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Auswahl der wissenschaftlichen Literatur zum Thema „1879-1940“
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Zeitschriftenartikel zum Thema "1879-1940"
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Koepsell, Thomas D. „Paul Klee (1879-1940)“. Archives of Pediatrics & Adolescent Medicine 162, Nr. 10 (01.10.2008): 911. http://dx.doi.org/10.1001/archpedi.162.10.911.
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Szczygielski, Krzysztof. „Franciszek Bossowski (1879–1940). Szkic do biografii“. Miscellanea Historico-Iuridica 7 (2009): 71–83. http://dx.doi.org/10.15290/mhi.2009.07.04.
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THIERY M. „Raymond Pearl (1879-1940) en de Pearl-index“. Tijdschrift voor Geneeskunde 55, Nr. 6 (01.01.1999): 460–63. http://dx.doi.org/10.2143/tvg.55.6.5000396.
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THIERY M. „Raymond Pearl (1879-1940) en de Pearl-index“. Tijdschrift voor Geneeskunde, Nr. 6 (01.01.1999): 460–63. http://dx.doi.org/10.47671/tvg.55.6.5000396.
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LAM, TRUONG XUAN, WANZHI CAI, MASAAKI TOMOKUNI und TADASHI ISHIKAWA. „The assassin bug subfamily Harpactorinae (Hemiptera: Reduviidae) from Vietnam: an annotated checklist of species“. Zootaxa 3931, Nr. 1 (11.03.2015): 101. http://dx.doi.org/10.11646/zootaxa.3931.1.7.
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A checklist of all known Vietnamese species of the assassin bug subfamily Harpactorinae (Hemiptera: Heteroptera: Reduviidae) is presented with distributional and taxonomic notes. Sixty-five species in 35 genera of the subfamily are recognized in Vietnam. Eleven genera and 32 species are reported herein for the first time from this country. Newly recorded genera are Henricohahnia Breddin, 1900, Kalonotocoris Miller, 1941, Lingnania China, 1940, Lopodytes Stål, 1853, Macracanthopsis Reuter, 1881, Sclomina Stål, 1861, Serendiba Distant, 1906, Serendus Hsiao, 1979, Vesbius Stål, 1866, Villanovanus Distant, 1904, and Yolinus Amyot & Serville, 1843. New record species are Biasticus confusus Hsiao, 1979, B. flavinotus (Matsumura, 1913), Cosmolestes annulipes Distant, 1879, C. pulcher Hsiao, 1979, Cydnocoris fasciatus Reuter, 1881, C. gilvus (Burmeister, 1838), Endochus nigricornis Stål, 1859, Henricohahnia vittata Miller, 1954, Isyndus heros (Fabricius, 1803), I. pilosipes Reuter, 1881, Kalonotocoris curvipes Miller, 1941, Lingnania braconiformis China, 1940, Lopodytes spectabilis Miller, 1941, Macracanthopsis nodipes Reuter, 1881, Sclomina erinacea Stål, 1861, Serendiba nigrospina Hsiao, 1979, S. staliana (Horváth, 1879), Serendus geniculatus Hsiao, 1979, Sphedanolestes annulipes Distant, 1903, S. gularis Hsiao, 1979, S. impressicollis (Stål, 1861), S. pubinotus Reuter, 1881, S. trichrous Stål, 1874, S. xiongi Cai & Cai, 2004, Sycanus croceus Hsiao, 1979, Velinus annulatus Distant, 1879, V. malayus (Stål, 1863), V. rufiventris Hsiao, 1979, Vesbius purpureus (Thunberg, 1784), V. sanguinosus Stål, 1874, Villanovanus nigrorufus Hsiao, 1979, and Yolinus albopustulatus China, 1940. All the species are examined with Vietnamese materials except for Agriosphodrus dohrni (Signoret, 1862), Cydnocoris russatus Stål, 1867, and Sycanus atrocoeruleus Signoret, 1862.
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Silver, Richard M. „Paul Klee's illness – a series of historical and clinical vignettes“. Journal of Scleroderma and Related Disorders 2, Nr. 3 (07.05.2017): 135–36. http://dx.doi.org/10.5301/jsrd.5000248.
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Paul Klee (1879-1940) is undoubtedly the most notable historical figure to have suffered from systemic sclerosis (scleroderma). In this, the first in a series of vignettes on Klee's illness, I will explore a likely early feature of his condition - Raynaud phenomenon. In subsequent vignettes I will highlight other features of Klee's condition.
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Bakis, Henry. „Le développement du réseau téléphonique dans l’espace français : 1879-1940“. Bulletin d'histoire de l'électricité 7, Nr. 1 (1986): 67–80. http://dx.doi.org/10.3406/helec.1986.973.
