpretation, not only engages France and China, but results from the cooperation of several different cultural areas that draw together a complex “map” of cultural transfer. On this map, the cultural areas concerned move according to the host context and contribute to the variation of Hugo’s images over time
Zhao, Yue. "La réception de Prosper Mérimée en Chine". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040053.
Pełny tekst źródłaThis work tackles with the history of the reception of Prosper Mérimée in China since 1916. Based on the concept of fusion of horizons, we examine the literary and extra-literary contexts in order to explain the reasons that lead to the reception during different periods and influence of Mérimée’s works on some Chinese writers. Prosper Mérimée is sometimes considered a supporter of the critical realism, sometimes as a great knowlegeable novelist. The evaluation of the writer changes with social and political circumstances. The reception of Prosper Mérimée in China reflects situation of the reception of many ordinary western writers to some degree. In this context we have tried to clarify the factors which influence the reception of foreign literature in a very different culture
Chen, Lili. "La réception de Marguerite Duras en Chine". Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3006.
Pełny tekst źródłaStudies on Marguerite Duras (1914-1996) in Both China and France are innumerable and abundant. By using the critical methods of literary comparison, textual analysis, feminism and autobiographical writing, etc, this thesis intends to make a survey of the reception of Duras in Chinese Contemporary literature, focusing on the aspects of translation studies, feminine writing, and narrative creativity. Meanwhile, studies on several Chinese writers deeply influenced by Duras can provide a unique perspective and different understanding to our research on this French writer
Zhang, Chi. "La réception de Sartre en Chine (1939-1989)". Paris 3, 2004. http://www.theses.fr/2004PA030033.
Pełny tekst źródłaThe reception of Sartre isn't a simple literary affaire: it is rather an underproduction of the process of the modernisation of China since the war of the Opium (1840-1842). The Occident has become gradually the main reference of the Chinese modernisation for the majority of the elite of China. The Chinese intellectuals have searched with passion the inspirations and the "new ideas" in Occident. The rapid and radical changes have taken place in every domain of the Chinese society. Determined by the particular and concrete situations, the perspectives and the horizon of waiting of several generations of Chinese readers have been modified and shaped successively by the political, social and cultural changes. We could divide fifty years of the reception of Sartre in China into three periods: the immediate reception (1939-1949), the reduced reception (1949-1976) and the revived reception (1977-1989). At the beginning, Sartre was discovered and appreciated only by several Chinese intellectuals. But the remarkable expansion of the existentialism in Occident after the Second World War has provoked a vogue of Sartre in the Chinese literary circle. In spite of Sartre's friendly visit of China (1955), the knowledge of the Chinese to his thought and his works has been much reduced during the age of Mao Zedong. Sartre was one of the Western writers-thinkers the most read by the young Chinese of the New Age. The majority of Sartre's works and many articles and books concerning Sartre have been published also during this age
Yao, Jie. "La réception de l'oeuvre d'Albert Camus en Chine". Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30021.
Pełny tekst źródłaThis thesis aims at retracing the history of the reception of the work of Albert Camus in China and exposing the influence it has on Chinese writers. The process of the reception of Camus' work in China is inseparable from the process of Chinese political and cultural evolution and is examined from the angle of sociology, political history, comparative literature, and Translatology. The study highlights the historical, social, cultural and political circumstances of the different periods during which Camus's work has been received, translated, published and criticized in China
Zhang, Wen. "Les décisions du traducteur de la littérature de jeunesse sous contraintes lectoriales : une étude sur les traductions chinoises des contes de Charles Perrault (1910-2016)". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA076.
Pełny tekst źródłaThe present thesis aims to study the “reader’s constraints” that can influence the decisions of the translator of children’s literature by using a large corpus of Chinese translations of Charles Perrault’s tales (1910-2016). It focuses on three central questions: What are the “reader’s constraints”? What are the “reader’s constraints” in the translation of children's literature? Which are the “reader’s constraints” that existed in the Chinese translation of Perrault's tales? To carry out this investigation, we have followed the three steps outlined below: 1) in the light of previous research in translation studies, we first tried to define the notion of "reader’s constraint" and propose a model of analysis that allows us to find the translational decisions made in the context of those constraints; 2) then we have focused on the children’s literature, in order to examine the features of the young readers by aid of the theoretical discourses of youth literature and child psychology; 3) finally, a long section has been devoted to the analyzes of the corpus, which will be able to test the hypothesis formulated in our theoretical development and to reveal the translational norms which can be applicated to the translation for the youth in China at a given time. From a communicational view of translation, the reader’s constraints constitute a heterogeneous set of factors related to the reader and which can hinder the translator's freedom in his decision-making. They vary according to time and space with changes in the target language-culture, which is the Chinese context in case of our study
Arcuri, Carlo. "L'inquiétante familiarité : typologie et histoire de la réception". Paris, EHESS, 1990. http://www.theses.fr/1990EHES0313.
Pełny tekst źródłaChiang, Tsu-Wang. "Immanence et esthétique de la peinture chinoise". Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10075.
Pełny tekst źródłaMakki, Farah. "L'épigraphie de l'Alhambra : de l'usage fonctionnel à la réception esthétique". Paris, EHESS, 2016. http://www.theses.fr/2016EHES0114.
