Anne-Louis Girodet Trioson's Portrait of C.[itizen] Jean-Baptiste Belley, ex-representative of the Colonies, is evidence of the changing ideological situation during the French Revolution. Girodet was one of the most learned and accomplished students of Jacques-Louis David who strove to surpass his teacher in two ways: 1) by painting David's Neoclassical style so well that his handling surpasses that of his master, and 2) by choosing subject matter never before explored by David. Girodet accomplishes both within this work. The Neoclassical handling of the image has been achieved with amazing clarity, and the central figure of an identified black man had never been displayed in the Salon previously. The work was without precedent and without progeny. It successfully transcends the boundaries of portraiture into the highest tier of the Academic hierarchy: History Painting. Lacking in the existing scholarship of this portrait as history painting is that the work is successful in fulfilling a didactic and moralizing function, bearing significance to the general public. Scholars have hitherto ignored the striking visual similarities between this and Grand Tour portraits of Englishmen earlier in the century. This portrait of Belley calls into question accepted post-colonial readings by not adhering to a strict Orientalist interpretation. His hybrid nature nullifies readings that he is merely a black man posed as a French one. Belley cannot be seen as simply African, nor Haitian, nor French, nor military man, nor politician; each of these aspects of his being add up to his individual identity. It was because of Belley's race that he was chosen for this portrait; his complex nature creates a dramatic painting relevant to varied members of the general public, his status as a black man allows for a politically relevant subject worthy of history painting, and the choice of Girodet's model of Grand Tour portraiture with its connotations of education, travel and social status—when applied to a black man—make this a revolutionary painting unparalleled in history.

Le présent mémoire porte sur la critique littéraire telle que pensée et pratiquée par Charles-Augustin Sainte-Beuve ainsi que son disciple infidèle Marcel Proust, et ce dans une perspective poético-historique. Il tente de montrer que la critique proustienne n’est pas radicalement opposée à la critique beuvienne, qu’elle ne se positionne pas absolument « contre » elle comme l’ont compris plusieurs lecteurs de Contre Sainte-Beuve, mais qu’elle la prolonge en la corrigeant. Plus précisément, et pour mettre en évidence cette filiation, ce mémoire compare la forme de prédilection de la critique beuvienne, le portrait littéraire, à son pendant proustien, le pastiche.

Cette recherche vise à développer quatre aspects particuliers qui concernent le cubisme de Braque et Picasso. D’abord quels ont été les faits marquants du cubisme au moment de sa naissance à travers les critiques du français Louis Vauxcelles. Puis, pour mieux saisir le mouvement, une synthèse des nombreuses définitions avancées par les critiques et les historiens d’art durant tout le 20e siècle, constituera la base d’une tentative de redéfinition globale du cubisme en sa phase analytique. On souligne ensuite l’importance de la réflexion cubiste en s’arrêtant à la modification de la représentation picturale par la décomposition de l’objet sur une surface plane qui aboutit sous l’empire de l’hermétisme à une nouvelle structure spatiale mettant alors l’accent sur la dissolution de l’objet et de la figure humaine. Finalement, l’analyse sémiotique de deux œuvres clés de Picasso et Braque de 1910 et 1911 permet de cerner plastiquement la notion même de réalisme que l’on trouve dans cette période analytique la plus hermétique. / Montréal Trigonix inc. 2018