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Suter, Hans. „Case Report on the Illness of Paul Klee (1879-1940)“. Case Reports in Dermatology 6, Nr. 1 (18.04.2014): 108–13. http://dx.doi.org/10.1159/000360963.
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Bouchard, Chantal. „De la "langue du grand siècle" à la "langue humiliée": les Canadiens français et la langue populaire, 1879-1970“. Recherche 29, Nr. 1 (12.04.2005): 7–21. http://dx.doi.org/10.7202/056335ar.
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L'insécurité linguistique des Canadiens français est bien antérieure aux années 1940. Une étude des chroniques de langage parues dans la presse entre 1879 et 1970 permet de dégager trois périodes quant aux attitudes vis-à-vis la langue populaire des Canadiens français. Jusqu'au début du siècle, la perception est plutôt négative. À partir de 1910, on assiste à une entreprise systématique de revalorisation de la langue paysanne, moins contaminée par l'anglais que celle des villes. L'ouvrier remplaçant le paysan comme classe populaire, l'attitude négative refait surface à compter des années 1940. Après la querelle du jouai, on commence lentement à distinguer la langue humiliée des autres formes du français québécois.
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BAI, XING-LONG, und GUO-DONG REN. „Revision of the genus Bioramix Bates, 1879 (Coleoptera: Tenebrionidae: Platyscelidini) from China“. Zootaxa 4815, Nr. 1 (14.07.2020): 1–102. http://dx.doi.org/10.11646/zootaxa.4815.1.1.
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The genus Bioramix Bates, 1879 from China is revised, 54 valid species are recognized in this study, including 23 new ones: B. (Cardiobioramix) barkamica sp. nov., B. (C.) gibbosa sp. nov., B. (C.) longicornis sp. nov., B. (C.) prolongata sp. nov., B. (C.) tenuitarsus sp. nov., B. (Leipopleura) baxoica sp. nov., B. (L.) cupreoviridis sp. nov., B. (L.) exsertigenae sp. nov., B. (L.) homoplasta sp. nov., B. (L.) impressithorax sp. nov., B. (L.) latitarsis sp. nov., B. (L.) laxipenis sp. nov., B. (L.) lhozhagensis sp. nov., B. (L.) longipilis sp. nov., B. (L.) miranda sp. nov., B. (L.) nigra sp. nov., B. (L.) rectiangulata sp. nov., B. (L.) riwoqeica sp. nov., B. (L.) rugelytra sp. nov., B. (L.) seidlitzi sp. nov., B. (L.) subcarinata sp. nov., B. (L.) tiani sp. nov., B. (L.) yushuana sp. nov. The following new synonymy is proposed based on the examination of type and additional specimens: B. (C.) globipunctata Bai & Ren, 2016 = B. (C.) liupanshana Bai & Ren, 2016, syn. n.; B. (C.) szetschuana (Kaszab, 1940) = Platynoscelis (C.) kulzeri Kaszab, 1960, syn. n.; B. (L.) integra (Reitter, 1887) = Platyscelis (Platyscelis) obovatus Ren, 1999, syn. n.; B. (L.) politicollis (Kaszab, 1940) = B. (L.) baqenensis Li & Egorov, 2016, syn. n.; B. (L.) rubripes (Reitter, 1889) = Myatis brevipilosum Meng & Ren, 2005, syn. n., formerly synonymized with B. (L.) micans Reitter, 1889; B. (L.) rufipalpis (Reitter, 1887) = Platynoscelis (Trichoplatyscelis) darbukensis Kaszab, 1940, syn. n. The subgenus Planoplatyscelis Kaszab, 1940 and B. (P.) pamirensis Bates, 1879 are recorded from China for the first time. Lectotypes are designated for Helops subaenea Reitter, 1889 and Botiras punctatellus Fairmaire, 1891. The biology of adult, larvae and pupa is briefly introduced. Furthermore, new distribution records, images of adults, male aedeagus and habitat, and a key to Chinese species are presented.
Dissertationen zum Thema "1879-1940"
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Chiti, Elena. „Écrire à Alexandrie (1879-1940) : Capital social, appartenances, mémoire“. Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3098.