Pełny tekst źródłaThis research contributes to a rarely broached discourse in the history of art on the spatial and perceptible qualities that stem from the architectural use of calligraphy. The study of the Alhambra palaces describes a real physical experience in which visitors' curiosity is stimulated by the writings' scenography originally conceived as a social program and a tool for visual experimentation. Highlighting underestimated functions, such as metaphor, phenomenological texture or agent, the aesthetic experience of the Arabic epigraphy, its patterns and concepts arc studied in the light of social history, aesthetic phenomenology, and ambiance studies. An emphasis on the place that ornamental practice of writing occupies within a network of relations between agents and perceivers is preferred to the traditional approach centered on a strict textual function. The work argues for a social inscription as well as a metaphorization of the graphic compositions in reference to the material and immaterial heritage of Medieval Islam. The visual analysis of these signs of cultural identity opens a new artistic approach that bypasses the limitations of a culture disadvantaging figurative representation. Nasrid practice creates, rather, a field of visual experience motivating the aesthetic engagement of beholders, Arabs or foreigners: a process, which supports the perception of the residence's "Genius loci ". The study advocates, therefore, the existence of a Nasrid ambition to build a narrative architecture that favors the renewal of key concepts through the visitors' perceptions, by the means of epigraphy's aesthetic mediation
Huang, Lin. "Le cinéma français en Chine - diffusion, réception et influences (1897-1937)". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA027.
Pełny tekst źródłaIn Chinese cinema, shadow puppetry theatre and magic lantern have long been their ancient form of storytelling and entertainment. By the late 19th century French cinema was present in China, whereby their 'new born occidental entertainment' with their particular techniques and artistic characteristics was accepted. The following study attempts to discover, classify, analyze and unify little-known historical documents; in order to demonstrate the developmental process of cinema in China, especially the diffusion of the French cinema, and its reception by the Chinese public. This analysis is conducted from between 1897 up to the end of the Manchurian war in 1937 - How, as an artistic production and a cultural ambassador pass beyond his national borders influencing the Chinese cinema, as well as the Chinese society? This question involves a thorough study of the origins of the Chinese cinema, exploring some specific features of the Chinese culture
对光与影的迷恋,让中国人自古就有了“灯影”,“皮影戏”等娱乐艺术形式。自19世纪末法国电影传到中国, 中国开始接纳“西洋影戏”这个带着科技与艺术特性的“新生儿”。本文试图发掘,梳理,辨析,整合历史文献资料, 结合中国电影从无到有的发展进程, 来考察1937年中日战争全面爆发以前法国早期电影如何在中国大陆进行传播,以及它们如何一步步被中国人接受。作为一种文化艺术的产物,法国电影又是如何在它跨国的旅行中,施展着它作为文化使者的魅力和影响, 并以此细化对中国早期电影史的认识。
Zhang, Ning. "L'occidentalisme et la réception du théâtre occidental en chine : 1978-1989". Paris 10, 1996. http://www.theses.fr/1996PA100141.
Pełny tekst źródłaThis ph. D. Dissertation analyse the reception in mainland chine of western theatre during the 80s. Under the name of "occidentalism", il designates a historical process through which the chinese constructed and reconstructed their knowledge about the "west", as a reference used to fulfil a specifically chinese agenda. Seen from the vantage point of theatre practice, a new light can be shed on the complicated relationship between officials, critical intellectuals and artists in their common endeavour to redefine a modern chinese culture. Five case studies are presented in order to further develop this investigation in specific settings. The reception of shakespeare serves to illustrate how western classical theatre can be accommodated by political authorities and reinterpreted by artists and intellectuals. In spite of an apparent agreement in the celebration of the playwright, it is possible to show how the stage practices call into question received ideological and artistic conventions. Brecht's reception in the 1980s is somehow paradoxical, since this marxist author is viewed with suspicion by the authorities. Once set on the chinese stage, it appears that brechtian plays are deprived of their critical dimension, and are
Zhou, Xiaoshan. "La traduction, la réception et l'influence de Madame Bovary en Chine". Paris 8, 2004. http://www.theses.fr/2004PA082404.
Pełny tekst źródłaThe thesis reviews and evaluates the various translation versions of Madame Bovary in China, and examines the acceptance of these versions by the Chinese readers as well as its influence on Chinese literary works. This is so far the first attempt at exploring translation issues through a study of the acceptance and influence of a French novel in the Chinese context during a period as long as eighty years. The study is conducted from sociological, philosophical, linguistic, and translation perspectives. It reveals a number of factors essential to translation works such as social background, cultural and political influence, in addition to the translator
Chang, Tai-Lin. "La réception de la notion de démocratie en Chine de 1895 à 1911". Paris 1, 1986. http://www.theses.fr/1986PA010299.
Pełny tekst źródłaThe introduction of the western democratic notion in China is significant in the period : 1895-1911. This notion is studied and propagated as well by intellectuals and statemen as by the movements of reform (constitutionalist and revolutionary). Considering the difficulties of translation, understanding and interpretation, the conception of democracy is observed at first sight, as one of political regimes in that period, then, it is analyzed in its philosophical aspect, and finally, as a subject for establishment of a democratic system. A few years before the fall of Ch'ing's dynasty, the government can take a series of measures tracing on western examples in order to establish a democratic regime. In this way, it seems that the ch'ing's government learns and well imitates the western political systems, in other words, that it has a good theorization of the democratic systems in china at this time. However, these new democratic arrangements can not prevent the end of the dynasty, and neither bring the China toward a western democratic regime. Is the problem setting on the pratical field, and is the pratical problem itself a function of socio-cultural aspect? This question remains to be asked
Coron, Anne. "La gouache découpée dans l'oeuvre de Henri Matisse : pratique, esthétique, réception". Amiens, 2005. http://www.theses.fr/2005AMIE0015.
