Cette thèse se donne pour ambition d'éclairer un aspect méconnu de l'oeuvre et de la pensée de Sergueï Eisenstein, en se concentrant sur la relation privilégiée qu'il entretient durant toute sa vie avec l'art de Daumier. Tout en traversant l'oeuvre graphique, théâtrale, cinématographique et théorique d'Eisenstein, cette recherche entend également révéler Daumier sous un nouveau jour, en faisant découvrir la réception dont il jouit en Russie et en U.R.S.S. Il s'agira par la même occasion d'exposer et d'interroger le regard stimulant et original qu'Eisenstein porte sur l'art de Daumier. Ce parcours se voudra nécessairement transdisciplinaire. / The aim of this PhD thesis is to cast a new light on Eisenstein's work and thought, by focusing on his privileged relationship with Daumier's art. As we will come across Eisenstein's graphic, theatrical, cinematographical and theoretical work, we will unveil Daumier's still unknown reception in Russia and in U.S.S.R. By the same token, we will expose and discuss Eisenstein's challenging and modern vision of Daumier. The methodology chosen here is necessarily transciplinar.

Part 1. Chapter 1. Introduction: the Man and his work. The intellectual life of Russia at the turn of the century was marked by a lively interest in religious questions, and, in some circles, a cautious rapprochement between the intelligentsia and the Orthodox Church. Vladimir Lossky was born into an academic environment which looked more sympathetically upon traditional Christianity than had previously been usual: and the fact of his being brought up in a household both academic and (articulately and critically) Christian tends to set him apart from the religious thinkers of his father's generation (Bulgakov, Berdyaev, and others) who had discovered, or rediscovered, Orthodox faith in adult life adter experiencing disillusion with radicalism or Idealism, or both. Lossky's first major theological essay was, in fact, directed against the ethos of Russian 'religious philosophy', especially its preoccupation with the Wisdom of God (Sophia) as a cosmic principle. In this, as in later works, he pleads for a theology rooted in the historical experience of the Church and free from philosophical systems. His commitment to the 'historical experience' of the Church is reflected in his lifelong allegiance to the Patriarchate of Moscow as the only canonically authoritative Russian ecclesial body. His thinking on the relation between Church and culture was clarified in his experiences in the Second War, which also brought him into close association with several Catholic theologians. It was in this context that he first attempted a synthetic presentation of Orthodox dogma in his best-known work, the 'Essai sur la théologie mystique de l'Eglise d'Orient'. In the post-war period he continued his professional work as a mediaevalist at the Sorbonne, but continued to write on theological questions, developing, in particular, a distinctive approach to the concept of the human person and to the catholicity of the Church. He was much involved in ecumenical gatherings in France and England, and, in Paris, up to the time of his death, assisted in the training of clergy for the Patriarchal jurisdiction (though his hopes for the development of a western-rite group were frustrated). Chapter 2: The debate with Bulgakov. Superficially, Lossky's theology has much in common with that of Sergei Bulgakov, especially in their attitudes to tradition and catholicity, and Lossky's hostility to Bulgakov is surprising. However, a brief examination of Bulgakov's thought reveals its extensive dependence upon the notion of 'Sophia', the Divine Wisdom, as an all-embracing cosmic reality, both divine and human - a notion which Lossky rejects absolutely as deterministic, destructive of a proper sense of both divine and human freedom. He also condemns Bulgakov's Christology: the idea of 'Godmanhood', fundamental to Bulgakov's theology, jeopardises the reality of Christ's humanity, and tends to reduce the Incarnation to a manifestation of cosmic process. The basic theme of Lossky's critique is that Bulgakov's system, in Christology, ecclesiology, and Trinitarian theology, is dominated by metaphysical presuppositions incompatible with orthodox belief: it is insufficiently apophatic, too preoccupied with concepts. Lossky's own theology shows a marked and conscious reaction away from this kind of conceptualism. Chapter 3. The Via Negativa. The 'negative way' is not, for Lossky, merely a dialectical step in theology, a 'corrective' to affirmative theology: it is the essential ground of all theology. Theology beings in personal encounter with a personal God, an encounter which cannot be expressed in concepts; negative theology, which declines to speak of God in concepts, most closely reflects this basic reality. It is the μετάνοια, the conversion and self-sacrifice, of the intellect. The Greek patristic language about meeting God in 'darkness' is simply a 'dogmatic metaphor' for this experience, complementing, not contradicting the imagery of 'light': darkness and light together here represent the experience of transcending the sphere of the intellect. The history of early Christian spirituality shows a gradual movement towards a via media between intellectualism and agnosticism, a position which allows for both the absolute incomprehensibility of God in seipso, and His accessibility to man. This via media is expressed most fully by Gregory Palamas, but is anticipated by the Cappadocians, pseudo-Dionysius, and Maximus. It envisages God 'transcending His transcendence, expressing His unknowable 'essence' in His 'energies', His manifestation in the world. God's self-transcendence calls forth man's 'ecstacy'. The personal encounter of man with God is a mutual movement of self-giving: man is nearest to God and so most fully God-like in this movement. And since God is always fully personal, man is therefore most personal in the act of self-renunciation: negative theology alone is adequately 'personalist'. Chapter 4. Imago Trinitatis. Man is in the image of God because he is personal: he cannot be reduced to his 'nature', to what is common, repeatable and conceptualisable. He is more than an individual of a species; and this constitutes him in the image of God's trinitarian life, in which individuality is perfectly transcended in full communion. The Church, in which man realises his capacity for communion can also be called imago Trinitatis: it is a plurality of persons, each called and sanctified in a unique manner by the Spirit, sharing one nature, the humanity which Christ has restored and 'deified'. This 'trinitarian' life is what is designated by the term 'catholicity', the existence of the whole in the part. Lossky's method in discussing the theology of personality is resolutely Christocentric: the impossibility of interpreting ὑπόστᾰσις as 'individual' is established by an appeal to the inadmissibility of so interpreting it in Christology. Lossky's appeal to the Fathers in support of this thesis is, however, problematic: his concern to include the body in the imago Dei, and his understanding of ὑπόστᾰσις both lack a clear and consistent patristic foundation. Although he does genuinely build upon certain Greek patristic ideas, he is, as a 'personalist', essentially and inevitably - a -post-Augustinian'. The ambiguity of the patristic evidence raises the serious question of how far Lossky is justified in criticising Western theology (as he does) according to alledgedly patristic criteria. Chapter 5: The debate with the West (i). Lossky presupposes the unity of Christian theology; if one doctrinal topic is infected with error, the whole theological system is poisoned. In the West, it is the doctrine of the double procession of the Spirit, the filioque, which is the basic error: it suggests that the Spirit is somehow less personal than the Son, rejects the patristic idea that the Father is the sole source of 'cause' of the other persons, and so makes the unity of the Trinity reside not in the person of the Father but in a super-personal 'essence', that which is common to Father and Son. Western theology opts for a divine essence, in place of the living God of revelation: it is as much in thrall to philosophy as Bulgakov's system. Consequently, it is consistently impersonalist, not only in Trinitarian theology, but in its ecclesiology, its doctrine of grace, and its ascetical theology. Protestantism is as much conditioned as Catholicism by the basic assumption implicit in the filioque that real communion, sharing (in some sense) of substance, is impossible between God and man, because both are encapsulated in their 'essences'. Historically, Lossky's critique is often inaccurate and unjust; but he makes a good case, nonetheless, for the dominance, in much of Western theology, of conceptualism and impersonalism. There is little to correspond to Lossky's profound apophoticism and 'kenotic' idea of personality.

