http://hdl.handle.net/10993/53 Search this channel search http://orbilu.uni.lu/simple-search http://hdl.handle.net/10993/41848 Title: 'Who Are We?' Searching for Identities in Luxembourg: A Comparative Exhibition Critique <br/> <br/>Author, co-author: Brasseur, Laurence <br/> <br/>Abstract: This dissertation analyses the relationships among the issues of identity, power and the museum and investigates how these factors are linked to the museum’s social and educational role. It focuses on two exhibitions that deal with the subject of identities in Luxembourg: 'ABC – Luxembourg for beginners … and advanced!', held at the Musée d’Histoire de la Ville de Luxembourg (2012-2013), and 'iLux. Identities in Luxembourg', shown at the Musée Dräi Eechelen (2012-2013). A comparative critique of their approaches provides a close examination of their explicit and implicit practices as well as their politics of display. http://hdl.handle.net/10993/41393 Title: Comprendre la mise en abyme. Arts et médias au second degré <br/> <br/>Editor: Tore, Gian Maria; Raus, Tonia http://hdl.handle.net/10993/41387 Title: « Le pli, un défi herméneutique et épistémologique » au Collège des Bernardins dans le cadre du séminaire Revêtir l’invisible en partenariat avec le Collège des Bernardins Paris et le Luxembourg School for Religion and Society <br/> <br/>Author, co-author: Roelens, Nathalie http://hdl.handle.net/10993/41103 Title: Six regards sur la master-classe de piano : phénoménologie et sémiotique de la rencontre musicale <br/> <br/>Author, co-author: Kim, Seong Jae <br/> <br/>Abstract: Notre thèse propose de nouvelles voies pour saisir la dimension d’affect de l’expérience musicale, que la sémiotique comme la musicologie traditionnelle prennent peu – ou bien mal – en compte. En nous inspirant d’une pensée modélisante de facture dynamiciste, telle que développée à partir des années 1960 et depuis influente dans les disciplines sémiolinguistiques, nous cherchons à accompagner le mouvement des sémiogenèses au sein d’une master-classe de piano. Le terme de sémiogenèse, ici, est pris dans un sens large, embrassant tout déploiement de formes, qu’elles soient vagues ou articulées, diffuses ou bien cernées : formes tendues entre expressivité et normativité, et formes valorisées parce qu’appelant à participer à une ligne de vie qui par elles vient à exister. La master-classe est un cours donné par un grand maître à des élèves accomplis, qui témoignent ainsi véritablement de leur propre vie, de leur sentir éthique, à travers la recherche d’une autre praxis musicale. Ces dernières années, le champ de la master-classe a commencé de retenir l’attention de la communauté scientifique, notamment dans des domaines liés à l’enseignement et à l’expérience musicale, tels que la psychologie, l’esthétique et l’épistémologie (ou encore la sociologie). Pourtant il nous semble regrettable que la plupart des problématiques adoptées dans ces cadres n’intègrent rien ou si peu encore des métamorphoses de la sensibilité et du jeu du sentiment musical dans la caractérisation de leurs objets. Or le champ de la master-classe nous paraît particulièrement intéressant en ce que l’horizon d’affect y est prééminent dans toute l’activité sémiotique qui s’y noue. Nous avons ainsi assisté à plusieurs master-classes et suivi de près la praxis des musiciens (participations aux cours, enregistrements, entretiens, conversations …) dans l’esprit de rendre toute sa profondeur génétique à l’activité sémiotique, en l’abordant sous la perspective d’une rencontre et d’une orientation des sensibilités musicales. Une des tâches que nous nous sommes donc assignées dans la description de cette praxis musicale particulière consiste à comprendre les phénomènes sonores, langagiers et gestuels attenants comme les conditions sémiogénétiques de la constitution d’un sens musical. Il s’agit d’une méthode fondamentalement descriptive, en mode philosophique (Shaftesbury, Kierkegaard, Wittgenstein, Merleau-Ponty) et sémiotique (Peirce, Saussure), qui rejoint la préoccupation sémiotique dès les premiers niveaux d’une microgenèse, et en la reprenant d’emblée au sein d’une phénoménologie herméneutique et existentielle. Cette problématique perceptive et sémiogénétique de la sensibilité musicale nous met notamment en mesure de retravailler la notion de motif musical, à la fois comme motif-de-praxis et comme motif-existentiel. Nous avons ainsi tenté de tirer au clair une certaine écoute du jeu musical en y retrouvant comme un passage constant entre une perception d’emblée éthique, et la recherche aussi, à travers le jeu et ses motifs, de personnalités musicales qui s’y trouvent engagées. De telles notions de motif et de personnalité nous ont paru opportunes dans la mesure où elles permettent justement de proposer une certaine éthique du sentiment musical, sans le réduire à un savoir-faire, à une psychologie ou à l’exécution d’un rituel. Nous sommes ainsi parvenus à réinterroger toute notion de ‘signe’ musical en sollicitant l’horizon ‘motival’ de cette ‘activité symbolique’, comprise, dans la nature formelle et sensible des pratiques, comme une participation (un désir et un engagement de participer) à un certain régime de l’existence humaine. Par là on fraye la voie à une nouvelle conception de la praxis musicale, qui relie esthétique et éthique. La thèse développe ainsi cette problématique en posant sur elle six Regards successifs : Master-classe de piano ; Sentir, savoir, faire ; Champ et forme ; Motif et forme ; Lignes de vie ; Enchantement.; In this thesis, I suggest new ways of grasping the affective dimension of musical experience that which traditional semiotics and musicology take little into account. Inspired by a dynamistic modelling approach –which developed from the 1960s and since then has been influential in the domain of semiolinguistic disciplines–, I sketch out the fluctuating phases of semiogenesis within the field of piano masterclasses. The term ‘semiogenesis’ here, is taken in a broad sense, encompassing any deployment of sign-forms, either vague or articulated, diffused or well-defined. Such forms are conceived as being strained between expressiveness and normativity. They are also valorized in that they call the subject to participate in his or her own ‘lines of life’ which, in turn, may come to exist by those forms. A piano masterclass is given by a genuine master to highly accomplished students, both who truly testify to their own lives, to their own ways of ethical feeling, in the search for a unique musical praxis. In recent years, the field of masterclass has begun to attract the attention of the scientific community, especially in areas related to musical teaching and experience, such as psychology, aesthetics and epistemology or even sociology. Yet it is still suboptimal that most of the problems adopted in these frameworks incorporate nothing or so little in terms of the metamorphosis of sensitivity and the play of musical feeling in the characterization of their research objects. Nevertheless, the field of piano masterclass seems to be a particularly interesting and promising object of research in that the horizon of affect is preeminent in all the semiotic activities tied to it. Thus, I have attended several masterclasses in order to closely follow the praxis of the musicians (e.g., active and passive participation in masterclasses, audiovisual recordings, interviews, conversations and debates on music, etc.), in the spirit of making all its genetic depth to the semiotic activity, by approaching it under the perspective of an encountering and an orientation of musical sensibilities. One of the main tasks of my approach in the designing of the descriptions of this particular musical praxis consists in understanding the acoustic, gestural and linguistic phenomena, as giving birth to semiogenetic conditions