Cet étude interroge la pratique de la sculpture et sa relation avec le terme qui la nome, dans le but de penser et comprendre qu’est-ce que la sculpture ; afin de situer notre pratique personnelle de cet art. En effet, nous constatons que depuis l’adoption des matériaux et des techniques nouvelles, la sculpture n’a cessé de s’enrichir, en franchissant ses limites et en allant à l’encontre de son propre sens. Des multiples transgressions ont permis de la prolonger avec l’incorporation de nouvelles valeurs dynamiques, plastiques et esthétiques. Les dimensions de la sculpture se voient ainsi élargies, par la présence de l’ombre portée, par le déplacement du spectateur et par les multiples facettes de l’espace. Une des valeurs ajoutées las plus riche étant sans doute le mouvement réel ; il apparaît comme conséquence de cette longue évolution, du dépouillement matériel, de l’éclatement du bloc qui rend la sculpture de plus en plus légère, de l’élimination du socle, de la suspension, ainsi que de la manipulation des forces mécaniques et physiques. Tout au long du XXe siècle, des artistes ont fait preuve d’inventivité pour doter leurs œuvres du mouvement réel ; il génère à son tour des relations en devenir, dynamiques. Nous employons le terme dynamique selon l’étymologie grecque de dunamis, dans le sens de « force », et de « possibilité de ». Nous cherchons ainsi à savoir de quelle manière le mouvement de la sculpture peut être initié, prolongé ou enrichi par la présence de phénomènes rythmiques, temporels, sonores et d’équilibre précaire ou éphémère. Éléments qui participant du dit mouvement, en découlent, et parfois le génèrent. / The focus of this research questions the practice of sculpting and its relation with the term that defines it. The main goal is to reflect and to understand what exactly a sculpture is, in order to determine our own personal practices in this art. Indeed, it is noted that since the adoption of new materials and techniques, sculpting has seen a continuous process of enrichment, constantly breaking barriers and moving counter to its own origins. Multiples transgressions have permitted to extend sculpting with the incorporation of new dynamic, cosmetic and aesthetic values. The dimensions of sculptures are thus enlarged by the presence of projected shadows, the movement of the spectator and the multiples facets of space. One of the richest added values is without a doubt physical movement. It appeared as a consequence of this long evolution: the shedding and simplification of materials, the breaking-down of the block that renders the sculptures more and more nimble, the elimination of the pedestal, the practice of suspension, as well as the manipulation of physical and mechanical forces. Throughout the twentieth century, artists had proven their ingenuity by endowing their works with actual movement that in turn generated future dynamic relations. Here we employ the term “dynamic” according to the Greek etymology dunamis in the sense of ‘force’ and ‘possibility of.’ Thus, this dissertation will search to find out in what ways the movements of sculptures can be initiated, prolonged or enriched by the presence of rhythmic, temporal and sound phenomenon, including precarious and ephemeral balance. These elements can, by participating in this movement, stem from and at times generate it.

This thesis deals with an examination of influence of the Parables of Enoch on the oldest Jesus traditions. The presupposition of this examination is chronological setting of these traditions. The core of this thesis is an analysis of a selected motive in the Parables of Enoch and also in Jesus traditions. This motive is a figure of the Son of Man, which is important for both of compared materials. Then we will try to propose a possible influence of some eschatological ideas from the Parables on Jesus himself. Powered by TCPDF (www.tcpdf.org)