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Cette thèse est une étude d’histoire culturelle sur les processus de construction des appartenances. Le cadre spatio-temporel de départ est la ville d’Alexandrie entre la fin du XIXe siècle et le premier tiers du XXe. Son statut compliqué d’interface entre plusieurs horizons politico-culturels (ottoman, arabe, européen) en fait un terrain privilégié pour analyser les notions d’étranger, égyptien, ottoman, local, national, cosmopolite comme catégories mouvantes, façonnées par les acteurs. Dans la volonté de faire de l’imaginaire un objet d’histoire, ces catégories sont appréhendées à travers les textes littéraires (en arabe, français, italien, anglais) produits par les acteurs de la vie culturelle alexandrine. Une étude de leurs trajectoires personnelles, des sociabilités qui se nouent (ou pas) dans les milieux littéraires citadins et des critères sur lesquels se font et se défont les réputations littéraires permet de lier la dimension individuelle de ces acteurs à une dimension collective, sociétale. Pour prolonger le débat dans l’actualité, on propose enfin une approche socio-historique de la survie ou de la disparition de ces réputations littéraires au-delà du cadre spatio-temporel de départ. Réfléchir aux milieux dans lesquels une réputation d’auteur construite dans l’ère des empires survit, ou ne survit pas, au passage à l’ère des États-nations, ou à celui de la période coloniale à l’époque des décolonisations, permet d’explorer le champ de la mémoire sur des bases autres que celles de la nostalgie ou de l’idéologieThis dissertation is a cultural-history study of the building up of categories of belonging. The spatio-temporal context is the city of Alexandria between the late 19th century and the first third of the 20th. Being a field of confrontation between several cultural and political horizons (ottoman, Arab, European), Alexandria is a privileged field to study the notions of foreigner, Egyptian, ottoman, local, national, cosmopolitan as shifting categories, built-up by actors. In the aim of treating imagery as a historical object, these categories are investigated through a set of literary texts (in Arabic, French, Italian, English) produced by the actors of Alexandrian cultural life. By studying their trajectories, the sociability that emerges (or not) in Alexandrian literary milieus and the criteria on which literary reputations are built up, we can link the individual scale to a societal dimension. In conclusion, to extend the perspective, this dissertation proposes a socio-historical analysis of the survival or disappearance of these literary reputations beyond the space and time firstly considered. Analyzing the milieus in which an author reputation built up in the age of empires survives, or not, through the age of Nation-states, or from the colonial epoch to the age of decolonization, is offering an approach to the field of memory which is not based on nostalgic or ideological positions
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Chiti, Elena <1979>. „Écrire à Alexandrie (1879-1940) : capital social, appartenances, mémoire“. Doctoral thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/4650.
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Cette thèse est une étude d’histoire culturelle sur les processus de construction des appartenances. Le cadre spatio-temporel de départ est la ville d’Alexandrie entre la fin du XIXe siècle et le premier tiers du XXe. Son statut compliqué d’interface entre plusieurs horizons politico-culturels (ottoman, arabe, européen) en fait un terrain privilégié pour analyser les notions d’étranger, égyptien, ottoman, local, national, cosmopolite comme catégories mouvantes, façonnées par les acteurs. Dans la volonté de faire de l’imaginaire un objet d’histoire, ces catégories sont appréhendées à travers les textes littéraires (en arabe, français, italien, anglais) produits par les acteurs de la vie culturelle alexandrine. Une étude de leurs trajectoires personnelles, des sociabilités qui se nouent (ou pas) dans les milieux littéraires citadins et des critères sur lesquels se font et se défont les réputations littéraires permet de lier la dimension individuelle de ces acteurs à une dimension collective, sociétale. Pour prolonger le débat dans l’actualité, on propose enfin une approche socio-historique de la survie ou de la disparition de ces réputations littéraires au-delà du cadre spatio-temporel de départ. Réfléchir aux milieux dans lesquels une réputation d’auteur construite dans l’ère des empires survit, ou ne survit pas, au passage à l’ère des États-nations, ou à celui de la période coloniale à l’époque des décolonisations, permet d’explorer le champ de la mémoire sur des bases autres que celles de la nostalgie ou de l’idéologie.This dissertation is a cultural-history study of the building up of categories of belonging. The spatio-temporal context is the city of Alexandria between the late 19th century and the first third of the 20th. Being a field of confrontation between several cultural and political horizons (ottoman, Arab, European), Alexandria is a privileged domain to study the notions of foreigner, Egyptian, ottoman, local, national, cosmopolitan as shifting categories, built-up by actors. In the aim of treating imagery as a historical object, these categories are investigated through a set of literary texts (in Arabic, French, Italian, English) produced by the actors of Alexandrian cultural life. By studying their trajectories, the sociability that emerges (or not) in Alexandrian literary milieus and the criteria on which literary reputations are built up, we can link the individual scale to a societal dimension. In conclusion, to extend the perspective, we propose a socio-historical analysis of the survival or disappearance of these literary reputations beyond the space and time firstly considered. Analyzing the milieus in which an author reputation built up in the age of empires survives, or not, through the age of Nation-states, or from the colonial epoch to the age of decolonization, is offering an approach to the field of memory which is not based on nostalgic or ideological positions.