of the constitution of a musical meaning. In this way, it is a fundamentally descriptive method, inspired by philosophical (Shaftesbury, Kierkegaard, Wittgenstein, Merleau-Ponty) and semiotic (Peirce, Saussure) minds, which joins the semiotic preoccupation from the very initial levels of a microgenesis, and by promoting it immediately into a hermeneutical and existential phenomenology. The perceptive and semiogenetic issues of musical sensitivity allow us to remodel the notion of a musical motive, understood both as a motive-of-praxis and as an existential-motive. I tried to grasp the idea of a certain listening of the musical praxis by finding there a constant passage between an ethical perception, and the search –through the playing of the music and its motives–, for a musical personality engaged in the musical praxis. Such conceptions on motive and personality proved to be fruitful to the extent that they make it possible to suggest a certain ethic of musical feeling, without reducing it to a skill, a psychology or a ritual. I have thus managed to redefine the notion of a musical ‘sign’ by playing up on the 'motival' horizon of this semiotic activity, understood – in the formal and sensitive nature of musical practices– as participation (i.e., desire and commitment to participate) to a certain regime of human existence. In this way, I believe to be paving the way for a new conception of musical praxis, which interweaves aesthetics and ethics. The thesis thus addresses these problems by casting six successive contemplations on it: Piano Masterclass; Feeling, Knowing and Doing; Field and Form; Motive and Form; Lines of Life; Enchantment. http://hdl.handle.net/10993/41004 Title: Puissances et limites de l’abyme : ou Quand il y a fait de langage <br/> <br/>Author, co-author: Tore, Gian Maria http://hdl.handle.net/10993/41001 Title: Constcamer Paintings as Epistemic Images: Early Modern Theaters of Wisdom <br/> <br/>Author, co-author: Koeleman, Floor <br/> <br/>Abstract: This paper argues, against existing literature, that 17th-cent. constcamer paintings were objects to think with, functioning as the two-dimensional space of artificial memory. In turn, these artworks complicate conventional definitions of epistemic images more broadly. I focus on an analysis of constcamer paintings accounting for the reception of the ancients and the mnemonic and propaedeutic role of images, entailing concepts such as wonder or thauma (from Greek θεάομαι), the drive to gather knowledge, memory as the locus of this ‘collection’, and recollecting as the intellectual process of interaction with memorized knowledge. The term inventor, referring to the creator of a given collection, is derived from the rhetorical technique for the retrieval of information. The theatre or ‘place for viewing’ provided the physical context for the collected wisdom. Inventors of constcamer paintings – often artists themselves – vitally participated in knowledge formation contributing to contemporary intellectual debates. http://hdl.handle.net/10993/40999 Title: Reimagining​ ​the​ ​Lansdowne​ ​Dining​ ​Room​ ​Using​ ​the​ ​Met’s​ ​Open​ ​Access​ ​Collections <br/> <br/>Author, co-author: Koeleman, Floor <br/> <br/>Abstract: The​ ​British​ ​Galleries​ ​of​ ​the​ ​Metropolitan​ ​Museum​ ​of​ ​Art​ ​are​ ​closed​ ​for​ ​renovation​ ​until approximately​ ​fall​ ​2018.​ ​Reinstalling​ ​these​ ​galleries​ ​also​ ​means​ ​reimagining​ ​three​ ​British​ ​period rooms,​ ​including​ ​the​ ​Dining​ ​Room​ ​from​ ​Lansdowne​ ​House​ ​(1760s).​ ​As​ ​is​ ​often​ ​the​ ​case,​ ​the moveable​ ​objects​ ​that​ ​used​ ​to​ ​decorate​ ​this​ ​interior​ ​space​ ​are​ ​no​ ​longer​ ​traceable​ ​today. Fortunately,​ ​the​ ​museum​ ​has​ ​a​ ​vast​ ​collection​ ​of​ ​decorative​ ​arts​ ​and​ ​sculpture​ ​to​ ​be​ ​able​ ​to replace​ ​the​ ​lost​ ​items.​ ​The​ ​Met’s​ ​Open​ ​Access​ ​collections​ ​data​ ​is​ ​available​ ​as​ ​a​ ​downloadable Comma​ ​Separated​ ​Value​ ​(.CSV)​ ​file​ ​on​ ​Github.