Les transformations qui interviennent en France à la suite des guerres de Religion modifient l’imbrication des sphères politique et religieuse. La scission entre protestants et catholiques, la triple reconstruction religieuse, nationale et étatique, les évolutions des pratiques et croyances religieuses ainsi que la nouvelle vigueur des gallicanismes induisent des mutations dans la dimension religieuse des conceptions du pouvoir royal entre le règne d’Henri IV et celui de Louis XIV, évolutions appréciables sur le plan symbolique. De 1589 à 1715, une iconographie abondante place le roi dans une situation religieuse, le met en rapport avec des personnages saints ou divins, ou souligne l’importance de son action en matière religieuse. Ces portraits du roi régnant ou de rois défunts, produits en des lieux disséminés sur le territoire métropolitain du XVIIe siècle, révèlent une autre image du pouvoir royal que l’iconographie plus amplement étudiée jusqu’ici. Elle intègre une sacralité héritée, fruit d’une longue construction médiévale dont l’importance se lit toujours au Grand Siècle, et des éléments neufs, qui passent en particulier par l’essor de cultes associant le roi et ses sujets, comme celui de saint Louis ou celui de Marie, marqué par le vœu de Louis XIII. Elle doit en outre se comprendre dans le cadre de l’évolution du droit divin, dans ses rapports avec l’autorité et le pouvoir du roi. L’image d’harmonie qui est élaborée témoigne de la place de cette iconographie dans la légitimation d’un ordre politique et social liant espace terrestre et monde céleste. La genèse de ces objets divers (peintures, sculptures, gravures, etc.), souvent éloignée de la cour, entretenant des relations parfois très ténues avec le pouvoir royal, ne peut être envisagée comme le fruit d’une propagande : elle souligne plutôt des fabrications collectives du portrait religieux du roi. Ainsi, cette thèse propose une histoire culturelle du politique, s’appuyant sur une approche iconographique intégrant les pratiques sociales et les théories politiques. / The transformations that occurred in France after the Wars of Religion altered the interweaving between the political and the religious spheres. The split between Protestants and Catholics, the rebuilding of the church, the nation and the state, the transformations of the religious beliefs and practices, and the new strength of the gallicanisms led to changes in the religious idea of the royal power between the reign of Henry IV and Louis XIV. These evolutions are assessable on a symbolic level. From 1589 to 1715, an abundant iconography places the monarch in a religious situation, puts him in touch with saints or God, or underlines the importance of his action in the religious field. These portraits of the reigning king or deceased kings, produced in dispatched places in the kingdom, reveal a different image of the royal power than the iconography that has most been studied up to now. It includes an inherited sacrality, built during the Middle Ages and still important in the 17th century, and new elements, which entail the growth of cults associating the monarch and his subjects, such as the cults of saint Louis and the Virgin Mary, marked by the vow of Louis XIII. It must furthermore be understood within the framework of the evolution of the divine right, in its links with the royal authority and power. It builds an image of harmony that shows the place of the iconography in the legitimization of a political and social order linking terrestrial and celestial spaces. The creation of these objects (paintings, sculptures, engravings, etc.), often far away from the court, often in loose relationships with the royal power, cannot be understood as propaganda: it rather emphasizes collective makings of the religious portrait of the king. Thus, this thesis offers a cultural history of the political field, leaning on an iconographic approach including social practices and political theories.

