Thematische Bibliographien / French and German Emblem books

Auswahl der wissenschaftlichen Literatur zum Thema „French and German Emblem books“

Autor: Grafiati
Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "French and German Emblem books"

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Bowen, Barbara C., Alison Adams, Stephen Rawles und Alison Saunders. „A Bibliography of French Emblem Books, Vol. 2, L-Z“. Sixteenth Century Journal 34, Nr. 4 (01.12.2003): 1181. http://dx.doi.org/10.2307/20061693.

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Britnell, Jennifer, Alison Adams, Stephen Rawles und Alison Saunders. „A Bibliography of French Emblem Books of the Sixteenth and Seventeenth Centuries“. Modern Language Review 97, Nr. 2 (April 2002): 423. http://dx.doi.org/10.2307/3736898.

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Silcox, Mary V., Alison Adams, Stephen Rawles und Alison Saunders. „A Bibliography of French Emblem Books of the Sixteenth and Seventeenth Centuries“. Sixteenth Century Journal 31, Nr. 3 (2000): 843. http://dx.doi.org/10.2307/2671113.

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Savage, Alan D. „:Webs of Allusion: French Protestant Emblem Books of the Sixteenth Century“. Sixteenth Century Journal 36, Nr. 1 (01.03.2005): 223–25. http://dx.doi.org/10.1086/scj20477295.

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Armstrong, A. „Review: A Bibliography of French Emblem Books of the Sixteenth and Seventeenth Centuries, vol. II“. French Studies 57, Nr. 4 (01.10.2003): 529. http://dx.doi.org/10.1093/fs/57.4.529.

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Pickford, Sophia. „Webs of Allusion: French Protestant Emblem Books of the Sixteenth Century by Alison Adams (review)“. Modern Language Review 100, Nr. 3 (Juli 2005): 811. http://dx.doi.org/10.1353/mlr.2005.a826996.

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Carrol, Alison. „Wine Making and the Politics of Identity in Alsace, 1918–1939“. Contemporary European History 29, Nr. 4 (November 2020): 380–93. http://dx.doi.org/10.1017/s0960777320000375.

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This article examines the politics of wine making in Alsace in the two decades after the region returned to French rule in 1918. During these years Alsatian wine makers worked to transform their wines to meet the tastes of French drinkers, following five decades of producing wine for German consumption. As wine makers grappled with the question of how to secure the future of their industry, Alsatian wine became emblematic of the most contentious aspects of Alsace's reintegration into France. The introduction of new laws on viticulture raised the question of what was French about wine, the wine industry's woes symbolised the difficulties of Alsace's economic reintegration and wine became an emblem for often fierce wrangling over identity and belonging in the recovered region. This article traces this process and argues that while wine became a symbol of the complications of reintegration, its importance in understandings of French national culture equally allowed it to offer a solution to the problems that return to France caused for Alsace's wine industry in the interwar years. In this way, this case study of the politics of wine making in Alsace is suggestive of wine's broader power as a symbol of national belonging.
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Yoon, Hyewon. „Practice in Color: Gisèle Freund in Paris“. October 173 (September 2020): 7–36. http://dx.doi.org/10.1162/octo_a_00402.

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This essay examines the work of German-French photographer Gisèle Freund during the interwar years, with special focus on her volte-face from black-and-white depictions of the collective subject of political demonstrations in pre-exile Frankfurt to color portraits of individual French intellectuals after her arrival in Paris. Pivoting around the short period between 1938 and 1940, when using color became the standard rhetorical maneuver of Freund's portrait series, this essay will trace the photographer's change in practice as a response to the mounting crisis within France's Popular Front and its aesthetic strategies in the face of the rise of fascism. One of the essay's claims is that Freund turned color photography from a material and commercial commodity into the emblem of an alternative, mass-mediated culture—the culture of Americanism—that she, like many European intellectuals of the 1920s, imagined capable of competing with and ultimately countering the fascist mobilization of spectacle.
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Valke, Simona Sofija. „Revolūcijas literatūra Liepājas pilsētas lasāmbibliotēkā (1790–1796)“. Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums 27 (10.03.2022): 216–40. http://dx.doi.org/10.37384/aplkp.2022.27.216.

