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1	Territorialisation et formes culturelles : esquisse d'une théorie de la matrice en sciences de l'éducation et en anthropologie. : Le cas de quatre acteurs engagés dans la transmission de la culture béarnaise / Territorilisation and cultural forms : a hint of matrix’s theory in educational sciences and anthropology. The case of four actors involved in the transmission of the Béarn culture Haensel, Michèle Mady Rosine 18 March 2015 (has links) Si la transmission orale est l’expression culturelle d'une connaissance sensible du contexte, que devient-elle lorsque la personne se déterritorialise? Nous nous interrogeons ici sur la fonction de la ritournelle, substance immatérielle nécessaire à la construction des identités. En sciences de l’éducation comme en anthropologie, persiste la question de ce qui se passe au seuil du corps, là où la parole commence. Nous tentons dans cette recherche de tracer les contours d’une matrice méthodologique pour une poïétique du savoir. Le Béarn, terre d’ancrage territorial vivace, mais aussi terre traditionnelle d’émigration vers l’Argentine est notre terrain d’étude. Notre corpus est double (textes de chansons et entretiens) tout comme notre méthodologie (analyse lexicale et analyse du discours) car nous explorons ici les potentiels de croisements entre différents niveaux d’expression. Agissant au seuil du territoire entre soi et autrui, la chanson contraint à un effort d’intelligibilité semblable à la situation pédagogique où il s’agit de dire à travers, traduire, peut-être même trahir pour transmettre un objet de connaissance mais surtout l’acte de transmettre lui-même et l’espoir qu’il se répète à travers les générations. Cette recherche nous conduit à assumer la transdisciplinarité d’une anthropologie de l’éducation et à intégrer les regards des sciences du vivant pour aborder les questions des constructions enchevêtrées des identités culturelles en situation de migration. Nous exposons dans un deuxième temps le nouvel outil d’analyse que nous avons dû élaborer pour observer les phénomènes culturels in vivo. / If the oral transmission as poetic form, is the cultural expression of a sensitive knowledge of the context, what about it when the person deterritorialize herself? We wonder about the function of the ritornello, essential immaterial substance to identities construction. The French province of Bearn, land of strong territorial anchoring, but also traditional land of emigration to Argentina, will be our ground of study. In learning science as well as in anthropology, persists the question of what happens at the threshold of the body, at the very place where speech begins. Our attempt in this study will be to draw the outlines of a methodological matrix in terms of poietics of knowledge. Our corpus is double (Lyrics and interviews) as well as our methodology (lexical analysis and discourse analysis) because we are exploring potential crossing between different expression levels. Acting on the threshold of the territory between self and others, the song forces us to intelligibility as the teaching context does, where it comes to say through, translate, maybe even betray in order to pass on a knowledge but above all the Act of transmitting itself, and the hope it will be repeated through generations. This research leads us to assume the transdisciplinarity of an anthropology of education and to integrate the approach of life sciences to address issues of overlapping constructions of cultural identities in situations of migration. We shall subsequently the new analysis tool that we had to develop to observe cultural phenomena in vivo. Autopoïèse Matrice Migrant Ritournelle Reterritorialisation Seuil Transmission Autopoïèse Matrix Migrant Ritornello Reterritorialisation Threshold Transmission
2	Levande musik : Ritornellen och musikens skapande / Living Music : The Ritornello and Creative Music Hedelin, Fredrik January 2017 (has links) Many years of working with electroacoustic music evoke the question in what sense one can talk about life in music. The question does not concern traces of the composer's life in the work, vivifying performances or musical experiences full of life, but rather the life of music itself.In order to find an answer to the question I examine three solo concertos in the light of the philosophy of Deleuze and Guattari. The concertos, for flute, violin and piano respectively, with chamber ensemble, were composed within the frame of the dissertation and emanate from the ritornello form as found in Vivaldi. The ritornello concept is also present in Deleuze and Guattari, especially in the book A Thousand Plateaus, in which it serves as a collector and transformer of forces and connections that affect its surroundings. With the ritornello as a bridge between this philosophy and the music, I undertake a close reading of the three solo concertos with the philosophy as a companion.With the ritornello and other related concepts in Deleuze and Guattari, such as assemblage, chaos, territorializing and deterritorializing, I force my way past the musical structure in order to uncover the creational forces of music. In the flute and the