Цель магистерской диссертации заключается в выявлении редакторской специфики создания контент-маркетинговой стратегии театральных корпоративных изданий с последующим составлением рекомендаций. Редакторский подход к созданию контент-маркетинговой стратегии театрального корпоративного издания определяет новизну исследования. Материалом для исследования послужили театральные корпоративные издания «Урал Опера Балет» и Московского театра «Новая Опера». Общий объем проанализированного материала составил более 1200 текстов разных жанров и свыше 1950 иллюстраций из 135 выпусков. В фокусе исследовательского внимания оказались заметки, интервью и фотография как визуальный жанр. В процессе исследования были проанализированы коммуникативные тактики в материалах заметки и интервью, способствующие решению задач, поставленных контент-маркетинговой стратегией. Коммуникативные тактики были разделены на четыре группы – сопоставительные, воздействующие, самопрезентации, взаимоотношений со зрителем. Общими для театральных корпоративных изданий «Урал Опера Балет» и Московского театра «Новая Опера» являются тактики заботы и участия, «проблемное поле», ожидания положительной оценки, ценностной ориентации. Таким образом, издания не только формируют позитивный образ театров и транслируют их ценности, но и открыто обозначают существующие проблемы. По результатам анализа визуального контента предложена классификация жанров фотографии театральных корпоративных изданий. Было выделено три жанра – фоторепортаж, портретное и объектное фотоизображения, которые подразделяются на поджанры. Фоторепортаж представлен сценой из спектакля, фото с репетиции, событийным фото, фотоальбомом. Портретные фотоизображения имеют следующие разновидности: актер в роли, человек за работой, репортажный, постановочный, архивный. Объектные фотоизображения разделяются на фотографии театральных декораций, костюмов, интерьеров, документов. Перечисленные визуальные жанры, за исключением постановочного фотопортрета, помогают эффективно воздействовать на аудиторию и достигать целей театральной организации. При опоре на положительный и отрицательный опыт рассмотренных СМИ театральным корпоративным изданиям был предложен перечень рекомендаций для создания текстового и визуального контента. / The purpose of the master's thesis is to identify the editorial specifics of the content-marketing strategy of the theatrical corporate publications, followed by recommendations. The editorial approach to creating the content-marketing strategy for the theatrical corporate publication determines the novelty of the research. The foundation for the research was the theatrical corporate publications of «Ural Opera Ballet» and the Moscow theater «New Opera». The total volume of the analyzed material was more than 1200 texts of different genres and more than 1950 illustrations from 135 editions. Notes, interviews and photography as a visual genre were in focus of research attention. During the process of research, the communicative tactics were analyzed by the notes and interviews. These tactics contribute to the solution of the tasks, which are set by the content-marketing strategy. Communicative tactics were divided into four groups – comparative, influencing, self-presentation, relationship with the viewer. Tactics of care and participation, «problem field», expectations of positive evaluation, value orientation are common for theater corporate publications of «Ural Opera Ballet» and the Moscow theater «New Opera». Thus, the publications not only form a positive image of theaters and transmit their values, but also openly identify existing problems. The classification of genres of photography of theatrical corporate publications is proposed based on the results of the analysis of visual content. There were highlighted three genres: photo reportage, portrait and object photo images, which were subdivided into subgenres. A photo reportage is presented by a scene from a performance, by a photo from a rehearsal, by an event photo, by a photo album. Portrait photo images have the following varieties: actor in the role, person at work, reporting, staged, archived. Object photo images are divided into photographs of theatrical scenery, costumes, interiors, documents. The listed visual genres, with the exception of a staged photo portrait, help to effectively influence on the audience and achieve the goals of the theatrical organization. The list of recommendations for the creation of text and visual content was proposed to the theater corporate publications based on the positive and negative experience of the reviewed media.

This dissertation attempts to illuminate the significance of what has been called the "coworkers" for Paul's mission. At the same time it revises the traditional portrait of Paul as a "lone ranger", not properly understood and appreciated by others. Thus the focus is on the way in which Paul together with his co-workers as his missionary partners achieved the various tasks of early Chrisian mission, namely the proclamation of the gospel and the consolidation of churches. This phenomenon is best described with the German term Kollegialmission, i.e. a mission carried by a team of colleagues. A survey of research is followed by a detailed analysis of this phenomenon in the letters commonly recognised as written by Paul himself. In additon to explicit statements on the co-workers, attention is also given to implicit references, e.g. verb forms in the first person plural which appear in some letters and contribute to understanding this Kollegialmission. Then the same methodological procedure is applied to the disputed letters of Paul. A final chapter examines the portrait of Paul and his co-workers in the Book of Acts. This dissertation demonstrates that this understanding and practice of Kollegialmission was a central point in Paul's mission and self-understanding. His co-workers receive their commission and authority from God, to whom they are responsible. The gospel constitutes the foundation for this cooperation between Paul and his co-workers. Thus the co-workers perform the same duties as Paul himself, though his special apostolate remains in place. The picture of the Kollegialmission in the Deuteropauline letters differs only slightly from that of the letters generally recognised as Paul's own. As the author of Acts is mainly interested in the person of Paul, his co-workers appear increasingly on the backstage as the story unfolds. This examination closes with an application of some principles of Paul's Kollegialmission to present day congregational ministry and mission work. / Theology / M.Th.