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The Liepāja City Reading Library, founded in 1777, includes books primarily in German, but there are also publications in French and Latin. The founder of the library, Johann Andreas Grundt (1732–1802), pastor of the Latvian congregation of the Anna Church, gathered 50 readers during the first two weeks of the library’s existence. Over the years, books on the natural sciences, geography, history, medicine, law, art, travelogues, fiction, encyclopaedias, periodicals etc. have been stored on the library shelves. The reason for the library’s closure in 1799 was because of censorship; officials of the Russian Empire determined that the library contained banned books, including those related to the events of the French Revolution. The article identifies and studies works translated from French into German and created by German authors under the influence of the revolution and German periodicals from published library catalogues. Qualitative desk research methods and digital tools are used in the collection and analysis of the material. The objective of the research is to find what ideologically incorrect literature related to the French Revolution was represented in the Liepāja library at the end of the 18th century. The operational term of revolutionary literature is used to refer to the range of literature analysed in this study, which includes periodicals, almanacs, pamphlets, letters, speeches, and theatrical dialogues. The study concludes that it was possible for the readers of the Liepāja library to obtain detailed information on the events of the French Revolution and the political changes, as the proposed literature provides different views on the revolutionary events. The works of French authors express a pro-revolutionary opinion. The point of view of the German authors is more distant and differentiated – from the positions of the constitutional monarchy to the open and hostile condemnation of the revolution.
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Salivon, Elisha. „What Does Jewish Praying Book from the World War Tell: after the Publication by Rabbi Dr. Sali Levy“. Tirosh. Jewish, Slavic & Oriental Studies 18 (2018): 110–23. http://dx.doi.org/10.31168/2658-3380.2018.18.3.2.

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This paper presents an article by Rabbi Dr. S. Levi published in 1921 in Monatsschrift für Geschichte und Wissenschaft des Judentums about French Jewish army rabbis and Jewish praying books from World War One distributed among Jewish soldiers in French Army. Levi served himself as an Army Rabbi in German army. He used his own experience to highlight the most interesting and significant features of French approach toward Jewish military service in time of war. This article of Rabbi Levi serves as an example of continuation of the pre-war GermanJewish self-identification as both culturally German and religiously Jewish. However, it also presented an interesting depiction of the technical details about French Army praying book. In contrast to German Jewry, their French counterparts published praying book under the auspices of the Chief Rabbi of France and distributed in with the help of his office. Levi pointed out that these praying books reflect in their content the original war time religiosity, which was still important to reconstruct and to reflect about in the after war epoch. The Great Rabbi of France gave his sanctions for the publishing the Prayer for the War Time and Prayer for France, both prayers bore his name and originated in the years 1914-1915. Dr. Levi justly saw in the figure of the Great Rabbi a central authority for the Jews in the French uniform. The French praying book was designated not only for the French Jews of European origin who mostly had had Alsace and Lorraine roots, but also for the Sephardic Jews from the French colonies in North Africa (Morocco and Algiers). Because of this fact, this praying book was different in its content from both German Jewish praying books. It provided two versions of the Hebrew texts in accordance to Ashkenazi and Sephardic rites. Both versions, the Ashkenazi (and the German one as Dr. Levi called it) and the Sephardic were printed together. Dr. Levi thought that it was necessary to highlight the differences between these two Jewish rites. He found that there elements in general were of great importance whereas his Ashkenazi German readers would find it confusing to differentiate between ritual nuances with their Sephardic co-religionists, namely in the conducting the death-, burial- and mourning praying ceremonies. In accordance to the articles published in the Monatsschrift Jewish experiences during the First World War were positively evaluated by their German co-religionists.
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Dissertationen zum Thema "French and German Emblem books"

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Young, Miriam. „The influence of early modern emblem books and related forms upon eighteenth-century French literature“. Thesis, University of Glasgow, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274115.