Text in English with abstracts and keywords in English, Afrikaans and Sesotho / This was a practice-led study, in which I critically engaged with my own video artwork alongside the video works of three other artists. Selected works of Penny Siopis, Anders Weberg, Maja Zack and mine deal with the notions of memory and trauma. I investigated which visual strategies and techniques derived from film theory are employed in video art to simulate traumatic memories from war conflicts. This research analysed specific theories of Gilles Deleuze and Sergei Eisenstein to identify how certain film strategies are used in video art to simulate grievous historical events. I explored the way that these events shape postmemory, as theorised by Marianne Hirsch and Cathy Caruth. The theories of Susan Sontag and Jean Baudrillard describe how memory relies on imaginative investment and interpretation, creating a simulation of the past, in which affect takes precedence over accurate and factual portrayal of traumatic events. / Hierdie studie was ’n praktykgeleide studie waartydens ek my eie videokunswerk tesame met diè van drie ander kunstenaars krities ondersoek het. Gekose werke uit my eie stal, diè van Penny Siopis, Anders Weberg en Maja Zack handel oor die begrippe herinnering en trauma. Ek het ondersoek ingestel na die visuele strategieë en tegnieke voortspruitend uit filmteorie wat in videokuns aangewend word om traumatiese herinneringe van oorlogkonflikte te simuleer. Hierdie navorsing het die spesifieke teorieë van Gilles Deleuze en Sergei Eisenstein ontleed ten einde te identifiseer hoe bepaalde filmstrategieë in videokuns gebruik word om smartlike historiese gebeure te simuleer. Ek het die wyse nagevors waarop hierdie gebeure post-herinneringe modelleer, soos deur Marianne Hirsch en Cathy Caruth geteoretiseer. Die teorieë van Susan Sontag en Jean Baudrillard beskryf hoedat herinneringe op verbeeldingryke belegging en interpretasie steun om ’n simulasie van die verlede te skep waarin affek voorkeur kry bo die akkurate en feitelike voorstelling van traumatiese gebeure. / Seno e ne e le thutopatlisiso e e eteletsweng pele ke tiragatso, moo ke dirisaneng ka tshekatsheko le tiro ya me ya botsweretshi jwa bidio ke e bapisitse le ditiro tsa bidio tsa batsweretshi ba bangwe ba le bararo. Ditiro tse di tlhophilweng tsa ga Penny Siopis, Anders Weberg, Maja Zack le tsa me di samagana le dintlha tsa kgopolo le manokonoko. Ke sekasekile gore go dirisitswe ditogamaano le dithekenini dife tsa pono tse di tswang mo tioring ya difilimi mo botsweretshing jwa bidio go etsisa dikgopolo tsa manokonoko a dikgotlhang tsa ntwa. Patlisiso eno e lokolotse ditiori tse di rileng tsa ga Gilles Deleuze le Sergei Eisenstein go supa ka moo ditogamaano dingwe tsa filimi di dirisiwang ka gona mo botsweretshing jwa bidio go etsisa ditiragalo tse di botlhoko tsa hisetori. Ke tlhotlhomisitse ka moo ditiragalo tseno di bopang segopotso sa morago go ya ka tiori ya Marianne Hirsch le Cathy Caruth. Ditiori tsa ga Susan Sontag le Jean Baudrillard di tlhalosa ka moo kgopolo e ikaegang ka peeletso ya ikakanyetso le thanolo ka gona, e etsisa dilo tsa maloba, moo e leng gore ditlamorago e nna tsona ditlapele go feta pontsho e e nepagetseng le ya nnete ya ditiragalo tse di bakileng manokonoko. / Art and Music / M.V.A.