Pełny tekst źródłaZhan, Yi. "Un voyage inattendu : la réception de l'oeuvre de François Mauriac en Chine". Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30014.
Pełny tekst źródłaFrom 1936 to the present day, François Mauriac's work has more than 80 years of history in China. In the eyes of the French, it is unexpected this long trip to China of Mauriac, classic writer, regionalist and even old-fashioned ... The present work is to draw a historical record of his reception in China through translation and academic study, highlight the characteristics of his trip to China in different periods, analyze his particular image attributed by Chinese readers, while seeking the causes in the literary, social and cultural, and finally highlight the place of François Mauriac and of his work in the history of French literature received in China
Coppola, Antoine. "Esthétique du cinéma asiatique : Chine, Corée, Japon, Hong Kong, Taiwan". Aix-Marseille 1, 2001. http://www.theses.fr/2001AIX10059.
Pełny tekst źródłaLontrade, Agnès. "Le plaisir esthétique : subjectivité, intersubjectivité et politique du sentiment". Paris 1, 2003. http://www.theses.fr/2003PA010603.
Pełny tekst źródłaBorrel, Pascale. "Neutre". Paris 1, 1996. http://www.theses.fr/1996PA010598.
Pełny tekst źródłaThis work seeks to define what the makings of a neutral attitude might be within the context of an artistic practice. The particular nature of this research is tied in with the fact that neutral(ity) is a difficult state to define : the work neutral designates an interval created by two opposing and complementary states. Within the context of an artistic practice, if one calls upon the word neutral to qualify the attitude displayed by a work, this is to indicate that an absence of implication, a withdrawal of the author, as well as a tension between an act and a type of reserve or passivity is perceptible in the work itself. The work doesn't provide a definition of what a neutral attitude is. Rather, the work neutral provides an approach to a variety of processes which demonstrate a withdrawal of the author and the ambiguities which result from them. The word neutral enables one to consider artistic work as an experience of which one of the end results is the transformation of "the self" involved in the production. It is therefore a matter of examining by what methods the author is affected by the experience undertaken, in what way he tends towards a state other than that of "the self", namely an impersonal, immaterial self. Visual as well as textual work constitute two approaches to an artistic production where is a clear separation between the artist and his work ; where throughout, the author takes on the role of an executant, a machine ; or lastly, where the work may grow out of the author's passivity, inactivity. The work neutral is a tool : it is used to envisage a work of creation (ambiguous, paradoxal), it is used to question the notion of author, of creator
Bernard-Faivre, Dominique. "Esthétique de l'oeuvre et/ou esthétique des effets. Continuité et/ou rupture dans les arts plastiques contemporains : vers une esthétique de la réception ?" Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1001/document.
Pełny tekst źródłaOur thesisconcerns the question of beauty in the contemporaries plastic arts. But this one does not without saying, if we consider the simple fact of the numerous publications concerning the rejection of contemporary art. May we speak, today, of a "work's esthetic" which refers to a "science of beauty" and to an essentially intellectual satisfaction? We mean an intrinsic beauty, like the one of the Renaissance's art, concerning as much the harmony as the exactness of the forms or the legitimacy of its contents. We mean an art which puts in a prominent position the mimêsis, the perspective's method or the religious motifs. Or would not it be better, in the intention to become able to judge of the esthetic value of contemporary art, to give a first place to the singularity of his causes and effects, at the same time we slide towards a "science of the sensibility" ? In fact, our parallelism between "work's esthetic" and "continuity", then between "effect's esthetic" and a possible "breaking" makes us think about reasons of this breaking, such as the refusal of profundity or as the figurative representation, as well asthe rejection of construction works or noble material. However, we have succeded to consider contemporary art as a real and new poiêsis, in spite of his specific political and technical ways of realisation. And we may assert that, today, undeniably, it is the matter of real art, and even of "epiphany", as soon as we refer to the ontological and laudatory point of view of the philosophe François Dagognet
Wu, Yafei. "La réception en Chine du sentiment de l'absurde dans le théâtre d'Eugène Ionesco". Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3027.
Pełny tekst źródłaThe reception of Eugène Ionesco's theatre in China has witnessed several different periods since the 1960s. This thesis involves researching the reception from three principal forms: the critique, the staging, the Chinese dramatic creation under his influence. The study is begun from a recurring reflection in reception of 'the other' and constitution of 'the self'. The Chinese traditional and modern conception of 'the other' influence always the perception of heterogeneous cultures, while her evolution since the foundation of People's Republic of China has a profound effect on reception of occidental art and literature. From critique to consecration, the interpretation of Ionesco's theatre passed by the process of rejection, refusal, distinction and identification of 'the other'. Due to an incomplete lecture, it is focused on several key words and preconceived ideas, although his political conscience remains a 'blind point'. The practice scenic of Ionesco' theatre experienced two condensed periods. These creations which are not numerous convey already the particularities of 'sinicization' and the will to construct the Chinese own cultural identity. As for the Chinese dramatic creation, the appearance of the Chinese theatre of the absurd seems to attain the equilibrium in the wobble between two poles which are borrowing from 'the other' and return to 'the self'. Instead of referring to the whole occidental theatre of the absurd, but to Ionesco's theatre, this theatre demonstrates the similitude.The reception of Ionesco's theatre, a specific case of reception of the other's culture, retraces also the way of the cultural identity's re-establishment in contemporary China
Sena, Caires Carlos de. "Lesconditions du récit filmique interactif : dispositifs et réception". Paris 8, 2010. http://octaviana.fr/document/152170324#?c=0&m=0&s=0&cv=0.