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Mahaney, Cynthia Lynn. „Diction for singers a comprehensive assessment of books and sources /“. Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148931700.

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Bücher zum Thema "French and German Emblem books"

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Russell, Daniel S. Emblematic structures in Renaissance French culture. Toronto: University of Toronto Press, 1995.

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Emblematic structures in Renaissance French culture. Toronto: University of Toronto Press, 1995.

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Russell, Daniel. Emblematic structures in Renaissance French culture. Toronto: University of Toronto Press, 1995.

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Adams, Alison. A bibliography of French emblem books of the sixteenth and seventeenth centuries. Genève: Libraries Droz, 1999.

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Adams, Alison. A bibliography of French emblem books of the sixteenth and seventeenth centuries. Genève: Libraries Droz, 1999.

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Terrier, Jean. Portraicts des S S vertus de la Vierge: Contemplées par feue S.A.S.M. Isabelle Clere Eugenie infante d'Espagne. Glasgow: University of Glasgow, Dept. of French, 2002.

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Kolloquialität der Literatur: Kleine Schriften. Stuttgart: S. Hirzel Verlag, 2006.

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Saunders, Alison. The Sixteenth-century French emblem book decorative and useful genre. Genève: Droz, 1988.

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Adams, Alison. Webs of allusion: French Protestant emblem books of the sixteenth century. Genève: Droz, 2003.

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Webs of allusion: French Protestant emblem books of the sixteenth century. Genève: Droz, 2003.

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Buchteile zum Thema "French and German Emblem books"

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Appel, Charlotte. „Chapter 11. Translating, transforming, and targeting books for children“. In Children’s Literature, Culture, and Cognition, 250–72. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.15.11app.

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This chapter investigates the work of Morten Hallager (1740–1803), one of the most productive figures in the emerging market for children’s books in Denmark. With strong language skills in German and French, know-how as a former printer, and a career as a schoolmaster, he had important qualifications and experiences for transmitting books and transforming them for a Danish audience. Based on analyses of 38 publications for children by Hallager, mostly from the 1790s, the chapter demonstrates the importance of analysing different variables and dimensions, when mapping translation practices, not least the number of source texts and the degree of “localization”. Being shaped by, and taking advantage of, specific developments in Denmark, Hallager needs also to be seen as one of many European transnational agents dealing with children’s books during the late Enlightenment.
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Gehmacher, Johanna. „Féminisme: Translations, Transfers, and Transformations“. In Translation History, 153–86. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-42763-3_6.

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AbstractThis chapter examines Käthe Schirmacher’s most successful book, Die moderne Frauenbewegung (1905, 2nd edition 1909), and compares it with its less comprehensive precursor, Le féminisme aux États-Unis, en France, dans la Grande-Bretagne, en Suède, et en Russie (1898), and the German book’s English translation The Modern Woman’s Rights Movement. A Historical Survey (1912). Drawing on a conceptual history approach, it analyses strategies of transfer, self-translation, and translation between these books; the chapter also discusses the transfers and transformations of the French key term ‘féminisme’ in a broader context and traces the translations of the term in German and English and of the German term ‘Frauenbewegung’ in English and French. In so doing it complicates the history of the term ‘feminism’ and argues that it changed its meaning more than once between languages and over time before becoming a clearly defined and established concept.
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Erb, Peter C. „Emblems in Some German Protestant Books of Meditation: Implications for the Index Emblematicus“. In The European Emblem, 121–36. Wilfrid Laurier Press, 2006. http://dx.doi.org/10.51644/9780889208445-012.