This dissertation evaluates the historiography, methodology, exegesis, and theological conclusions of pneumatological inclusivists and their doctrine of salvation, and then offers a biblical and theological defense of soteriological exclusivism based on the relationship between the Son and the Spirit. Chapter 1 defines the categories of exclusivism, inclusivism, and pluralism. Attention is given to those inclusivists who ground their inclusivist proposals in a work of the Holy Spirit in world religions apart from Gospel proclamation. Chapter 2 summarizes the work of non-evangelical inclusivists in the area of theology of religions, with particular attention given to those theologians who focus their work on the person and ministry of the Holy Spirit. Chapter 3 summarizes the work of evangelical pneumatological inclusivists, focusing on the efforts of Clark Pinnock and Amos Yong. Chapter 4 evaluates the historiography of pneumatological inclusivists. The chapter contends that any appeals to the theology of Irenaeus or a rejection of the Fifoque clause to bolster support for pneumatological inclusivism are tendentious. Chapter 5 evaluates the theological method of pneumatological inclusivists. The chapter argues that systematic theological conclusions must be based upon solid exegesis and biblical theology. The Bible presents the Spirit as working to glorify the Son. Theological method ought to reflect this priority, that is, it must be Christocentric. Chapter 6 presents a theology of the Son and the Spirit. It is demonstrated that from the beginning of redemptive history, prior to and during the incarnation, the Spirit worked toward and for the glorification of the Son. During the present church age, the Spirit works to glorify Christ. Chapter 7 summarizes the dissertation and highlights areas of contribution and significance. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

A travers Fils de S. Doubrovsky, Le Miroir qui revient d’A. Robbe-Grillet et A l’ami qui ne m’a pas sauvé la vie d’H. Guibert, notre étude abordera par une approche psychanalytique le fantasme à l’oeuvre dans l’autofiction. Reprenant la formule d’A. Robbe-Grillet sans toutefois nous imputer le propos, notre réflexion s’articulera autour de deux axes rendant compte du discours autofictionnel. Dans un premier temps, l’autobiographe est appréhendé dans cette pente à « faire sa propre statue ». Dans un second temps, l’autofictionnaliste y oppose cette volonté à « se projeter hors de soi ». Peu à peu se construit face au père-analyste ou au père-médecin l’imaginaire adolescent d’un fils en proie à ses apories : l’un devient une figure rivale et gémellaire de l’autre autour de cette parole-pulsion et de son économie. Dans ce rapport d’addiction à la Loi qui est autant de désintrication et d’ironie que de nostalgie et d’adhésion, le gynogenre autofictionnel ne semble exister qu’en miroir du phallogenre autobiographique. L’autofictionnaliste ne cesse d’évoquer par une ironie tenant lieu d’exorcisme cet autobiographe qui sommeille en lui. Par une rhétorique psychanalytique volontairement simple, il se présente sous l’image d’un fils soumis à une structure hystérique face à un père dont il déjoue la censure et les pudeurs. Cette figure d’ultra-autobiographe, plus intègre que le père lui-même, ferait de ses voeux autobiographiques une promesse donjuanesque à seule fin de susciter le désir de l’auteur. L’autofictionnaliste jouant à être cet autobiographe plus « ultra » que le père essaimerait quelques leurres se révélant être des figures gratuites, abandonnerait çà et là quelques aveux véridiques mais insignifiants, tendrait à séduire le lecteur et à le faire entrer dans une mécanique du désir dont la fin serait de dominer sa victime par l’indécidable. Il tiendrait le jeu de l’énigme autant qu’il écrirait. Il soutiendrait le désir du lecteur plus qu’il ne dévoilerait. Ainsi, se construirait un texte blanc qui serait ce secret d’un texte à venir sans cesse promis mais qui neviendrait pas, tout le jeu consistant à le faire oublier. / This thesis will study the construction of fantasy in autofictional writing from a psychoanalytical perspective, focusing on Serge Doubrovsky’s Fils, Alain Robbe-Grillet’s Le Miroir qui revient and Hervé Guibert’s A l’ami qui ne m’a pas sauvé la vie. Taking up a phrase by Alain Robbe-Grillet’s, this study will rely on two different axes to inform autofictional discourse: firstly, the autobiography writer is bent on “creating an own statue of himself” while, on the other hand, the autofiction writer sets out to “project an image out of himself”, as it were. Gradually, there emerges the teenage imaginary construction of a son caught up in his aporias when faced with the analyst-father of the doctor-father — one becomes the rival and twin figure of the other as constructed around this drive-discourse. Through its addiction to the Law, which is distanciation and irony as much as nostalgia and allegiance, the autofictional gynogenre seems to exist only as a mirror image of the autobiographical phallogenre. Through irony that is meant as liberation, the autofiction writer keeps referring to the autobiographer in him. Using a deliberately simple psychoanalytical rhetoric, he portrays himself as a son with a hysterical structure having to sidestep his father’s censorship and restraint. This figure of an ultra-autobiographer — which is more reliable than the father — gestures towards autobiography as a Don Juan-like promise with a view to arousing the author’s desire. The autofiction writer who plays at being a more ultra autobiographer than the father, creates luring but gratuitous figures and gives away true but insignificant confessions, as a way of trying to seduce the reader into participating in a mechanism of desire whose purpose is to dominate his victim through ontological undecidability. He is both the one who masters the enigma and the one who writes it. He does not so much reveal the reader’s desire as sustains it. Therefore, a blank text is being built which is that element of secrecy of a text that has yet to come, the whole game consisting in letting it slip from memory.