Pełny tekst źródłaThis research task is based on the interactive filmic narrative and its genesis comes from the idea that the cinematographic narration (along with the interactive installations and interactive video art) requires a work of delimitation and identification of the specific conditions of design, presentation and reception of the artistic works in the present stage of investigation and innovation. Our subject ranges over several fields of knowledge, from the cinematographic language to the interactivity. On the one hand, we have considered the question on the concepts of narrative, narration and history, and on the other, we have tried to measure to what extent the interactive (video) installations (which nowadays use the interactive potential of the digital), are carrying a new narrative form which defies the author as well as the spectator-participant (metamorphosed as an interactor). Thus our research task was focused on two items, on the one side, the study of the necessary elements for the analysis and the production of interactive pieces of work, which have in common the presentation of the filmic narrative. On the other side, we tried to limit their conditions from the point of view of the reception and its devices of implementation. Three great types form the conclusive feature of this thesis: firstly, specific narrative conditions; secondly, singular and intuitive interactive devices and, thirdly, renewed conditions of the reception of art works. Converge numerical art, the cinema and the interactive devices (and of reception) under a renewed dimension of the cinema hall, technology of capture and projection of the image and narrative from the point of view of the narration and organization of the space-time relations appears essential to us for any proposal in this field
Zhang, Na. "La réflexion de Jean-Jacques Rousseau sur la notation chiffrée et sa réception en Chine". Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLE055/document.
Pełny tekst źródłaIn China, from the twentieth century, one type of musical notation has been largely used for representing musical sounds by Indo-Arabic numerals. This notation is called Jianpu in china which means "simple notation." Indeed, this notation is not born in China, but comes from the West, precisely, called the Rousseau's method. In 1742, Jean-Jacques Rousseau had presented his project on a new approach for writing music, a numeral notation. Nevertheless, the French society was cold enough for his invention. This intelligent method was put aside by himself and also in most of the public in Europe. Fortunately, after a long period of development and travel in the world, this numerical notation has finally found its audience in China. This thesis strives to discover and analyze this phenomenon. For this purpose, firstly, the Chinese numerical notation will be compared in details with that one of Rousseau; then the traditional Chinese notations existing before this introduced notation are presented; finally, the special Chinese environment of the early twentieth century will be examined, because of playing an important role in the reception of this method
Sekimura, Makoto. "Réception et création des images chez Platon". Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210799.
Pełny tekst źródłaDoctorat en philosophie et lettres, Orientation philosophie
info:eu-repo/semantics/nonPublished
Tenkoul, Abderrahman. "La littérature marocaine d'écriture française : réception critique et système scriptural". Paris 13, 1994. http://www.theses.fr/1994PA131002.
Pełny tekst źródłaThis study about moroccan literature of french expression is formed of two main parts. The first part is about criticism of this literature. On the one hand, we point out that certain criticism based on some outdated notions is considered to be an instrument of conservation and resitence to any new form of writing. On the other hand, we propose to examine from a much more critical and valie some psychological, thematic and formalistic paradigms. The second part concerns itself with the technics of writing. We have tried to trace the development and evolution of the moroccan literature of french expression taking into account its social issues and the imperatives of modern aesthetics. By examining the paratext and some examples the poetic discours, we have demonstrated how this literature is constructed as a transparent object and enigmatic at the same time. The purpose of this research is to come out with a new approach to the moroccan literature of french expression based on the relationship which it intends to maintain with that of the reader
Baillot, Anne. "Genèse et réception de la pensée esthétique de K.W.F. Solger entre 1800 et 1830". Phd thesis, Université Paris VIII Vincennes-Saint Denis, 2002. http://tel.archives-ouvertes.fr/tel-00783069.
Pełny tekst źródłaHe, Hongmei. "La réception de Marcel Proust en Chine : de la lecture critique à la lecture créatrice". Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10004.
Pełny tekst źródłaPavie, Xavier. "La réception des exercices spirituels antiques dans la philosophie contemporaine". Paris 10, 2011. http://www.theses.fr/2011PA100062.
Pełny tekst źródłaThe goal of this thesis is to understand in what way contemporary philosophy apprehends spiritual exercises as they were conceived, shared and practiced by ancient philosophers. Aimed at self-improvement and self-transformation, spiritual exercises were intended to enable one to live a philosophical life. As such they represented an essential element in the main concerns of antique schools. Thus philosophers elaborated doctrines and theories, while maintaining a real and daily practice of these views. Indeed, the axis theoria/praxis is one the most important of spiritual exercises and is also a connecting thread in this thesis leading to a better understanding of the notion of “spiritual exercise” itself. Pierre Hadot is the one who discovered traces of spiritual exercises - their construction and implementation in ancient philosophy. However, philosophy goes far beyond the antique philosophers, to our contemporary era. As a result, for more than 2,500 years spiritual exercises have been questioned, reorganized by their environment, notably the religious and Christian environment. Consequently, the aim here is to determine the very essence of the antique spiritual exercises in the evolution of philosophy in a general sense, and more particularly in contemporary philosophy
Mangiulea, Mihai. "Une phénoménologie de la photographie". Toulouse 2, 2007. http://www.theses.fr/2007TOU20044.