flute concerto it is about establishing a fragile point in chaos; in the violin and the violin concerto all is centred around the ground, the earth and the territory; and in the piano and the piano concerto it is a matter of a single drawn-out leave-taking. These three moments -- entrance, deepening and dissolution -- simultaneously operate at a large number of levels, and together they form a single large ritornello of musical life.Contemplating music and musical instruments through the ritornello gives several new perspectives on the music and the composing, among them a view of instruments as upholders of different aspects of the ritornello, the composer as a preserver of the creational forces of music, and the musical structure as a network of forces and connections. composition ritornello philosophy deleuze form creation Humanities and the Arts Humaniora och konst Music Musik
3	Encenação de Leitmotiv: o procedimento dramático-musical para a constituição de uma cena teatral e não dramática / - Oliveira, Rodrigo Batista de 18 December 2015 (has links) Considerando o Leitmotiv um dos procedimentos dramáticos mais importantes para a composição musical, contido nas obras artísticas e teóricas do encenador alemão Richard Wagner, o presente trabalho investiga a possibilidade de seu emprego prático em obras teatrais contemporâneas e não dramáticas. Realiza-se, em um primeiro momento, um estudo sobre as definições e arqueologias do termo localizadas no gênero dramático operístico. Acompanha tal estudo, a abordagem das acepções do gênero dramático na linguagem operística e teatral, adotando como norte teórico pensadores como Immanuel Kant, Joseph Kerman e Peter Szondi. A fim de atualizar os possíveis sentidos do termo na produção teatral contemporânea, associamos ao Leitmotiv os conceitos de: Esquizofonia, difundido pelo compositor Raymond Murray Schafer; Environment, desenvolvido pelo criador Renato Cohen; e, por fim, o conceito de Ritornelo, dos pensadores Gilles Deleuze e Félix Guattari. Ainda, associamos os conceitos contemporâneos a três espetáculos teatrais de produção recente: a adaptação ucraniana da obra Woyzeck de Georg Büchner, feita pelo encenador Andriy Zholdak; a instalação operística Trem Fantasma, concebida pelo alemão Christoph Schlingensief a partir da ópera Navio Fantasma, de Richard Wagner; e a obra em episódios do grupo norte-americano Nature Theater of Oklahoma, encenada por Pavol Liska e Kelly Copper, intitulada Life and Times. A fim de investigar o procedimento no âmbito da criação artística, realizamos um estudo sobre os processos de criação dos espetáculos Manter em local seco e arejado e Mantenha fora do alcance de crianças, ambos do grupo paulistano [pH2]: estado de teatro, encenados pelo pesquisador, que possuem como metodologia principal a ideia central da dissertação: a encenação de Leitmotive. / The Leitmotiv, as presented on the artistic and theoretical works of the German director Richard Wagner, is possibly one of the most important dramatic procedures of musical composing. Considering so, the present thesis analyses the range of its usage in contemporary and non-dramatic theatrical pieces. At first, we conduct a study regarding the term\'s definitions and archaeologies within the dramatic opera. Alongside, we investigate the conceptions of the dramatic genre in the operatic and theatrical languages, taking as basis the literature of Immanuel Kant, Joseph Kerman, and Peter Szondi. In order to update the term\'s possible meanings within the theatrical contemporary production, we associate to Leitmotiv the following concepts: Schizophonia, published by the composer Raymond Murray Schafer; Environment, conceived by Renato Cohen; and, lastly, Ritornello, as described by the philosophers Gilles Deleuze and Félix Guattari. Furthermore, we investigate the contemporary concepts in three recently presented shows: the adaptation of Georg Büchner\'s Woyzeck, by the Ukrainian director Andriy Zholdak; the operistic installation Trem Fantasma [Ghost Train], created by the German artist Christoph Schlingensief, based on Wagner\'s opera The Flying Dutchman; and Life and Times, a production from the North-American performance group Nature Theater of Oklahoma, under the direction of Pavol Liska and Kelly Copper, presented in several episodes. To plunge into the operating of such procedure in the midst of artistic creation, we examine the creative processes of two plays in which the researcher took part, both from the Brazilian group [pH2]: estado de teatro, called Manter em local seco e arejado and Mantenha fora do alcance de crianças, developed by a method focused on the main idea of this thesis: staging the Leitmotive. Contemporary staging Encenação contemporânea Environment Environment, Ritornello Esquizofonia Leitmotiv Leitmotiv Ritornelo Schizophonia [pH2]: estado de teatro [group] [pH2]: estado de teatro [grupo]