This study was carried out in order to discover new strategies to memorize piano music. There are six different types of memory involved in performing: auditory, kinesthetic, visual, analytical, nominal and emotional. There are two main ways of practicing: playing practice and non-playing practice. I tried to find out if the order in which we use these two kinds of practice affects the quality of the memorization. During one week I practiced three different pieces following three different methods: 1 Using only playing practice; 2 using first playing practice and then non-playing practice; 3 using first non-playing practice and then playing practice. The second method had a much better result than the other two. The whole process was registered with a video camera and a logbook. / <p>The exam concert is archived for copyright reasons until 2023.</p>

No description available.

This dissertation is a historical and theoretical study of a number of discourses examining colour and cinema during the period 1909 to 1935 (trade press, film reviews, publications on film technology, manuals, catalogues and theoretical texts from the era). In this study, colour in cinema is considered as producing a number of aesthetic and representational questions which are contextualised historically; problems and qualities specifically associated with colour film are examined in terms of an interrelationship between historical, technical, industrial, and stylistic factors, as well as specific contemporary conceptions of cinema. The first chapter examines notions concerning the technical, material, as well as perceptual, origins of colour in cinema, and questions concerning indexicality, iconicity, and colour reproduction, through focusing on the relationship between the photographic colour process Kinemacolor, as well as other similar processes, and the established non-photographic colour methods during the early 1910s, with an in-depth analysis of the Catalogue of Kinemacolor Film Subjects, published in 1912. The second chapter examines notions concerning the stylistic, formal and narrative functions of colour in cinema, featuring a survey of the recurring comparisons between colour and sound, found in the writing of film history, in discourses concerning early Technicolor sound films, film technology, experimental films and experiments on synaesthesia during the 1920s, as well as Eisenstein’s notions of the functions of colour in sound film montage. The third chapter examines the question of colour and meaning in cinema through considering the relationship between colours and objects in colour film images (polychrome and monochrome, photographic and non-photographic) during the time frame of this study.

