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D.E.A.--Histoire et civilisation--EHESS, 2003. / Bibliogr. p. 86-98.

This study concerns the concept of sacred architectural imitation, using the Platonic notion of mimesis which then later finds expression in the medieval idea of imitatio. In Religious as well as in artistic and architectural forms of expression, the notion of imitation is indeed a very central and complex issue. At the heart of this concept is the question of meaning, or, more precisely, the transference or translation of meaning; from original to copy, from prototype to reproduction. / In order to better illustrate and understand the principles guiding the notion of medieval sacred architectural imitation I have chosen to focus on five specific instances surrounding the replication of the Holy Sepulcher in Jerusalem, arguably the most revered landmark in Christendom. / A close examination of the relationships which exist between model and copy will bring to the fore the dynamics which govern the process of mimesis by which meaning is reproduced in the architectural replicas. / From this comparative analysis will emerge a more universal picture of the medieval concept of religious imitation. Indeed, if anything, a preliminary survey of the great many imitations of the Holy Sepulcher spread throughout Europe reveals to the observer a surprising trend, namely a consistency of inconsistencies in their effort to "copy". / The present study will demonstrate that these seeming inconsistencies within the application of the mimetic process nevertheless reveal a somewhat unexpected structure. / From the pattern of these inconsistencies will emerge a clearer picture of the principles governing the transfer of sacred meaning via the method of imitatio during the Middle Ages.

Orientador(a): Lia Vera Tomás / Banca: Yara Borges Caznok / Banca: Graziela Bortz / Banca: Carin Zwilling / Banca: Mário Videira / Resumo: Este trabalho tem como objetivo discutir os vários sentidos do conceito de imitação relacionados à ópera inglesa do século XVIII. Através do exame de textos britânicos do século XVIII quanto à estética musical e de teóricos como Thomas Rymer, John Dennis, Thomas Twining, dentre outros, que se referiram à imitação e expressão em música, nos perguntamos: quais concepções imitativas e modelos miméticos foram de uso corrente na Inglaterra daquele período? De que modo as teorias imitativas foram estabelecidas e utilizadas como critério de julgamento estético para a ópera e porque esse critério foi visto com ressalvas por autores como Daniel Webb e John Hawkins? O que podemos derivar dos ataques e defesas feitos a elas? Em que medida a Inglaterra dialoga (ou não) com a França sobre esse problema? Para responder a essas questões, consideramos o modo como a música, a ideia de natureza e razão foram compreendidas no século XVIII, e como essa compreensão atuou na concepção estética da música. Procurou-se seguir a trajetória da imitação como prerrogativa para a execução da ópera, e como ela se perdurou no decorrer desse século, mesmo em meio às polêmicas e à instauração da ideia de expressão em música, que trouxe possibilidades autônomas para a música, tornando-se independente das teorias imitativas em música. Os resultados a que se chegou foram que a estética musical vinculada aos sentimentos como critério de gosto e de valoração da música a partir da expressão musical foi suplantando... (Resumo completo, clicar acesso eletrônico abaixo) / Résumé: Cet article vise à discuter des différentes significations du concept d'imitation lié à l'opéra anglais du 18ème siècle. En examinant des textes britanniques du XVIIIe siècle sur l'esthétique musicale et des théoriciens tels que Thomas Rymer, John Dennis, Thomas Twining, entre autres, qui ont évoqué l'imitation et l'expression en musique, nous nous sommes posé la question suivante: quelles conceptions imitatives et quels modèles mimétiques étaient utilisation actuelle en Angleterre de cette période? Comment les théories imitatives ont-elles été établies et utilisées en tant que critère de jugement esthétique pour l'opéra et pourquoi ce critère a-t-il été interprété avec réserve par des auteurs tels que Daniel Webb et John Hawkins? Que pouvons-nous tirer des attaques et des défenses qui leur ont été faites? Dans quelle mesure l'Angleterre dialogue-t-elle (ou pas) avec la France sur ce problème? Pour répondre à ces questions, nous examinons comment la musique, les notions de nature et de raison ont été comprises au XVIIIe siècle et comment cette compréhension a agi dans la conception esthétique de la musique. Nous avons cherché à suivre la trajectoire de l'imitation comme une prérogative pour la représentation de l'opéra et comment elle a duré tout au long de ce siècle, malgré les controverses et l'instauration de la notion d'expression dans la musique, qui a apporté des possibilités autonomes de indépendant des théories imitatives en musique. Les résultats ont été que... (Résumé complet accès életronique ci-dessous) / Abstract: This paper aims to discuss the various meanings of the concept of imitation related to 18th century English opera. By examining eighteenth-century British texts on musical aesthetics and theorists such as Thomas Rymer, John Dennis, Thomas Twining, among others, who referred to imitation and expression in music, we ask ourselves: what imitative conceptions and mimetic models were of current use in England of that period? How were imitative theories established and used as an aesthetic judgment criterion for opera, and why was this criterion viewed with caveats by authors such as Daniel Webb and John Hawkins? What can we derive from the attacks and defenses made to them? To what extent does England dialogue (or not) with France about this problem? To answer these questions, we consider how music, the idea of ​​nature and reason were understood in the eighteenth century, and how this understanding acted in the aesthetic conception of music. We sought to follow the trajectory of imitation as a prerogative for the performance of opera, and how it lasted throughout this century, even amid the controversies and the establishment of the idea of ​​expression in music, which brought autonomous possibilities for music, making independent of imitative theories in music. The results were that the musical aesthetics linked to feelings as a criterion of taste and appreciation of music from musical expression was supplanting the power of imitative theories, making the music adapt to the... (Complete abstract click electronic access below) / Doutor

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Thesis (M. Tech. (Design and Studio Art)) - Central University of Technology, Free State, 2014 / The Information Age has presented those in the discipline of photography with very many advantages. Digital photographers enjoy all the perquisites of convenience while still producing high-quality images. Lecturers find themselves the authorities of increasingly archaic knowledge in a perpetual race to keep up with technology. When inspiration becomes imitation and visual plagiarism occurs, lecturers may find themselves at a loss for taking action as content-based image retrieval systems, like Google™ Search by Image (SBI), have not yet been systematically tested for the detection of visual plagiarism. Currently there exists no efficacious method available to photography lecturers in higher education for detecting visual plagiarism. As such, the aim of this study is to ascertain the most effective uploading methods and precision of the Google™ SBI system which lecturers can use to establish a systematic workflow that will combat visual plagiarism in photography programmes. Images were selected from the Google™ Images database by means of random sampling and uploaded to Google™ SBI to determine if the system can match the images to their Internet source. Each of the images received a black and white conversion, a contrast adjustment and a hue shift to ascertain whether the system can also match altered images. Composite images were compiled to establish whether the system can detect images from the salient feature. Results were recorded and the precision values calculated to determine the system’s success rate and accuracy. The results were favourable and 93.25% of the adjusted images retrieved results with a precision value of 0.96. The composite images had a success rate of 80% when uploaded intact with no dissections and a perfect precision value of 1.00. Google™ SBI can successfully be used by the photography lecturer as a functional visual plagiarism detection system to match images unethically appropriated by students from the Internet.