4	Encenação de Leitmotiv: o procedimento dramático-musical para a constituição de uma cena teatral e não dramática / - Rodrigo Batista de Oliveira 18 December 2015 (has links) Considerando o Leitmotiv um dos procedimentos dramáticos mais importantes para a composição musical, contido nas obras artísticas e teóricas do encenador alemão Richard Wagner, o presente trabalho investiga a possibilidade de seu emprego prático em obras teatrais contemporâneas e não dramáticas. Realiza-se, em um primeiro momento, um estudo sobre as definições e arqueologias do termo localizadas no gênero dramático operístico. Acompanha tal estudo, a abordagem das acepções do gênero dramático na linguagem operística e teatral, adotando como norte teórico pensadores como Immanuel Kant, Joseph Kerman e Peter Szondi. A fim de atualizar os possíveis sentidos do termo na produção teatral contemporânea, associamos ao Leitmotiv os conceitos de: Esquizofonia, difundido pelo compositor Raymond Murray Schafer; Environment, desenvolvido pelo criador Renato Cohen; e, por fim, o conceito de Ritornelo, dos pensadores Gilles Deleuze e Félix Guattari. Ainda, associamos os conceitos contemporâneos a três espetáculos teatrais de produção recente: a adaptação ucraniana da obra Woyzeck de Georg Büchner, feita pelo encenador Andriy Zholdak; a instalação operística Trem Fantasma, concebida pelo alemão Christoph Schlingensief a partir da ópera Navio Fantasma, de Richard Wagner; e a obra em episódios do grupo norte-americano Nature Theater of Oklahoma, encenada por Pavol Liska e Kelly Copper, intitulada Life and Times. A fim de investigar o procedimento no âmbito da criação artística, realizamos um estudo sobre os processos de criação dos espetáculos Manter em local seco e arejado e Mantenha fora do alcance de crianças, ambos do grupo paulistano [pH2]: estado de teatro, encenados pelo pesquisador, que possuem como metodologia principal a ideia central da dissertação: a encenação de Leitmotive. / The Leitmotiv, as presented on the artistic and theoretical works of the German director Richard Wagner, is possibly one of the most important dramatic procedures of musical composing. Considering so, the present thesis analyses the range of its usage in contemporary and non-dramatic theatrical pieces. At first, we conduct a study regarding the term\'s definitions and archaeologies within the dramatic opera. Alongside, we investigate the conceptions of the dramatic genre in the operatic and theatrical languages, taking as basis the literature of Immanuel Kant, Joseph Kerman, and Peter Szondi. In order to update the term\'s possible meanings within the theatrical contemporary production, we associate to Leitmotiv the following concepts: Schizophonia, published by the composer Raymond Murray Schafer; Environment, conceived by Renato Cohen; and, lastly, Ritornello, as described by the philosophers Gilles Deleuze and Félix Guattari. Furthermore, we investigate the contemporary concepts in three recently presented shows: the adaptation of Georg Büchner\'s Woyzeck, by the Ukrainian director Andriy Zholdak; the operistic installation Trem Fantasma [Ghost Train], created by the German artist Christoph Schlingensief, based on Wagner\'s opera The Flying Dutchman; and Life and Times, a production from the North-American performance group Nature Theater of Oklahoma, under the direction of Pavol Liska and Kelly Copper, presented in several episodes. To plunge into the operating of such procedure in the midst of artistic creation, we examine the creative processes of two plays in which the researcher took part, both from the Brazilian group [pH2]: estado de teatro, called Manter em local seco e arejado and Mantenha fora do alcance de crianças, developed by a method focused on the main idea of this thesis: staging the Leitmotive. Encenação contemporânea Environment Esquizofonia Leitmotiv Ritornelo [pH2]: estado de teatro [grupo] Contemporary staging Environment, Ritornello Leitmotiv Schizophonia [pH2]: estado de teatro [group]
5	Corps : Présences et Pensées du Corps dans les "Cahiers" et les oeuvres de Paul Valéry / Non communiqué Roger, Émilie 14 December 2011 (has links) Comprendre l'Esprit achoppe au Corps : la réflexion sur l'humain menée par Paul Valéry, au delà de la méthode analytique rigoureuse qu'il s'est imposé, ne peut être amputée d'une pensée de la corporalité. Précisément, de la confrontation de la pureté de l'Esprit et de la finitude du corps ancré dans la contingence du Monde jaillit une écriture de la souffrance et du manque affleurant à l'extrême de l'être, entre les limites floues d'un dedans et d'un dehors. Notre recherche tend à cerner les différentes structures scripturales du corps dans l'oeuvre de Valéry afin de révéler une « tache obscure » (ou Quatrième Corps) dans l'écart qui résiste à la transcription mais contient la clef de l'indicible. Les représentations valéryennes du corps, riches et complexes, se partagent entre une pensée organisant le corps en quatre pôles de perception (Mon-Corps, Corps de l'apparence, Corps-Machine, et Quatrième Corps) et une poétique texturisant une chair plurielle, brutalisée ou réifiée, dont les images se moulent sur une psyché prisonnière. En étudiant le mouvement entre pas et danse, le concept de la ritournelle s'impose, sur un schéma identique aux jeux d'écritures valéryens, pour comprendre les (dé)territorialisations multiples d'un corps vers le monde et vers sa profondeur. Valéry tente une cartographie ou « topologie » du corps réel et imaginaire en