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ANCELET, JOCELYNE. „Un essai psychothanatologique : les dernieres annees de paul klee (1879-1940)“. Aix-Marseille 2, 1994. http://www.theses.fr/1994AIX20070.
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Lees, Carol Anne. „Klee and Worringer : elective affinities in an aesthetic partnership“. Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22365.
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It is the purpose of this thesis to examine the development of the concepts of abstraction and formalism in the art theory of Paul Klee and their consequent effect on his artistic production. The major impetus suggested for this development are the writings of Wilhelm Worringer, although the aesthetics of the Munich avant garde must also be credited. I have traced the evolution of Klee's thought through an examination of his diaries, letters and other documents of the period. It is clear that a demonstrable change occurs in Klee's concept of art as a result of his exposure to Worringer and the Blaue Reiter. This evolution is visible in his creative production.
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Kouprovskaia-Bruggeman, Ekaterina. „Paul Klee et son influence sur la création musicale contemporaine“. Paris 4, 2003. http://www.theses.fr/2002PA040009.
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Paul Klee fut profondément influencé par la musique. Il a aussi eu un fort ascendant sur les compositeurs. Le point de vue musicologique sur l'esthétique et la peinture de Klee permet de déceler des catégories et éléments du discours musical, contribuant à la création de compositions plastiques. Klee utilisait le principe de la modélisation des règles de la pensée musicale à plusieurs niveaux. Il s'agit des modèles du thème, du motif, de la citation, du temps musical, des formes musicales et des modèles de notation. La convergence Klee/Webern est définie comme l'expérience parallèle de deux artistes vivant à la même époque, qui ne se sont jamais connus, mais qui laissent apparaître nombre de correspondances, esthétiques et techniques. Le lien Klee/Boulez démontre les leçons que Boulez a tirées à travers son étude de la peinture et de la pensée théorique de Klee. Plusieurs opus d'Edison Denissov traduisent l'influence directe de l'?uvre de Klee sur les compositeursPaul Klee was very influenced by music. He has also exerced a strong ascendancy over the composers. Klee's aesthetic and painting are studied from a musicilogical point of view; it allows to detect the categories and elements of the musical views, which contributes to a creation of painting compositions. Klee used the principal of modelling the rules of musical thought, on several levels, like models of theme, motive, quotation; of musical time; of musical forms and models of notation. The convergence Klee/Webern is defined like a parallel experience of two artists who lived at the same time, who never known each other, but which presents a number of aesthetical and technical conformities. The link Klee/Boulez demonstrates the lessons Boulez has drawn through his study of the painting and theoretical views of Klee. Several opus of Edison Denissov translate the direct influence of Klee's work over the composers
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Ben-Porat, Orit. „L'abstraction picturale chez Paul Klee : entre formalisme et symbolisme“. Paris 8, 2005. http://www.theses.fr/2005PA083670.
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Le but de la recherche est d’éclairer le langage abstrait autour et à partir du travail de l’artiste Paul Klee. L’étude portera sur l’apparition de certains thèmes et symboles dans son œuvre. Sa foisonnante création implique un choix, car la position de Paul Klee à la lisière de plusieurs styles, favorise la variété et les diverses associations des paramètres picturaux. La synthèse personnelle de l’artiste entre les divers courants artistiques est illustrée par la création et la théorie. Attentif à la modernité, il tente d’explorer l’espace psychologique, l’espace philosophique et tous les possibles du nouveau langage. 18 tableaux représentent en particulier les paramètres couleur, ligne et symbole et les ramifications de leurs interférences. Cette quête est destinée à montrer, entre autres, le fonctionnement de ce langage, en rapprochant langage verbale et langage visuel, en vue d’extraire une synthèse entre contenu est innovation, et à fournir par la même occasion des clés pour la compréhension de la création en généraleThe purpose of this research is to clarify the abstract language, white evolving around the work of Paul Paul Klee. This study will also deal with various themes and symbols reappearing in his work whose rich variety is due among other things to his personality and his choice of expressing the unity behind several artistic movements. Another reason for his multiple pictorial expressions lies in his intention to exercise all the components of painting and the diversity of their associations. In doing so, his personal synthesis is fully illustrated by his practice and theory. A true disciple of the modernist spirit of creation, his main idea was to employ while exploring it a new type of pictorial space focusing on the psychological and philosophical levels. By choosing specifically 18 paintings, out aim is to throw light on his approach towards colour, line and symbol (and from in general), and their interaction. This will enable us to show the functioning of the artistic language, playing its role between verbal and visual language. Our purpose is finally, to keep in sight a unique view point white referring to content and innovation, and all the same to obtain a wider scope and new keys for the comprehension of creation as a whole
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Rougerie, Florence. „Ecriture et peinture dans l'oeuvre de Paul Klee : aux frontières du visible et du lisible, de la lettre à la trace“. Paris, EPHE, 2012. http://www.theses.fr/2012EPHE4002.