Thesis advisor: Kevin Newmark / This dissertation constitutes a systematic literary study of the image of the mother in Camus’s works. The study is twofold: it represents 1) a reconstruction of the story of the image of the mother through the analysis of the image’s manifestations and meanings and 2) a reading of Camus’s oeuvre through the lens of this image. In this dissertation, the image of the mother is approached as a unique entity that 1) has its distinctive parameters, inner logic, language, manifestations, and levels of meaning, 2) manifests a tendency to remain central, and 3) leads an uninterrupted existence throughout the entire oeuvre. The narrative unfolding of the image of the mother repeats Camus's progression through his project and shows an intimate connection to the problematics of the self and the expression of emotion. Paralleling the twists and turns of Camusian creation, the existence of the image of the mother in the texts remains dual: embodied and hidden. Hence, the analysis of the sequence of the image’s perceptible forms – i.e., the mothers who appear in different works, in particular the mother of “Entre oui et non” (L’Envers et L’Endroit), Mme Meursault (L’Etranger), the mother of Jan (Le Malentendu), Mme Rieux (La Peste), and Catherine Cormery (Le Premier Homme) – is supplemented by an account of the image’s less perceptible forms – i.e., veiled presences, echoes, traces, and avatars. The narrative is not only cumulative, it has a specific direction. As the story of the image of the mother unfolds, moving from text to text, from one manifestation to another, the image of the mother is gradually unveiled as a living symbol, the Mother-Christ – a figure of conciliation of the living and the symbolic and a point of convergence of the vertical and the horizontal. / Thesis (PhD) — Boston College, 2016. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

Análise dos dois primeiros capítulos que integram o livro de 1 Samuel da Bíblia Hebraica, com ênfase nos aspectos históricos, lingüísticos e literários. Neles encontra-se registrada a história de Ana, uma mulher que sofria muito por não ter filhos, uma vez que a outra esposa de seu marido os tinha. A esterilidade de Ana é revertida após ela orar a Deus, e prometer-lhe entregar o filho que viesse a ter ao serviço religioso. Uma comparação com outros personagens da Bíblia Hebraica é feita, para demonstrar quais atitudes de Ana fazem dela uma das personagens femininas mais notáveis do Antigo Israel. Ao final, verifica-se também como o poema inserido nessa narrativa influenciou a literatura cristã. / Analyses of two first chapters that integrate the 1 Samuel book of Hebrew Bible, with emphasis in historical, liguistics and literary aspects. In these chapters we find the history of Hannah, a woman that suffered very much because she hasn\'t childrens and because the other wife of her husband has got them. The Hannah\'s sterility changed after she prays to God, and promisses to give the son that wasborn to the religious service. A comparision with others Hebrew Bibles characters is done to demonstrate which actitudes of Hannah make of her one of the most notable females characters of Ancient Israel. At the end we notice too how the poetry inserted into this narrative has influenced the christian literature.