Pełny tekst źródłaThe thesis provides an analysis of photography from a phenomenological perspective. The aim is to establish a phenomenology of the photographic image by means of a hermeneutical approach to the "perception" of the object (as "object of the experience"). My argument draws on a corpus of relevant theoretical responses to the status of the image and associated processes of imagination. The main topics of discussion are: (1) the specificity of the photographic image (which inevitably implies the couple index-icon) within the framework of a general typology of the image, (2) the relationship of photography to reality, (3) the phenomenological constitution of the photographic image and its reception, (4) the problem of the meaning, (5) the problem of truth in the photography, (6) the question of temporality and the related issues of memory and documentary evidence, (7) the postmodern discourse on photography and its proclamation of the death of photography
Quintana, Cécile. "L'effet esthétique dans la nouvelle mexicaine contemporaine (1980-1995)". Paris 3, 2001. http://www.theses.fr/2001PA030106.
Pełny tekst źródłaThe large number of Mexican short stories written between 1980 and 1995 opened up exhilarating perspectives about this literary genre. This period did not witness the birth of a new generation but most writers shared a certain number of aesthetic concerns : a revival of language, metapoetic discourse, intertextual combinations, all of which recalling characteristics of post-modern writing. Therefore the genre, if not new, stands as a more mature one for it experiments with all possile ways of writing and gets rid of all generic frontiers, includind those of poetry. From then on, it has been impossible to identify fixed rules of writing. That is why it seems more appropriate to propose a theory about short story writing from the point of view of the act of reading. The aesthetic effect is to be considered from three perspectives : phenomenological reading, identifico-emotional reading and literary reading. .
Coudreuse, Anne. "Tentation et refus du pathos dans la littérature française du XVIIIe siècle : esthétique, éthique, réception". Paris 8, 1997. http://www.theses.fr/1997PA081318.
Pełny tekst źródłaThis survey of pathos in 18th century french literature is chiefly concerned with esthetical and ethical matters, as well as with the way they are re-interpreted in the 20th century. Through the reading of a sample of pathetic texts, a definition of pathos itself is envisaged : the word is applicable to whatever technique likely to raise emotion in the reader. The background to this study is thus multiple and ranges from rhetorics to the history of representation. Along with lexicological research, theoretical works of the period, such as those of abbe du bos, marmontel and chamfort, contribute to assert the importance of pathos in the whole 18th century production, especially in the fields of narration and drama. Pathos is somewhat of a melting pot of different esthetical forms and genres. It is a test for language and the body, through which new sexual identities become revealed, since not only women were then allowed to weep. Pathos systematically tends to involve the reader. Although lachrimose writing may be a taste peculiar to the siecle des lumieres, the fact remains that the shedding of tears is, in most cases, politically oriented, as witness its prevalence in legal proceedings or libertine novels. Yet, the seduction of pathos sometimes gives way to rejection. It is then dismissed as mere obscenity, and heavily mocked by parodic and ironic authors. A study of elegy and pathos in chenier's poetry, as well as a number of texts never republished since the 18th century (coqueley de chaussepierre, cubieres, bordes) will be found in the annex
Maître, Marie-Julie. "Réception et représentation de la philosophie chinoise du seizième au vingt-et-unième siècle : le rythme latin de l'Antiquité au haut Moyen-Age". Lyon 3, 2010. https://scd-resnum.univ-lyon3.fr/out/theses/2010_out_maitre_mj.pdf.
Pełny tekst źródłaChinese Philosophy is little known in France and is not officially recognized by twenty-first century French philosophers. They do not consider Chinese philosophy as a philosophy but regard its contributions as wisdoms, thoughts or spiritualities. My study attempts to understand this fact by identifying the emergence of such representation across several centuries and starts with its reception in France through Jesuit missionaries in the sixteenth century. This thesis argues that French philosophers’ representation of Chinese philosophy is an Orientalist legacy that French philosophers and scholars have built from a distorted, biased and reductionist view of China and its philosophy as formulated by the Jesuits. This problem of the existence of Chinese philosophy can only be understood if it is approached in relation to the eurocentric and Orientalist ideology that characterizes philosophy and addressed through the intellectual coloniality that dominates traditional epistemology by deconstructing it
Sirois-Trahan, Jean-Pierre. "Découpage, automates et réception : aspects du cinéma et de ses débuts (1886-1915)". Paris 3, 2007. http://www.theses.fr/2007PA030028.
