Pascale Jacquet-Rimassa
Biographic Data
| ID | 1491665 |
|---|---|
| NAME | Pascale Jacquet-Rimassa |
| GIVEN NAMES | Pascale |
| FAMILY NAME | Jacquet-Rimassa |
| SIGNATURE | JACQUET-RIMASSA P |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1998 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Le vase et l'image en contexte ou Les trois dimensions de l'image
This study is part of a focus on production of the Greek vase, the image and their reception in Athenian society of the 6th – 5th centuries BC. If the knowledge of the visual codes of the Greeks and the specificity of their figurative language are fundamental, considering the “three dimensions of the image”: vase, image and reception, allows to contextualize the vase and its decoration, and to bring materiality and its referential memory into a s…
Diversité des regards dans l'imagerie attique
As early as the beginning of the VI c. B.C., the Athenian painters concerned themselves with the intensive representation of the look of the characters, thus creating an interplay of intra-and extra-iconic relationships. The eye grows more and more expressive, in particular when the painters forsake the conventional face eye in a face in profile, for a profile eye, supposing a real visual exchange. From now on, the looks converge or avoid one ano…
Autour du vin
Bacchos invisible, Bacchos unpredictable... It is through the italiot symposiac images that he stands here revealed. If we know the imagery of the symposion for having come across it ever since the early attic vases and their black figures, it is not however a frozen imagery. A god with multiple faces, Dionysos offers to men a conviviality in his image, plural and singular. As a consequence the italic IVth century scenes present, alongside unchan…
Marie-Christine Villanueva Puig, Ménades. Recherches sur la genèse iconographique du thiase féminin de Dionysos des origines à la fin de la période archaïque
Le dernier ouvrage de M.‐C. Villanueva Puig vient couronner des années vouées aux compagnes de Dionysos. Cette étude, qui est « une version remaniée et abrégée d’une thèse de Doctorat d’état » (p. 15) nous permet de pénétrer à l’origine même du motif iconographique de la ménade, de juger de son évolution, de ses variantes selon les personnalités artistiques, d’appréhender les composantes de cet univers dionysiaque où vin, musique, danse et animau…
Dionysos d'Ici et Dionysos d'Ailleurs
This time, it is through the pictures of the symposion that Dionysos lets himself revealed. We are aware of the imagery of the symposion through frequently encountering it ever since its early pictures with their black figures. Yet it is in no way rigidly fixed. Just as Dionysos is the many-faced god, the symposion which he offers to men likewise assumes various forms. Witness the fact beside immutable elements, Attic and Italic scenes from the V…
Dionysos d'Ici et Dionysos d'Ailleurs
This time, it is through the pictures of the symposion that Dionysos lets himself revealed. We are aware of the imagery of the symposion through frequently encountering it ever since its early pictures with their black figures. Yet it is in no way rigidly fixed. Just as Dionysos is the many-faced god, the symposion which he offers to men likewise assumes various forms. Witness the fact beside immutable elements, Attic and Italic scenes from the V…
Diversité des regards dans l'imagerie attique
As early as the beginning of the VI c. B.C., the Athenian painters concerned themselves with the intensive representation of the look of the characters, thus creating an interplay of intra-and extra-iconic relationships. The eye grows more and more expressive, in particular when the painters forsake the conventional face eye in a face in profile, for a profile eye, supposing a real visual exchange. From now on, the looks converge or avoid one ano…
Dionysos d'Ici et Dionysos d'Ailleurs
This time, it is through the pictures of the symposion that Dionysos lets himself revealed. We are aware of the imagery of the symposion through frequently encountering it ever since its early pictures with their black figures. Yet it is in no way rigidly fixed. Just as Dionysos is the many-faced god, the symposion which he offers to men likewise assumes various forms. Witness the fact beside immutable elements, Attic and Italic scenes from the V…
Marie-Christine Villanueva Puig, Ménades. Recherches sur la genèse iconographique du thiase féminin de Dionysos des origines à la fin de la période archaïque
Le dernier ouvrage de M.‐C. Villanueva Puig vient couronner des années vouées aux compagnes de Dionysos. Cette étude, qui est « une version remaniée et abrégée d’une thèse de Doctorat d’état » (p. 15) nous permet de pénétrer à l’origine même du motif iconographique de la ménade, de juger de son évolution, de ses variantes selon les personnalités artistiques, d’appréhender les composantes de cet univers dionysiaque où vin, musique, danse et animau…
Diversité des regards dans l'imagerie attique
As early as the beginning of the VI c. B.C., the Athenian painters concerned themselves with the intensive representation of the look of the characters, thus creating an interplay of intra-and extra-iconic relationships. The eye grows more and more expressive, in particular when the painters forsake the conventional face eye in a face in profile, for a profile eye, supposing a real visual exchange. From now on, the looks converge or avoid one ano…
Autour du vin
Bacchos invisible, Bacchos unpredictable... It is through the italiot symposiac images that he stands here revealed. If we know the imagery of the symposion for having come across it ever since the early attic vases and their black figures, it is not however a frozen imagery. A god with multiple faces, Dionysos offers to men a conviviality in his image, plural and singular. As a consequence the italic IVth century scenes present, alongside unchan…
Le vase et l'image en contexte ou Les trois dimensions de l'image
This study is part of a focus on production of the Greek vase, the image and their reception in Athenian society of the 6th – 5th centuries BC. If the knowledge of the visual codes of the Greeks and the specificity of their figurative language are fundamental, considering the “three dimensions of the image”: vase, image and reception, allows to contextualize the vase and its decoration, and to bring materiality and its referential memory into a s…
Art (5 works) · Humanities (4 works) · Diverse Cultural and Historical Studies (3 works) · Ancient Mediterranean Archaeology and History (2 works) · Art history (2 works) · Banquet (2 works) · Classical Antiquity Studies (2 works) · Historical, Religious, and Philosophical Studies (2 works) · Philosophy (2 works) · Philosophy (2 works)