​ ​By​ ​exploring​ ​this​ ​data​ ​we​ ​aim​ ​to​ ​find​ ​all​ ​artworks that​ ​could​ ​be​ ​relevant​ ​for​ ​display​ ​in​ ​the​ ​Lansdowne​ ​Dining​ ​Room.​ ​We​ ​reduced​ ​the​ ​total​ ​amount of​ ​454,084​ ​objects​ ​to​ ​1,724​ ​items​ ​related​ ​to​ ​this​ ​particular​ ​room,​ ​based​ ​on​ ​filters​ ​like​ ​period, location​ ​and​ ​classification.​ ​The​ ​task​ ​of​ ​making​ ​a​ ​final​ ​sub​ ​collection​ ​of​ ​artworks​ ​to​ ​be​ ​exhibited in​ ​a​ ​period​ ​room​ ​is​ ​usually​ ​reserved​ ​to​ ​curators.​ ​With​ ​the​ ​online​ ​interactive​ ​visualization​ ​we made​ ​you​ ​can​ ​step​ ​into​ ​their​ ​shoes​ ​and​ ​try​ ​it​ ​yourself. http://hdl.handle.net/10993/40947 Title: « Motifs en transhumance (Matisse et Ben Jelloun, ambassadeurs d’une esthétique méditerranéenne) » <br/> <br/>Author, co-author: Roelens, Nathalie http://hdl.handle.net/10993/40774 Title: Texte et Image, Dialog/ues. Schrift & Bild, éd. Claude D. Conter & Myriam Sunnen, Centre national de Littérature, 2018 <br/> <br/>Author, co-author: Roelens, Nathalie http://hdl.handle.net/10993/40700 Title: Ein Ossarium für Steinsel. Über die architektonische Herausforderung einer ungewöhnlichen Bauaufgabe <br/> <br/>Author, co-author: Hertweck, Florian; Kolnberger, Thomas http://hdl.handle.net/10993/40699 Title: Friedhof, Heldenhain oder Totenburg? Der Volksbund Deutsche Kriegsgräberfürsorge und die Soldatenfriedhöfe Sandweiler und Clausen im Großherzogtum Luxemburg. <br/> <br/>Author, co-author: Kolnberger, Thomas http://hdl.handle.net/10993/40402 Title: ’Travail et Progrès’: Obligatory ‘Educational’ Labour in the Belgian Congo, 1933-1960 <br/> <br/>Author, co-author: Fernandez Soriano, Victor <br/> <br/>Abstract: The authorities of the Belgian Congo imposed a series of compulsory workloads to the local communities under the argument that these tasks contributed to the ‘education’ of the native populations, which they called ‘Travaux d’ordre e´ducatif’ (TOE). Such workloads represented the main legal form of forced labour which existed in the Belgian Congo from their creation in 1933 until independence in 1960. Unlike what happened in most colonial empires, these workloads were not abolished after the Second World War. This article shows, through the case study of the province of Equateur, how these workloads were conceived and organized by the Belgian colonial administration. It seeks an answer to the question of why this form of forced labour remained legal in Congo until its independence. http://hdl.handle.net/10993/40172 Title: Propaganda für Stahl und Nation. Bilder und Gegenbilder zum wirtschaftlichen und sozialen Fortschritt in luxemburgischen Medien der Zwischenkriegszeit. <br/> <br/>Author, co-author: Plein, Ira http://hdl.handle.net/10993/40087 Title: « Palerme, ville syncrétique », <br/> <br/>Author, co-author: Roelens, Nathalie http://hdl.handle.net/10993/38381 Title: Limitations et illimitations d’une sémiotique de l’image : Figurativité, réflexivité, multiplicité <br/> <br/>Author, co-author: Tore, Gian Maria http://hdl.handle.net/10993/38345 Title: Sens e(s)t médiation <br/> <br/>Author, co-author: Tore, Gian Maria http://hdl.handle.net/10993/38342 Title: La négation dans une sémiotique de l’image : A partir d’une petite étude du gag visuel <br/> <br/>Author, co-author: Tore, Gian Maria http://hdl.handle.net/10993/38340 Title: Pour une pragmatique des images – Le ‘sens’ de deux séquences filmiques : figuration et énonciation <br/> <br/>Author, co-author: Tore, Gian Maria http://hdl.handle.net/10993/38335 Title: Une autre approche structurale est possible: Sens, expérience, analyse <br/> <br/>Author, co-author: Tore, Gian Maria http://hdl.handle.net/10993/38332 Title: De quelques catégories dérivées de l’“œuvre” et du “montage” : Un aller-retour entre théorie des arts et pratiques des films <br/> <br/>Author, co-author: Tore, Gian Maria