Pełny tekst źródłaThis thesis is a part of the movement over the last thirty years that has made the study of early cinema a prolific and specific area within film studies. Following my Master’s thesis, which aimed to categorize from an historical perspective the different kinds of gazes produced by the instance of spectatorship during the early period, this doctoral thesis aims to develop both the theoretical and epistemic sides of the same question and to elaborate on the question of decoupage. We will consider, among other topics, the horizons of expectation of early films: the illusion of defeated Death, film as automaton and the fear of the on-coming train. We will criticize the concept of apparatus when applied to that of spectatorship. Our primary objective is to analyze the transformation of decoupage during this period, in order to better understand how the language of institutional film was developed, if not crystallized. This objective cannot be reached without careful consideration of spectatorship from a diachronic perspective
Kim, Sang-Sook. ""In transit" : la place vide de l'installation appréhendée de visu dans son contexte". Paris 1, 1997. http://www.theses.fr/1997PA010669.
Pełny tekst źródłaThe empty place is an aesthetic of the returning. The work is there called in question by its very environment. The empty place implies an aesthetic of the returning, which could have, as its metaphorthe ball game where the ball is thrown to and received back. This aesthetic of reciprocity intervenes after the work has bieng received by the spectator and forms the very relationship in the exbition of the work. This aesthetic of the returning reflects the characteristis of the empty place in three dierent ways: first of all, the aesthetic of the returning proposes a relation between the object and the architectural space as far as this space is linked in its source to a representation. It is the topic of the investigations of andre bazin under the name of "doing a turn" between the spectator and the object shown. Secondly, the aesthetic of the returning of the empty place expresses it self in the shifting of the critical function. In the aesthetic of the returning the eyes no longer cling to a centre but to the parergon, we are referred there fore our ability to express an aesthetic judgment. Thirdly, the aesthetic of the returning of the empty place implies a altural conflict. By very meeting of and in the empty place, this "presence-place", we may think afresh about the essence of the cultural consensus. The empty place, being the space where all the posibilities in the realm of communication can be composed- a composition that is actualized by the spectator-so produces a philosophical discourse, which ends in describing the empty place itself
Xie, Sitian. "Pour un horizon de la traductologie comparée sino-ocidentale : la réception en Chine de la conception interprétative de la traduction : xin, da, ya, fidélité, clarté, élégance : 1898-1998". Paris 3, 2000. http://www.theses.fr/2000PA030114.
Pełny tekst źródłaLetissier, Georges. "La trace obsedante de l'intertexte victorien dans l'ecriture romanesque contemporaine". Nantes, 1997. http://www.theses.fr/1997NANT3022.
Pełny tekst źródłaSince fowles's the french lieutenant's woman, a lot of fiction written in enghlish has revived the literature of the victorian age. Novelists have devised new ways of relating to the victorian intertext and highlighted the many-faceted aspects of the victorian era while blurring its contours in the process. Five novels published between 1982 and 1992 (the great fire of london, possession, changing heaven, ever after, poor things) constitute a significant sample of the various means of coming to terms with an eclectic victorian intertext which may be genuine (little dorrit, wuthering heights), or parodied. The point in common between the five novelists (ackroyd, byatt, urquhart, swift, gray) lies in a tension in the writing process between the victorian hypotext and the contemporary framing narrative. In a typically postmodernist vein each fiction calls into question the very nature of its referent. The intertextual relationship is foregrounded through a theatrical representation of the polyphonic voices. Lastly the novels refer to the reading activity. The emphasis laid on the darwinian paradigm and the epistemological reflection on the writing of history testify to the uncertainties of our own fin de siecle. Yet these reader/novelists overconscious of the guiles of fiction-writing rehabilitate the pure delight of story-telling
Baillot, Anne. "Genèse et réception de la pensée esthétique de K. W. F. Solger entre 1800 et 1830". Paris 8, 2002. http://www.theses.fr/2002PA082178.
Pełny tekst źródłaOur work, based on K. W. F. Solger's (1780-1819) manuscripts and posthumous editions, will enlighten the genesis and reception of his aesthetics between 1800 and 1830. After presenting his printed as well as his unprinted texts, we will describe how these are connected to one another and which concepts they let prevail. His intellectual biography will then be drawn from a historical enquiry stressing out his role in the University of Berlin between 1811 and 1819. A comparison between the different types of texts available today will finally point out the literary stakes of a work that has been left unfinished by its author and has been widely revised by its posthumous editors. This research has been mainly based on Solger's correspondence and aims at pointing out his relationships to his contemporaries in the Romantic and Idealistic Berlin
Ma, Mingzhu. "L' origine de la couleur dans les films de Zhang Yimou : analyse esthétique et symbolique". Paris 7, 2014. http://www.theses.fr/2014PA070043.
Pełny tekst źródłaFrom a cultural point of view, the films and the colors of a director are produced by his cultural roots. Color is a part of film language. We use colors to express different feelings. It likes the contrast between light and shadow that represents the conflict between life and death. Each color has its own meaning and people from different cultural backgrounds have their own interpretations. Sometimes the audience does not see the variety of meanings of color, but they can feel it. As Zhang Yimou is Chinese, his colors should relate to the heritage culture of five thousand years of China. This topic helps to open the door of the Chinese culture and to learn more about this director. This research is under the following angels: a. What are the roots of the color of Zhang Yimou? b. In the Chinese cinema history, the color of Zhang Yimou is an heir or an innovation? c. Do the economic, social and political factors influence the aesthetics of the color of Zhang Yimou? d. Does the personality of Zhang Yimou influence the choice and aesthetic trend of the color of his movies? e. Do the theory and the traditional pictorial works represent a reference for Zhang Yimou? f. Is it possible to use Western theories to analyze the aesthetics of the color in Zhang Yimou's films?