Cette thèse a été effectuée en cotutelle entre l'Université Paris-Ouest-Nanterre-La Défense et l'Université de Montréal. Elle a été réalisée avec le logiciel LateX. / Cette thèse se donne pour ambition d'éclairer un aspect méconnu de l'oeuvre et de la pensée de Sergueï Eisenstein, en se concentrant sur la relation privilégiée qu'il entretient durant toute sa vie avec l'art de Daumier. Tout en traversant l'oeuvre graphique, théâtrale, cinématographique et théorique d'Eisenstein, cette recherche entend également révéler Daumier sous un nouveau jour, en faisant découvrir la réception dont il jouit en Russie et en U.R.S.S. Il s'agira par la même occasion d'exposer et d'interroger le regard stimulant et original qu'Eisenstein porte sur l'art de Daumier. Ce parcours se voudra nécessairement transdisciplinaire. / The aim of this PhD thesis is to cast a new light on Eisenstein's work and thought, by focusing on his privileged relationship with Daumier's art. As we will come across Eisenstein's graphic, theatrical, cinematographical and theoretical work, we will unveil Daumier's still unknown reception in Russia and in U.S.S.R. By the same token, we will expose and discuss Eisenstein's challenging and modern vision of Daumier. The methodology chosen here is necessarily transciplinar.

Propõe-se, nesta dissertação, identificar e analisar elementos da cinematografia do cineasta russo (soviético) Serguei M. Eisenstein que seriam fundamentais para a construção do filme como um texto artístico. Selecionou-se, como objeto de análise, o longa-metragem lançado em 1938, Aleksandr Niévski. Examina-se, ao longo da análise, elementos como a construção de personagem, o desenvolvimento do tema, o enquadramento, o som e a mise-en-scène. Parte-se da hipótese de que o filme, sendo um texto artístico, ainda que a sua produção esteja enraizada nas diretrizes do Realismo Socialista, não se limita a transmitir uma realidade restrita, antes o artista amplia as possibilidades significativas do material criativo de que dispõe resultando em um texto que transpõe seu limite espacial e temporal. Dentro dessa perspectiva, objetiva-se identificar os elementos da linguagem cinematográfica, (enquadramentos, mise-èn-scene, montagem etc) que foram explorados ao longo do filme, e analisar como esses aspectos são articulados na construção do tema da obra: o patriotismo. Para embasar o estudo proposto, dividiu-se, de modo geral, o campo teórico em duas vertentes: primeiramente, para a concepção do filme como um texto artístico, valemo-nos do conceito de obra de arte como um texto artístico, desenvolvido pelo teórico russo Iuri Lotman, e da concepção de linguagem poética discutida por Roman Jakobson; já para a análise dos elementos da linguagem artística cinematográfica, privilegiaram-se os textos teóricos de Serguei Eisenstein, assim como os estudos desenvolvidos por David Bordwell e Jean Mitry. Por fim, como metodologia de análise, buscou-se observar e analisar o período histórico vivido pelo cineasta no momento da produção do filme, o Realismo Socialista, e as referências históricas da personagem central que norteiam as escolhas artísticas. Posteriormente, verifica-se, por meio da análise dos elementos da linguagem cinematográfica, como o filme, enquanto um texto artístico, é portador de uma riqueza de sentido advinda da articulação dos elementos cinematográficos, favorecendo a construção de uma unidade temática: o patriotismo / The purpose of this dissertation is to identify and analyze elements of cinematography in the work of Russian (Soviet) filmmaker Sergei M. Eisenstein, which would be essential to the construction of the film as an artistic text. Aleksander Niévski, the motion picture released in 1938, was selected as the scope of the analysis. Throughout the analysis, elements such as character construction, theme development, framing, sound and mise-en-scène were examined. I begin with the hypothesis that the film, as an artistic text, in spite of having been produced with roots in the directives of Socialist Realism, is not limited to conveying a restricted reality; rather, the artist broadens the meaningful possibilities of the creative material at hand, resulting in a text that surpasses its limits of time and space. In this perspective, the objective is to identify the elements of cinematic language (framing, mise-èn-scene, editing etc) explored throughout the film and analyze how these aspects are articulated to construction the theme: patriotism. In order to lay the basis for the proposed study, the theoretical field was, overall, divided into two views: firstly, for the conception of the film as an artistic text, we made use of the concept of the art work as an artistic text - developed by Russian theorist Iuri Lotman and of the conception of poetic language, discussed by Roman Jakobson; and to analyze the elements of cinematic artistic language, the theoretical texts by Sergei Eisenstein as well as the studies developed by David Bordwell and Jean Mitry were favored. Finally, as a method of analysis, I sought to observe and analyze the historical period in which the artist lived at the moment of the production of the film the Socialist Realism and the historical references of the main character which conduct the artistic choices. Subsequently, by analyzing the elements of cinematic language, it is verified how the film, as an artistic text, bears a richness of meaning ensuing from the articulation of the cinematic elements, favoring the construction of a theme unit: patriotism