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L’œuvre de Paul Klee (1879-1940) se caractérise par son intermédialité : conjointement à sa démarche de plasticien, il se consacre en effet à une production littéraire – autobiographique et poétique, tout en opérant sur ses deux activités créatrices un retour réflexif. Souvent décrit comme un peintre-poète, en partie du fait de sa médiation surréaliste en France, c’est finalement le peintre-scripteur qui s’impose à la faveur des signes qu’il trace inlassablement sur la toile, faisant du tableau un texte à lire. Klee place la lettre, et au-delà, le signe écrit au cœur de son œuvre, à la fois comme moyen graphique et pictural, et comme élément de sa théorie : pour lui, l’œuvre d’art est mouvement, trace d’un geste qui trouve son prolongement naturel dans l’acte de réception. Aussi l’indécision de la ligne scripturale et picturale, entre lisible et visible, entre figuration et abstraction, est-elle productive, l’ambivalence des formes rendant l’interprétation possible, dans le jeu d’une détermination réciproque du vide et du plein, de la figure et du fond, de la forme et du sens. L’étude raisonnée de ce corpus et de son évolution au fil de son œuvre a pour but d’en saisir les enjeux théoriques, mis en perspective avec les pratiques intermédiales des avant-gardes de l’époque: assignant au mot et à l’image l’objectif de « rendre visible l’invisible », Klee introduit une dimension temporelle dans le tableau, en opposition à la hiérarchie établie par Lessing entre les arts et leurs domaines respectifs ; plutôt que la prédominance du langage, il tend ainsi à confirmer l’intuition d’Adorno selon laquelle les œuvres d’art ne seraient telles qu’en tant qu’elles sont écritureThe work of Paul Klee (1879-1940), is characterized by its intermediality : together with his artworks, he also wrote autobiographical and poetical pieces of literature, whilst adopting a reflexive approach in both these creative activities. Often regarded as a poet-painter, eventually it’s rather the writer-painter who stands out thanks to his practice of relentlessly inscribing signs on the canvas and turning the picture into a text held to the reader. Indeed, Klee places the letter and the written sign at the very heart of his work, as a graphical and a pictorial means, but also as an element of his theory: in his mind’s eyes, the artwork is synonymous with movement and the trace of a gesture, naturally completed in the reception act. That’s why the indecision between the scriptotial and the pictorial line, between the visible and legible, figuration and abstraction, proves fruitful, as ambivalence of forms is conductive to analysis in a productive and reciprocal determination through the interplay between full and blank figures, the figurative and the grounding, or content and form. The methodical study of this corpus and its evolution in his work aims at defining its theoretical implications in the light of the intermediality between the avant-guarde artists of the time with a view to assigning to both word and image the task of « making visible the invisible », Klee introduces a temporal dimension into the picture, in opposition to Lessing’s hierarchy between arts and their respective realms. Instead of asserting the prevalence of language, Klee supposedly tends to confirm Adorno’s insight according to which art works might be such stuff as they are writings
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Barbosa, Severino Antonio M. (Severino Antonio Moreira) 1951. „Utopia da palavra, utopia das linguagens : variações em torno do tema na arte moderna, em Paul Klee e na teoria poetica“. [s.n.], 1995. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251728.
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Orientador: Rubem de Azevedo AlvesTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Doutorado
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Kang, Young-Jou. „La problématique du signe dans les oeuvres de Paul Klee“. Paris 1, 1995. http://www.theses.fr/1995PA010556.