Influenced by an ever-growing sense of alienation with my homeland, I have been determined to discover through my art practice an ability to challenge conventional notions of home, identity, communication and miscommunication. Exploring these themes, I became increasingly aware of the parallels between everyday life and art practice. By creatively connecting with a diverse amount of local people and their communities, I fulfilled desires to discover a sense of belonging and generated opportunities for others to break through traditional social boundaries and roles.

Sistemas diferenciais quadráticos planares estão presentes em muitas áreas da matemática aplicada. Embora mais de mil artigos tenham sido publicados sobre os sistemas quadráticos ainda resta muito a se conhecer sobre esses sistemas. Problemas clássicos, e em particular o XVI problema de Hilbert, estão ainda em aberto para essa família. Um dos objetivos dos pesquisadores contemporâneos é obter a classificação topológica completa dos sistemas quadráticos. Devido ao grande número de parâmetros (essa família possui doze parâmetros e, aplicando transformações afins e reescala do tempo, reduzimos esse número a cinco, sendo ainda um número grande para se trabalhar) usualmente subclasses são consideradas nas investigações realizadas. Quando características específicas são levadas em consideração, o número de parâmetros é reduzido e o estudo se torna possível. Nesta tese estudamos principalmente duas subfamílias de sistemas quadráticos: a primeira possuindo um nó triplo semielemental e a segunda possuindo uma selanó semi elemental finita e uma selanó semielemental infinita formada pela colisão de uma sela infinita com um nó infinito. Os diagramas de bifurcação para ambas as famílias são tridimensionais. A família tendo um nó triplo gera 28 retratos de fase topologicamente distintos, enquanto o fecho da família tendo as selasnós dentro do espaço de bifurcação de sua forma normal gera 417. Polinômios invariantes são usados para construir os conjuntos de bifurcação e os retratos de fase topologicamente distintos são representados no disco de Poincaré. Os conjuntos de bifurcação são a união de superfícies algébricas e superfícies cuja presença foi detectada numericamente. Ainda nesta tese, apresentamos todos os retratos de fase de um sistema diferencial conhecido como modelo do tipo SIS (sistema suscetívelinfectadosuscetível, muito comum na matemática aplicada) e a classificação dos sistemas quadráticos possuindo hipérboles invariantes. Ambos sistemas foram investigados usando de polinômios invariantes afins. / Planar quadratic differential systems occur in many areas of applied mathematics. Although more than one thousand papers have been written on these systems, a complete understanding of this family is still missing. Classical problems, and in particular Hilberts 16th problem, are still open for this family. One of the goals of recent researchers is the topological classification of quadratic systems. As this attempt is not possible in the whole class due to the large number of parameters (twelve, but, after affine transformations and time rescaling, we arrive at families with five parameters, which is still a large number), many subclasses are considered and studied. Specific characteristics are taken into account and this implies a decrease in the number of parameters, which makes possible the study. In this thesis we mainly study two subfamilies of quadratic systems: the first one possessing a finite semielemental triple node and the second one possessing a finite semielemental saddlenode and an infinite semielemental saddlenode formed by the collision of an infinite saddle with an infinite node. The bifurcation diagram for both families are tridimensional. The family having the triple node yields 28 topologically distinct phase portraits, whereas the closure of the family having the saddlenodes within the bifurcation space of its normal form yields 417. Invariant polynomials are used to construct the bifurcation sets and the phase portraits are represented on the Poincaré disk. The bifurcation sets are the union of algebraic surfaces and surfaces whose presence was detected numerically. Moreover, we also present the analysis of a differential system known as SIS model (this kind of systems are easily found in applied mathematics) and the complete classification of quadratic systems possessing invariant hyperbolas.