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„“Natural” or “Unnatural”? Representation of the Animal World in Early French Emblem Books“. In Emblems and the Natural World, 41–90. BRILL, 2017. http://dx.doi.org/10.1163/9789004347076_003.

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Price, David H. „Holbein and the Art of the Heterogeneous Bible“. In In the Beginning Was the Image, 261–318. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190074401.003.0006.

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The new diversity of Bible versions and ensuing sociopolitical upheavals presented challenges with which publishers and artists, such as Hans Holbein, had to contend. Initially receiving commissions from printers in Basel (Johannes Froben, etc.), Holbein designed art for numerous German Bibles, a French humanist translation, the first complete Bible in English (Coverdale Bible, 1535), and a host of Catholic-oriented Bible texts, including the Vulgate and Erasmus’s Bible editions. He also created the first emblem Bible, the Icons of the Old Testament, one of the most influential Bibles of the Renaissance. Holbein focused on the Bible as image and history, not as text or theology, an approach that enabled him to accommodate the heterogeneity of humanist and Reformation Bibles. With few exceptions, Holbein’s designs could be reused in Bibles with different theological agendas, an artistic efficiency that contributed to the stability of the Bible image across a wide humanist and multi-confessional spectrum.
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Enenkel, Karl A. E. „Customization of a Latin Emblem Book by a Vernacular Owner: Unknown German Poems to a Copy of Vaenius’s Emblemata Horatiana (first edition, 1607)“. In Customised Books in Early Modern Europe and the Americas, 1400–1700, 325–71. BRILL, 2023. http://dx.doi.org/10.1163/9789004680562_012.

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„Catalog Of German, English And French Books And Periodicals Published In The Netherlands Between 1933 And 1945“. In International Publishing in the Netherlands, 1933-1945, 163–98. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004187771.i-222.18.

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„WILLIAMS AND NORGATE'S LIST OF FRENCH, GERMAN, ITALIAN, SATIN AND GREEK, AND OTHER SCHOOL BOOKS AND MAPS“. In Syriac Grammar, herausgegeben von R. S. Kennedy, 269–77. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463226305-013.

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Shiner, Larry. „Prelude“. In Art Scents, 261–64. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190089818.003.0028.

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Hans Rindisbacher’s The Smell of Books examines a broad swath of continental European literature from the mid-nineteenth century to the 1980s, arguing that the treatment of smell in French, German, and Russian novels during this period parallels the deodorization of Western societies and the reduction of perfume to a purely aesthetic accessory—a history we discussed in ...
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Davison, Claire. „Impressions of Translation: Ford Madox Ford’s Cosmopolitan Literary Crossings“. In Cross-Channel Modernisms, herausgegeben von Derek Ryan und Jane A. Goldman, 50–68. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474441872.003.0004.

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The Channel crossings in Ford’s family history are complex. During the war, he wrote propaganda books triangulating English, French and German culture. After returning from the Western Front, he emigrated to France. His formative collaboration with Joseph Conrad instilled an ideal of the conscious artistry of French fiction (exemplified by Stendhal, Flaubert, and Maupassant). Ford was delighted when The Good Soldier was described as ‘the finest French novel in the English language’. His own work bears out his injunction to translate English sentences into French and then back into English as a means of clarifying and purifying them. However, Anglo-French crossings are only part of Ford’s story. The trans-Manche for him was always overlaid with the transatlantic. This is evident in the magazines he edited: the English Review, which published Tolstoy, James, and President Taft; and the transatlantic review, which was published in New York as well as London and Paris, and which increasingly gave space to the American expatriates in Paris. Ford’s cultural internationalism – his belief in a ‘Republic of Letters’ – foreshadows recent discussions of 'world literature' – nowhere more so than in his last and immense comparative study The March of Literature (1938).
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Konferenzberichte zum Thema "French and German Emblem books"

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Şəmsi qızı Məmmədova, Xumar. „Nakhchivan literary atmosphere and literary translation“. In OF THE V INTERNATIONAL SCIENTIFIC RESEARCH CONFERENCE. https://aem.az/, 2021. http://dx.doi.org/10.36719/2663-4619/2021/02/03.