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Durant toute sa vie artistique, Paul Klee s'efforce d'une part d'intégrer les signes conventionnels dans le champ pictural, et, d'autre part, de transformer les éléments plastiques en formessignes. Ce procès d'intégration et de transformation suscite des problèmes pratiques et théoriques. Les objets de la nature sont élevés à la hauteur de la culture et, inversement, les signes de la culture sont immerges dans la nature, de sorte qu'ils forment ensemble un circuit interminable. L'exploitation de tous les niveaux et de tous les domaines du signe, ainsi que de leur circulation, lui permet d'obtenir une grande fécondité des expressions à la fois formelles et thématiques. La circulation des signes est également un moyen de l'auto-limitation face à la fausse liberté illimitée du langage pictural. Tout en respectant le plus rigoureusement possible toutes les limites du champ pictural et tous les appendices (titre, signature, date, etc. ), il les glisse jusqu'au point de leur non pertinence et de leur renversement. Ainsi, tout ce qui s'enracine dans l'art traditionnel est remis en cause : l'espace illusionniste, la hiérarchie des parties du champ, l'artiste comme père et créateur. Et Klee fait éclater un certain nombre de démarcations qui sont inscrites à l'intérieur même de l'art pictural et entre les artsPaul Klee did every effort to integrate the conventional signs into the pictorial field and transfom plastic elements into forms-signs throughout all his artistic life. These procedures of integration and transform cause the problems of theory and praxis. In his works, natural objects are raised up to the level of culture, and inversely, cultural signs, absorbed into nature, made up of as un endless circuit. Taking advantage of all signs in every domain and every level and having a careful looking into their possibility of circulation, Klee obtain a great fecundity in his formal and thematic expression. The circulation of signs is equally to be the method of self-limiting against the false infinite freedom of pictorial language. The boundary of pictures and all kinds of appendices (title, signature, date, etc. ) Are respected with a maximal rigorousness and further moved into the impertinence and inversion covertly. In this wxay his works accuse all concepts and elements rooted in the traditional art : illusive space, hierarchy of parts of a field, artists as a creator. Furthemore, Klee make vanished some boundaries inherent to the painting itself and the boundaries between arts
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Long-Tarasco, Véronique. „Mécènes des deux mondes : les collectionneurs-donateurs du musée du Louvre et de l'Art Institute Chicago, 1879-1940“. Paris 1, 2003. http://www.theses.fr/2003PA010585.
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En Europe et en Amérique, la plupart des musées des beaux-arts sont nés après 1850 de l'initiative de collectionneurs. Majoritairement des industriels, des banquiers et des négociants, ils considéraient la collection comme un symbole de culture, de prospérité, de richesse, de pouvoir pour eux-mêmes et pour leur nation. Ainsi, l' Art Institute de Chicago est fondé en 1879. La culture européenne était un modèle pour la nouvelle nation américaine, soucieuse de compter parmi les puissances culturelles. Le Louvre devint le musée idéal et l'incarnation de la haute culture en raison de sa visée éducative, patriotique et régénératrice héritée du moment révolutionnaire français. Fondé sur une prosopographie comparée et une étude des goûts, ce travail met en évidence les aspects sociaux, culturels, politiques et économiques de la collection, ainsi que les processus d'imitations et de transformations, de Paris à Chicago, qui contribuèrent à façonner le musée américain.
Bücher zum Thema "1879-1940"
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1879-1940, Klee Paul, Hrsg. Klee: 1879-1940. Firenze - Italia: Giunti, 2018.
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Klee, Paul. Paul Klee, 1879-1940. Saint-Etienne: Musée d'art Moderne, 1988.
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Partsch, Susanna. Paul Klee: 1879-1940. Ko ln: Benedikt Taschen, 1993.
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Klee, Paul. Paul Klee 1879-1940. London: Artemis Fine Arts, 1989.
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1879-1940, Klee Paul, Hrsg. Paul Klee (1879-1940). New York: Parkstone Press International, 2011.
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1879-1940, Klee Paul, Hrsg. Paul Klee, 1879-1940. Köln: Taschen, 2003.
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Partsch, Susanna. Paul Klee, 1879-1940. Köln: Benedikt Taschen, 1993.
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Partsch, Susanna. Paul Klee, 1879-1940. Köln: B. Taschen, 1990.
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Klee, Paul. Paul Klee 1879-1940. London: Artemis Fine Arts Limited, 1989.
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1879-1940, Klee Paul, Hrsg. Paul Klee 1879-1940. Köln: Benedikt Taschen, 1990.
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Day, Richard B. „Trotsky, Lev Davidovitch (1879–1940)“. In The New Palgrave Dictionary of Economics, 1–4. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_1849-1.
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Day, Richard B. „Trotsky, Lev Davidovitch (1879–1940)“. In The New Palgrave Dictionary of Economics, 1–4. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/978-1-349-95121-5_1849-2.
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Day, Richard B. „Trotsky, Lev Davidovitch (1879–1940)“. In The New Palgrave Dictionary of Economics, 13874–77. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_1849.
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della Santa, Roberto, und Raquel Varela. „Trotsky, Leon (Ukraine, 1879 – México, 1940)“. In Encyclopedia of the Philosophy of Law and Social Philosophy, 1–9. Dordrecht: Springer Netherlands, 2022. http://dx.doi.org/10.1007/978-94-007-6730-0_966-1.
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„Pearl, Raymond (1879–1940)“. In Eponyms and Names in Obstetrics and Gynaecology, 314. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108421706.255.