L'œuvre principalement photographique de Kimiko Yoshida (née le 23 juin 1963 au Japon et installée en France depuis 1995) se fonde sur la création de « mythes» à travers ses autoportraits. Les « mythes du Photographe» à l'origine des « fonctions» de son œuvre - visant entre autres à « informer, représenter, surprendre, faire signifier, donner envie» selon Roland Barthes dans La chambre claire - trouvent leurs sources dans la société, la culture, l'époque auxquelles l'artiste appartient et par conséquent également dans ce qui touche à la singularité de la personnalité, du vécu, de l'histoire à l'échelle intime de celui-ci. De fait, le titre général de cette étude énonce une quête des « mythes personnels et pluriels dans l'œuvre de Kimiko Yoshida », dont le thème de « rentre-deux» constitue la posture esthétique majeure, l'artiste et son œuvre se trouvant entre Japon et Occident, entre figuration et abstraction, entre réalité et fiction, entre citation et transgression. Ce discours fictionnel par l'image et dans l'image subit différentes métamorphoses qui forment les quatre axes fondateurs de la thèse, à savoir l'entre-deux particulier du « personnage conceptuel» défini par Gilles Deleuze et Félix Guattari dans Qu'est-ce que la philosophie / appliqué à la « signature» Kimiko Yoshida : l'étude d'un entre-deux géographique et culturel définissant un « syncrétisme» artistique singulier: les illustrations des différentes dimensions spatio-temporelles perceptibles dans l ' œuvre de Kimiko Yoshida, notamment à travers les (enjeux des couleurs des images : et l'interrogation concernant la place du sujet à l'image, entre trace et absence. / The work of Kimiko Yoshida (born on June 23rd, 1963, in Japan and living in France since 1995), mainly based on photography, is founded on the creation of « myths ». This study is about searching, defining and analysing the « functions » of Kimiko Yoshida's self-portraits. The « myths of the Photographer », at the origins of her work's functions - aiming. amongst others, to « inform, represent, surprise, signify, create desire» according to Roland Barthes' Camera Lucida - are rooted in the society, the culture and the time the artist belongs to, and as a consequence also in the singularity of his/her personality, experience, and intimate story. Thus, the general title of this study brings forwards a research of « personal and plural myths in Kimiko Yoshida's work of art», whose topic of the « in-between » is the main aesthetic position, the artist and her work situated between Japan and the West between representation and abstraction, between reality and fiction, between quotation and transgression. The fictional speech through and in the image undergoes several transformations which make up the four founding lines of this thesis, that is to say the distinctive in-between of the « conceptual character » defined by Gilles Deleuze and Félix Guattari in Whut is Philosophy ) applied to Kirniko Yoshida's name : the study of a geographical and cultural in-between defining a singular artistic « syncretism » : the illustrations of the several perceptible space-time dimensions in Kimiko Yoshida's work, notably through the games/aims of the images' colours : and the questioning about the subject in the image, between trace and absence.

Die vorliegende Arbeit stellt für die Bildwissenschaften eine methodische Grundlage dar, Kleidung im Bild als Konstruktion zu begreifen und zu interpretieren. Anhand der eindrucksvollen Patronageprojekte der Familie Tornabuoni – einer gerade emporgestiegenen Kaufmannsfamilie im Umkreis der Medici – werden die Möglichkeiten und Grenzen von symbolischer Kommunikation in der Florentiner Frühneuzeit untersucht. Unter anderem über Symbole wurde die Position im Gesellschaftsgefüge des unsicheren frühneuzeitlichen Regierungsklimas immer wieder neu hergestellt und von Neuem ausgehandelt. Die gewählte Bildgarderobe ist dafür ein hervorstechendes Beispiel. / The thesis presents an art historical methodology that assesses clothing and its pictorial representations in order to interpret how material culture relates to social construction. Using as an example an impressive patronage project of the Tornabuoni family – a newly rich family of merchants in the circle of the Medici – reveals the possibilities as well as the limitations of symbolic communication through dress in early modern Florence. In addition to outward style, these subtle symbols helped to establish and renegotiate their bearer’s position in the shifting hierarchy of an uncertain political climate. By closely examining Tornabuoni commissions, the thesis demonstrates how clothing is a critical means of understanding social motivations and aspirations.