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The presented article discusses the issues of Nakhchivan literary environment and literary translation. It is noted that translation is a creation in itself, and the activities of representatives of the Nakhchivan literary environment in this area are exemplary. In general, during the independence period, some experience was gained in the literary environment of Nakhchivan, translations from German, English and French by our poets and writers Hamid Arzulu, Shirmammad Gulubeyli, Shamil Zaman who is famous as poet, prose-writer and translator were delivered to readers in the form of books and works were published in the press. The examples presented in the article once again prove the perfection of the writers' translation activities, their translations from German, English and French provide the Azerbaijani reader with full information about the society, people and their life of these peoples. Key words: Nakhchivan, literary atmosphere, literary translation, prose, poetry
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Staiger, Jeff D. „The Forest, The Trees, The Bark, The Pith: An Intensive Look at the Circulation Rates of Primary Texts in Ten Major Literature Areas at the University of Oregon Libraries“. In Charleston Library Conference. Purdue Univeristy, 2020. http://dx.doi.org/10.5703/1288284317145.

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This poster looks at the circulation rate for literary primary texts, which constitute a unique area of collecting in academic libraries: while they do not in most cases meet immediate research needs, it is assumed that libraries ought to acquire them, for reasons including future research needs, preservation of the cultural record, and the ability of members of the intellectual community to stay current, those these remain primarily tacit. The circulation trends of contemporary literary works in ten areas of literature (English, American, German, French, Italian, Spanish, Latin American, Chinese, Japanese, and Russian) over the past twenty years at the University of Oregon Knight Library are presented and the circulation turnover rate (CTR), for each of these subject areas are presented. Sample graphs allow for the comparison of circulation rates and numbers of books across time, and serve as examples of the utility of such visualizations of the numbers. The key question raised by the study is what makes a good CTR for a particular region of the collection? The poster concludes by summarizing the considerations that bear on the interpretation of the CTR as an index of how the collection is “working.”
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Fortin, Moira. „Practice as Research a collective form of activism from a South American perspective“. In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.202.

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As a Chilean living in Aotearoa/ New Zealand I am constantly looking to Latin and South America. Living in the diaspora has allowed me to examine and reflect upon the different socio-political issues arising in the region from afar and with perspective. As an actress and researcher, I am on an ongoing exploration considering how to share research projects from a creative activist standpoint, moving beyond traditional academic research publications into forms that are situated and accessed in the exchanges of everyday relationships and resistance. Written academic outputs are primarily intended for reading, although some contain images or photographs that complement and / or enrich the verbal content. These outputs tend to reach a small portion of the population, the highly educated elite with economic means to access books and participate in conferences or symposiums. Practice as research emerges from a rigorous process of research, critical analysis, and embodied distillation of academic texts. Practice as research relates to my aim to share research not only with wider audiences reaching communities with different cultural and linguistic backgrounds. It also relates to my intention to create work that could resonate outwards, across borders and boundaries, transferring content from one format to another, from the academic world to a medium of expression such as theatre, illustration, dance and/or digital. The concept of transposition emphasizes the creative process that operates in the transition from one medium to another, it “designates the idea of ​​transference, but also that of transplantation, of putting something in another place, of removing certain models, but thinking of another register or system” (Wolf, 2001, p. 16). The transposition process creates a new object, precisely from other languages, cultural contexts, and disciplinary formats (Wolf, 2001). The idea of ​​transmedia transformation certainly applies to my way of finding spaces to share research. Working across languages, Spanish, English, German and French has enabled me to work collectively and in collaboration with other artists, researchers, and activists. These collective actions have been produced through different media and artistic languages where each of us bring our specific artistic experiences, aesthetic incarnations, and gender experiences to inform our research practices.
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