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Batou, Jean. „Trotski, Léon (1879-1940)“. In Histoire globale des socialismes, 1022–30. Presses Universitaires de France, 2021. http://dx.doi.org/10.3917/puf.keuch.2021.01.1022.
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Le Blanc, Paul. „Leon Trotsky (1879–1940)“. In Routledge Handbook of Marxism and Post-Marxism, 119–26. Routledge, 2020. http://dx.doi.org/10.4324/9781315149608-13.
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„Leon Trotsky (1879-1940)“. In Art of War in World History, 874–79. University of California Press, 1996. http://dx.doi.org/10.1525/9780520354883-094.
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Clark, Linda L. „Introduction“. In Women and the Politics of Education in Third Republic France, 1–7. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197632864.003.0001.
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Abstract In Third Republic France (1870–1940) the directrice of a normal school that trained women teachers was the most important woman representing public primary education in each department. Her work was central to the republican educational project, designed to bolster the democracy established after the Franco-Prussian War. The laicization of public education figured prominently in republic efforts to combat the old alliance of “throne and altar” favoring monarchy and religious instruction in public schools. An 1879 law mandated new normal schools to train lay teachers. This study of 313 normal school directrices (1879–1940), a group of professional women not previously studied, explores challenges they faced and their responses. Often targets of political hostility, they defended republican schooling as they interacted with local populations. Directrices were expected to be role models for women teachers and to convey women’s duties as wives and mothers. Yet their careers exemplified an alternative to domesticity at a time of much debate about women’s appropriate roles.
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„ANDRÉ BRETON (1896–1966) and LEON TROTSKY (1879–1940)“. In On Violence, 498–99. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822390169-062.
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Silva, Jaqueline Maria Trindade. „Fotoformas (1946-1951): quando o “marginal” torna-se arte!“ In Encontro da História da Arte. Universidade Estadual de Campinas, 2013. http://dx.doi.org/10.20396/eha.9.2013.4434.
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O presente artigo tem por objetivo apresentar o fotógrafo Geraldo de Barros (1923-1998) e suas fotografias Fotoformas (1946-1951), que inauguraram a fotografia no campo das artes no Brasil e a relação delas com as obras genericamente denominadas como “marginais” ou de excluídos do sistema cultural: de pacientes de hospitais psiquiátrico; a Art Brut de Jean Dubuffet (1901-1985), que introduziu o termo, em1945, para se referir a esse tipo de arte “marginal” ou selvagem e qualificá-la artisticamente; além de atribuí-lo aos artistas que produzem arte fora de qualquer estabelecimento oficial de arte; Paul Klee (1879-1940) que também baseou sua arte no primitivo e no infantil, daí a correlação com a arte dos psicóticos e que também foi uma orientação na obra de Barros.
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Dunaeva, Tamara. „Section of rare and valuable publications of the library named after M. V. Lomonosov, branch of the municipal library “B. P. Hasdeu”“. In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.12.
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The rare book section appeared in the library named after M.V. Lomonosov 8 years ago. This fund is small - only a couple of hundred books. However, its value is measured not by size, but by uniqueness. The basis of the fund is made up of editions of the XIX–XX centuries. In terms of its content, the fund is universal. Most of it is fiction. In addition, there is popular science literature of past centuries, dictionaries, encyclopedias, newspapers. The collection of rare books includes: the collection “Poems and Prose Articles” by Mikhail Vasilyevich Lomonosov, published in 1886 and donated in 1984 by the poet Ion Odobescu; A. Glazunov, 1895 edition; I. Turgenev –1898; M. Gorky – 1901; Emilian Bukov – 1938; V. Zhukovsky – 1902; N. Leskov – 1903; P. Tchaikovsky – 1908; I. Brahms – 1873; M. Yu. Lermonotov – 1940; H. Wells – 1909 “Otechestvennye zapiski” – 1840; “Bulletin of Europe” – 1879; “Course of Geography of NonEuropean Countries” – 1905; “Niva” – 1899; K. Marx’s “Capital” – published in 1950 and much more. Our books are not museum pieces. They form part of the actively used collection of the library. Any interested reader can get acquainted with the collection of rare books on the website of the library M. V. Lomonosov in the “Rare Books” section.
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Ceravolo, R. „Condition Assessment, Monitoring and Preservation of Some Iconic Concrete Structures of the 20th Century“. In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0054.