Ce rapport présente les différentes étapes suivies afin de développer une méthode logicielle pour l'apprentissage de chants polyphoniques basée sur l'utilisation de capteurs sans fil. Cette étude réalisée au sein de l'UMR SPE de l'Université de Corse, en collaboration avec l'association E Voce di U Cumune et l'IRCAM, s'inscrit dans un projet universitaire de valorisation et de caractérisation du patrimoine culturel corse.L'objectif de cette thèse est de proposer un outil d'aide à l'apprentissage de polyphonies. Pour cela nous avons utilisé un langage gestuel décrivant l'échelle musicale corse. Le but de nos travaux a été de capter ces gestes afin d'y associer, à chacun d'entre eux, une voix chantée. Ce processus qui va du langage gestuel au son fait appel à plusieurs notions qui sont :- le contrôleur gestuel, qui regroupe un ensemble de capteurs au sein d'une même unité pour constituer le premier bloc fonctionnel du modèle d'instrument virtuel.- la captation de gestes, qui permet l'acquisition, c'est-à-dire qui traduit en signaux électrique puis numériques, des gestes effectués.- la reconnaissance, qui identifie les gestes captés et permet de différencier les postures de la main.- la production sonore est la dernière étape du système et associe à chacun des gestes effectués une voix chantée à la hauteur de note souhaitée.Cet enchainement nous a conduit à proposer un nouvel outil d'aide à l'apprentissage de chants polyphoniques qui offre la possibilité de manipuler les voix, le chant et la polyphonie sans n'avoir aucune connaissance musicale. / This report presents the different steps to develop a software method for learning polyphonic songs based on the use of wireless sensors. This study within the UMR SPE University of Corsica, in collaboration with the association E Voce di U Cumune and the IRCAM, is part of a university project development and characterization of Corsican cultural heritage.The objective of this thesis is to provide a tool for learning polyphony. To do this we used sign language describing the Corsican musical scale. The aim of our work was to capture these gestures in order to associate each of them with a singing voice. This process which established the link between gestural language and singing involves several concepts which are:- Hand controller, which includes a set of sensors in a single unit to be the first building block of virtual instrument model.- The gestural capturing which allows acquisition, i.e. which translates into electrical signals and digital, the gestures performed.- Recognition that identifies the captured gestures and can differentiate hand posture.- Sound production is the final stage of the system and associated with each of the gestures made a singing voice to match desired note.This concatenation led us to propose a new tool for learning polyphonic songs which offers the possibility to manipulate voice, chant and polyphony without having no musical knowledge. / Stu raportu prisenta e sfarente tappe seguitate da sviluppà un metudu "software" per l'amparera di canti pulifonichi fundatu nantu à l'adopru di cattadori senza filu.Stu studiu realizatu à l'UMR SPE di l'Università di Corsica, in cullaburazione cun l'associu di E Voce di u Cumunu è l'IRCAM, si scrive in un prughjettu universitariu di valurisazione di u patrimoniu culturale corsu.L'ughjettivu di sta tesa hè di prupone un arnese d'aiutu à l'amparera di pulifunie. Per quessa, avemu adupratu un linguaghju gestuale chì discrive una scala musicale corsa. U scopu di u nostru travagliu hè statu di chjappà issi gesti di manera à assucià, à ognunu, una voce cantata. Stu prucessu chì và da u linguaghju gestuale à u sonu chjama diverse nuzione chì sò :-u cuntrollu gestuale, chì gruppa un inseme di cattadori in una stessa unità per cunstituisce u primu bloccu funziunale di mudellu di strumentu virtuale.-a cattazione di i gesti, chì permette l'acquistu, vene à dì chì traduce in signali elettrichi eppo numerichi, di i gesti effettuati.-a ricunniscenza, chì identificheghja i gesti cattati è permette di sfarenzià e pusture di a manu.-a produzzione sonora hè l'ultima tappa di u sistema è assucieghja à ogni gestu effettuatu una voce cantata à l'altura di a nota vulsuta.St´intrecciu ci hà cunduttu à prupone un nuvellu arnese d'aiutu à l'amparera di canti pulifonichi chì offre à pussibilità di manighjà e voci, u cantu è a pulifunia senza avè alcuna cunniscenza musicale.

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<p>Strauss, Richard, Don Juan, Op. 20</p><p>Sørensen, Bent,  Evening Land, 2017</p><p>Tchaikovsky, Peter Ilyitch, Symphony No. 4, F minor, Op 36</p><p>Dirigent: Magnus Theodor Torpp Larsson</p><p>Orkester: Norrköpings Symfoniorkester</p>