Julliard, Catherine. "La réception des théories esthétiques françaises par le théâtre allemand de la Frühaufklarung". Paris 4, 1992. http://www.theses.fr/1992PA040127.
Pełny tekst źródłaThe period to be studied, a domain that has been until now little explored, extends over the first decades of the eighteenth century and is characterized by different ruptures with the previous century, particularly with the formal and conceptual heritage of the second Silesian school. The psychological situation of the epoch is defined by the German consciousness of deficiencies in the dramatic and cultural sphere, increased by the reactions of foreigners who mock German literature. The specific German situation is the origin of the reception of French dramatic theories. The reception, or the passage from one cultural sphere to another, meets German expectations, and the borrowings play a cardinal part in the elaboration of a new dramatic theoretical edifice. The model advocated by Gottsched, who is the focus of the study, is France, a successful example of a national culture, an ideal of dramatic theory which is based on norms. The method employed consists in a reading of texts in French and German theory with the consideration of major themes. The study shows that Gottsched is inspired by the French classical and neoclassical tradition. It attempts to reveal the coherence of the French contributions that the German writer integrates into the edification of his national program
Bost, Sébastien. "Barbara : la morsure et la caresse - une esthétique de la déchirure". Thesis, Tours, 2019. http://www.theses.fr/2019TOUR2008.
Pełny tekst źródłaThis thesis explores the unique artistic process of the singer Barbara. To that end, it studies the recurring themes of her repertoire, her writing, composition and interpretation principles, her stage persona, her connection to the public, and her idea of the profession of "singing woman". Identity, writing, and vocal and stage performance : all these creative fields are linked in Barbara's work, and the aim is to show that their consistency is based on the "wrench" concept. The word refers to a suffering written into the memory of whoever feels it, still active, even if the event that caused it is old ; a wound not healed, alleviated by writing and singing. Is it necessary to recall that the French word, "déchirure", cames from Old French "escire" which means "tear to pieces", and that, in both French and English languages, "piece" also means "musical composition" ? In this respect, the ordeals Barbara experienced during her youth fed her inspiration. But, when we study how she expresses them, we realize that her wrenches are as much a source of inspiration as a set of structural, aesthetic and ethical principles which shape her work and determine the public's reception. In this regard, singing seems to be less a way to relieve her pain than a way to include them in her art and to convert them in fruitful strengths. This thesis analyses the issues and the conditions of that conversion to better understand the creation and perception processes of an artist rightly seen as a major figure of French popular music
Armengaud, Jean-Pierre. "Pour une esthétique de la réception musicale : ou l'art de saisir la fuite et de capturer la différence". Paris 1, 1994. http://www.theses.fr/1994PA010612.
Pełny tekst źródłaThis thesis defends the possibility of applying to music the theory of reception as defined by Hans-Robert Jauss to litterature. It is an attempt for a definition of the idea of "waiting horizon" and with accurate exemples it shows how this could throw a light on Mozart's, Debussy's, Satie's, Boulez's and Denisov's language. The third part of this work is devoted to the interpreter whose part in the affaire is obligatory in the process of reception and reemission of musical message
Bories, Estelle. "Art et révolution : une perspective sur les avant-gardes et la question de la modernité en Chine au vingtième siècle (1976-2003)". Paris, Institut d'études politiques, 2011. http://www.theses.fr/2011IEPP0057.
Pełny tekst źródłaThis thesis considers the institutionalization of the concept of Contemporary Chinese Art. The main issue is drawn on the analysis of expressions of cultural distinctiveness and its link to the question of modernity. Mostly regarded as the manifestation of a globalized art, Chinese contemporary art conceals in fact a complex evolutionary process. The claim that a gap, or even a break-away, between the evolution of art in the Western World and China, initiated many debates. The study of the artistic movements involved in the ideological emancipation process, after the death of Chairman Mao in 1976, (Xingxing, bawu yundong), shows a split between supporters of an artistic activism on the one side and partisans of a formal approach taking better account of developments in Western art on the other. Likewise, art perceived as an echo to the many changes sweeping the country since the 1990s has stimulated controversies on the role of social contest in contemporary art - through the return to realism (Cynical Realism, Gaudy Art) or the specificity of the revolutionary experience (Political Pop). Follows the emphasis on environmental data (Beijing) entertained by critics (Li Xianting, Gao Minglu), deeply condemned by artists and critics who were living abroad (Fei Dawei, Huang Yongping) ; also, there persists a rebellious stance (Ai Weiwei, Gao Shiming) aiming beyond the limits of denouncing Western attitude
Coavoux, Samuel. "Sociologie de l'expérience esthétique. Contextes et dispositions dans les réceptions muséales d'un tableau de maître". Thesis, Lyon, 2016. http://www.theses.fr/2016LYSEN009.