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<p>Great architects and structural engineers such as Berg (1870-1947), Maillart (1872-1940), Freyssinet (1879- 1962), Torroja (1899 -1961), Nervi (1891-1979), Candela (1910-1997), Isler (1926-2009) and many others have designed recognized works of art in their discipline. They conceived extraordinary concrete spatial structures, that are located mostly in Europe and represent a unique legacy. It is important to raise awareness of this heritage, define the criteria for preserving it and begin the process of its renovation and rehabilitation.</p> <p>While concrete has become a 20th century emblem, much of the world’s heritage from this period is unrecognized or undervalued, and therefore it is at risk and in need of analysis and protection. Innovative technologies and solutions are needed that contribute to the successful reuse of modern concrete built heritage. Indeed, such structures are plagued by significant deterioration and most of them are in urgent need of retrofitting and/or radical refurbishment. In other words, there is a need to bring some of these buildings back to life, while respecting the spirit of their original characters, through new technologies for long-term conservation that can maintain an adequate level of structural performance. Achieving this goal would produce substantial economic impacts through activities such as restoration, maintenance, and cultural industry.</p> <p>The keynote lecture, more specifically, focuses on the condition assessment, monitoring and preservation of 20th century architectural heritage characterized by a complex spatial structural design. The service life of civil and cultural heritage concrete spatial structures is typically thought to range from 10 to 200 years, but in practice the service environment plays a pivotal role in sustained durability. Indeed, the collapse of Polcevera Viaduct in Genoa has raised strong concerns on the durability of concrete structures conceived at that time. The scientific community has once again underlined the important role played by maintenance and continuous structural health monitoring in avoiding these disastrous events. In order to demonstrate a correct approach to condition monitoring of concrete spatial buildings and bridges, some important experiences are described that were recently obtained at the Polytechnic of Turin on the structural analysis, seismic vulnerability and condition assessment for iconic 20th century heritage buildings.</p>
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Vlada, Marin, und Adrian Adascalitei. „ROMANIAN EXPERIENCE IN COURSES DEVELOPMENT. SOCIETY DEVELOPMENT: VISION ON LEARNING - GRIGORE C. MOISIL, 110 YEARS AFTER BIRTH“. In eLSE 2016. Carol I National Defence University Publishing House, 2016. http://dx.doi.org/10.12753/2066-026x-16-264.
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Motto: "The only source of knowledge is experience. Learn from yesterday, live for today, hope for tomorrow. The important thing is not to stop questioning." Albert Einstein (1879 - 1955) "I am for new things, but, more, than the things that are new today , I appreciate the things that will be new starting tomorrow." Grigore C. Moisil (1906-1973) CONTENT 1. The need for computer and concepts 2. Development of sciences and evolution of university courses 3. Grigore Moisil, the father of Romanian Informatics 4. Grigore Moisil's vision on learning The need for computer was not the dream of a scientist or an inventor, was the medium (product) that are combined and used a variety of effective solutions offered by science and technology to solve practical problems that faced in the period 1940-1960 the powerful nations of the world: USA, USSR and UK. The main issues that were major and urgent even were military-defense and conquest of outer space, the last issue is still a major problem for defense. Factors that influenced the conception, design and development of computer systems are all factors scientific, technological, social, cultural, economic, political, military, etc. At the level of individuals in a society, it can be said that the destiny and their lives are influenced by the factors outlined above. Factors that influenced the conception, design and development of computer systems are all factors scientific, technological, social, cultural, economic, political, military, etc. Un example would be October 4, 1957, when the Soviet Union launched the Sputnik satellite in outer space ( 83.6 kg), Earth's first artificial satellite, when US leaders were concerned about a Soviet first strike could be a preemptive strike; It was when the US Department of Defense Military began several research projects; Consequently, on 31 January 1958 was launched Explorer 1 (14 kg), the first artificial satellite launched by the US, Soviet satellites being third after Sputnik 1 and 2 . At the level of individuals of a society, we can say that destiny and their lives are influenced by the factors mentioned above. No need to come up with arguments or examples, simple study of biographies of scientists, art, etc., who lived in different periods of history will be enlightening for anyone. About Grigore C. Moisil: He was a member of the Romanian Academy, of the Academy of Bologna, and of the International Institute of Philosophy. Moisil was a professor of mathematical logic and computer science at the University of Bucharest, and taught in various universities in Europe and America. His early contributions were in mathematics and later he devoted his scientific activity to mathematical logic and computer science. He pioneered the application of mathematical logic to computer science. In the 1950s, Prof. Moisil developed a new structural theory of finite automata and proposed what he called "the trivalent Lukaszewiczian algebra applied to the logic of switching circuits", an important contribution to the development of computer science in those early years. Some of his books were translated in several languages. At a time when cybernetics was thought of as "reactionary bourgeois science directed against working class" Prof. Moisil used his scientific authority to personally encourage the Romanian scientists to build the first computer, that appeared in 1957. (Excerpts from the biography produced by the IEEE Computer Society, who "is proud to recognize Grigore C. Moisil as a Computer Pioneer" in 1996)