se référant à des outils biologiques, mathématiques (Riemann) et mythologiques (ouroboros) propices à incarner le passage de l'esprit au corps et surtout de l'ineffable zone corporelle. Enfin, l'approche phénoménologique de Husserl apporte un ultime éclairage sur les modalités d'inscription de la chair dans ses rapports intimes à autrui. / Understanding the Mind stumbles over the Body: the reflexion on the human led by Paul Valéry, beyond the strict analytical method he set for himself, cannot be severed from a thinking of corporeality. Precisely, out of the confrontation of the purity of the Mind and the finitude of the body anchored in the contingency of the World springs a writing of suffering and longing showing through the surface of the extremity of being, between the blurred limits of an inside and an outside. Our research aims to define the different scriptural structures of the body in the work of Valéry, so as to reveal a « dark stain » (or Fourth Body) in the gap that resists transcription but contains the key to the unspeakable. The Valeryan representations of the body, rich and complexe, are shared between a thinking organizing the body into four poles of perception (« Mon-Corps »,Body of appearance, Machine-Body and Fourth Body) and a poetics texturising a plural, brutalized or reified flesh whose images mold themselves around a trapped psyche. When studying the movement between step and danse, the ritornello concept imposes itself, following an outline identical to the Valeryan play on writing, to understand the multiple (de)territorializations of a body towards the world and towards its depth. Valéry attempts a mapping or « topology » of the real and imaginary body by referring to biological, mathematical (Riemann) and mythological (ouroboros) tools favourable to embodying the passage from mind to body, and especially through the ineffable bodily area. Husserl's phenomenology provides a final light on the way the flesh inscribes itself in its intimate relationship to the other. Paul Valéry Corps Ritournelle Moi-Peau Frontière Husserl Ouroboros Topologie Paul valéry Body Ritornello "Moi-Peau" Border Husserl Ouroboros Topology
6	Les cantates de Nicolaus Bruhns (1665-1697) / The cantatas of Nicolaus Bruhns (1665-1697) Fructus, Michel 03 December 2009 (has links) Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions opposées de l’œuvre d’art : elle est par voie de conséquence le produit d’une culture (parce qu’elle est liée au contexte artistique qui la précède, au regard des éléments qui la constituent et qui sont facilement identifiables dans les œuvres du passé, toute œuvre peut être perçue et pensée comme une synthèse de différents modèles, une forme d’aboutissement culturel), mais aussi le fruit d’une individualité (une œuvre d’art est une élaboration unique, indépendante de toute autre production, au regard des facteurs d’unité qui la structurent ; toute œuvre peut alors être perçue et pensée comme une entité autonome).Cette étude nous permettra de mettre à jour un soubassement de l’activité psychique : l’estimation de la distance entre le fixe et le muable. / Nicolaus Bruhns (1665-1697) was an organist at the Marienkirche in Husum (Schleswig-Holstein), and Kapellmeister to the dukes of Schleswig-Holstein-Gottorf. If we own today only a handful of his pieces for organ (four praeludia and a chorale-fantasia), we can appreciate the cleverness of this author through his production of sacred works, twelve cantatas where the energy which appears is similar to that of his professor Dietrich Buxtehude.With the concern to better define the stakes of creative identity, we shall put forward a contradictory approach based on two opposite conceptions of the work of art : it is in essence the product of a culture (since it is linked to the artistic context which precedes it, according to the elements which constitute it and which are easily identifiable in the works of the past, any work can be perceived and thought as a synthesis of various models, a form of cultural achievement), but also the result of individuality (a work of art is a unique construction, independent from any other production according to the factors of unity which structure it ; any work may then be perceived and thought as an autonomous entity).This study will enable us to bring to light a basis of the psychic activity : the appraisal of the distance between the fixed and the changing. Baroque Basse continue Bokemeyer (Heinrich) Buxtehude (Dietrich) Cantate Chiffrages Continuo Figures musicales Fixe Héritage Husum Identité Kapellmeiter Luther Luthéranisme Motif générateur Muable Musique allemande Musique luthérienne Musique sacrée Œuvres vocales Organiste Orgue Protestantisme Réduction mélodique Réduction harmonique Ritornello Schleswig-Holstein Sinfonia Baroque Basso continuo Bokemeyer (Heinrich) Buxtehude (Dietrich) Cantate Figuring Continuo Musical figure Fixed Heritage Husum Identity Kapellmeiter Luther Lutheranism Pattern generator Changing German music Lutheran music Sacred music Vocal works Organist Organ Protestantism Melodic reduction Harmonic reduction Ritornello Schleswig-Holstein Sinfonia

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