Pełny tekst źródłaDrawing on an ethnographic study of the receptions of a Nicolas Poussin's painting curated at the Fine Arts Museum in Lyon, France, this dissertation analyses the position of museum visiting in the leisure repertoire of the middle and upper-middle classes. Three main data sources are used: about 50 days of observation of the activities of museum visitors, 45 reception interviews carried out inside the museum, and 18 biographical interviews on visiting habits with occasionnal or regular museum visitors. The dissertation sheds light on the central role of the artwork's status in their orientation and the distribution of their attention. This practical use of cultural legitimacy leads to a paradox: the painting is considered a masterpiece, but it has little aesthetic appeal. A lexicometric analysis of a corpus of newspapers articles confirms that this perspective may be extended to professional audiences, such as journalists. The unease this contradiction provokes in the audience is a reminder of the centrality of statutory artistic skill. The dissertation then analyses how mediation devices are used to fill this gap. The disconnection between the use of devices and the contemplation of the painting might be interpreted as the sign of how important the authorized, institutional discourse on the artwork is for visitors with low to average levels of specific resources. Finally, an analysis of visitors' biographies demonstrates that a normative injunction to visit greatly weights in visitors' practices, but that visits mostly occurs when they are embedded into leisure routines
Kawashima, Bertrand Atsuko. "Expérience esthétique au musée : impact du parcours et des cartels". Saint-Etienne, 1999. http://www.theses.fr/1999STET2052.
Pełny tekst źródłaThis study is conducted according to two research points of view : the determination of some specificities of aesthetic experience as part of a visit in an art museum, and the elaboration of a method to analyze the textual data gathered by an interview. I study the specificity of the aesthetic experience in an art museum according three factors that could influence it : effect of the presentation order of the works of art, effects specific to the originals in the setting of the art museum, compared to reproductions, effect of the captions of the works of art. This study contains two parts ; the first one presents the theoretical background of the study, focusing on the aesthetic experience and the cognitive operations of the subject in front of works of art, and on the other hand on the presentation of the works of art in the museum and the assistance that can be proposed to the visitor. The second part of this study is devoted to the empirical approach : our analysis method based on a computational software (tropes) allows the counting of words and the research of the words creating the meaning of the discourse. This method replaces the categorical analysis classically used, and reduces the subjectivity of the coding by those categorical analysis. I have shown that the verbal production and the contents of the discourse change according to the order of visit in the museum : this variation depends on the changes of the themes presented. In opposition, discourse in front of the reproductions do not change with the order of visit, and are less rich than the discourse in the museum, particularly on the points of the expressivity and formal aspect of the works of art. The study of the captions shows how visitors appropriate their meaning, and use it in their reformulations and for the analysis of the pictures ; but also how some captions can lead into confusion non-expert visitors
Copans, Johanna. "Le paysage des chansons de Renaud : une dynamique identitaire". Valenciennes, 2010. http://ged.univ-valenciennes.fr/nuxeo/site/esupversions/d5f44b64-97fa-4a3e-8a49-b90e71f5aea7.
Pełny tekst źródłaThis thesis brings forward the universe of the singer Renaud as it unfolds between the launching of his first record, Amoureux de Paname, in 1975 and that of his last one, Molly Malone, a repeat of traditional irish repertoire, in 2009. The “chansons” of Renaud make up a scenery: they build a global word, bearing both an internal and external evolution. Its unity can be uncovered within the cohesiveness of its poetic and musical values, through its filiations with street songs or with the renewed patrimony of Aristide Bruant and Georges Brassens. Using the concept of scenery as an operational tool, this study illustrates how the universe created by Renaud can be defined as an art work following the cantologic perspective based on the aesthetics of the french speaking song tradition. The poetic songs of this last century have to be considered as a global phenomenon within which the texte, the voice and the body movement are profoundly interwoven. It is through the fusion of the melody and of the text, the incarnation of a voice and of a body on stage that the universe of Renaud’s chansons fabricates its own form through the catalysis of a multiplicity of “identity reflexes”. These are to be found basically at the intersections of the texts, the music and of the performance because they reveal the specific consistency of Renaud’s world: a sensible universe that is a dynamic one for it can recreate through the songs, on stage or backstage, a community both rooted in this century’s upheavals but also present as a timeless one wether large or small. Lastly we shall examine, on a diachronic, synchronic and dialectical level, the networks created by the songs. They should be defined first as a metaphoric laboratory of wordly experiences then as the local of their reception as shaped by the stakes of a meaningful scenery
Estèves, Aline. "Poétique de l'horreur dans l'épopée et l'historiographie latines, de l'époque cicéronienne à l'époque flavienne : imaginaire, esthétique, réception". Paris 4, 2005. http://www.theses.fr/2005PA040151.
Pełny tekst źródłaThe aim of the author is to reconstitute the Roman perception of horror, defined as an extreme fear and an horrible phenomenon ; the study is carried on latin epic and history, and compares them with tragedy, so as to point out the theme originality in two genres whom it is a priori excluded from. By observing the terms expressing fear, it establishes the semantics of horror as emotion ; the imaginary of horror is then extracted ; it is organised on themes such as blackness, greatness and ugliness, divided into pejorative and laudable vision (horror ad odium/ ad uenerationem), and is a matter for profane or sacred events. Horror deals with aesthetic problems, especially when epic poets and historians develop scenes of violence : so as to express the excessive dimension of horrible violences, they use amplification processes, emphasis, euidentia and tumor, troubling though generic rules. Horror also disturbs readers reception : delectatio joins vulgar pleasure for sensational facts with intellectual pleasure, the reader being allowed to recognize traditional problems of mimèsis and aemulatio in the treatment of horror imagery ; utilitas is the utility of doubt, catching horror ad uenerationem out, and dignifying horror ad odium. In epic and historiography, it appears that two themes structure the Roman vision of horror : hell and civil wars