O presente trabalho tem como objetivo traduzir para português brasileiro e fazer uma análise semiótica da novela Parque cultural (1983), do escritor russo Serguei Dovlátov. Além disso, pretendemos apresentar aos leitores e pesquisadores brasileiros os traços fundamentais da obra deste, que é um dos principais prosadores russos da segunda metade do séc. XX e um dos maiores representantes da Terceira Onda de emigração russa. Uma das especificidades do método artístico de Dovlátov consiste em uma forte vinculação de sua obra com fatos da cultura, literatura e história da Rússia e da União Soviética. Essa característica permite-nos analisar seus textos como textos de cultura, segundo a concepção semiótica de Iú. Lótman. Na novela Parque cultural, espelham-se tais fenômenos da cultura soviética, como o mito soviético do poeta Aleksándr Púchkin, considerado símbolo da cultura, a existência na União Soviética de duas culturas paralelas (a oficial e a não oficial), o fenômeno da massiva emigração dos anos 1970, entre outros. A tradução da novela Parque cultural (título em russo, Zapoviédnik) para o português do Brasil, com notas e comentários, constitui parte integrante deste trabalho. Praticamente toda a obra de Dovlátov é humorística, e a transmissão dos elementos de humor e marcas culturais, presentes no texto, foi um dos desafios dessa tradução. / This work is aimed at translating the novel Pushkin Hills by Sergei Dovlatov into Brazilian Portuguese (the title in Russian is Zapoviednik, and the title in Portuguese is Parque Cultural, 1983) and analyze this text from a semiotic point of view. We furthermore intend to present the basic features of Dovlatovs work, who is considered to be one of the leading Russian prose writers of the second half of the XX century and one of the greatest representatives of the Third Wave of Russian Emigration, to readers and Brazilian researchers. One of the features of Dovlatovs artistic methods lies in the close connection of his work with the culture, literature and history of Russia and the Soviet Union. This feature allows us to analyze his texts as cultural texts, according to Yuri Lotmans semiotic concept. The themes of the novel Pushkin Hills reflect such phenomena of Soviet culture as, among others, the \"Soviet\" myth of the poet Aleksandr Pushkin, who is considered to be a symbol of culture, the existence in the Soviet Union of two parallel cultures (official and unofficial), the massive emigration of the 1970s. The translation of the novel into Brazilian Portuguese, with notes and comments, is an integral part of this work. Almost all of Dovlatov\'s work is humorous, and conveying elements of humor and cultural references in the text was one of the challenges of this translation.

Cette thèse se donne pour ambition d'éclairer un aspect méconnu de l'oeuvre et de la pensée de Sergueï Eisenstein, en se concentrant sur la relation privilégiée qu'il entretient durant toute sa vie avec l'art de Daumier. Tout en traversant l'oeuvre graphique, théâtrale, cinématographique et théorique d'Eisenstein, cette recherche entend également révéler Daumier sous un nouveau jour, en faisant découvrir la réception dont il jouit en Russie et en U.R.S.S. Il s'agira par la même occasion d'exposer et d'interroger le regard stimulant et original qu'Eisenstein porte sur l'art de Daumier. Ce parcours se voudra nécessairement transdisciplinaire. / The aim of this PhD thesis is to cast a new light on Eisenstein's work and thought, by focusing on his privileged relationship with Daumier's art. As we will come across Eisenstein's graphic, theatrical, cinematographical and theoretical work, we will unveil Daumier's still unknown reception in Russia and in U.S.S.R. By the same token, we will expose and discuss Eisenstein's challenging and modern vision of Daumier. The methodology chosen here is necessarily transciplinar. / Cette thèse a été effectuée en cotutelle entre l'Université Paris-Ouest-Nanterre-La Défense et l'Université de Montréal. Elle a été réalisée avec le logiciel LateX.