Thematische Bibliographien / Symbolisme de la rose

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Auswahl der wissenschaftlichen Literatur zum Thema „Symbolisme de la rose“

Autor: Grafiati
Veröffentlicht am 25. Mai 2024

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Zeitschriftenartikel zum Thema "Symbolisme de la rose"

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Immel, Irmgard S., und Beatrice Susanne Bullock-Kimball. „The European Heritage of Rose Symbolism and Rose Metaphors in View of Rilke's Epitaph Rose“. German Studies Review 12, Nr. 1 (Februar 1989): 192. http://dx.doi.org/10.2307/1430327.

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2

Kadurina, A. O. „SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS“. Problems of theory and history of architecture of Ukraine, Nr. 20 (12.05.2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.

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Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbols of the plant world (in particular roses) with the identification of a number of features and patterns.Objectives.The purpose of the article is to study the symbolism of rosesin landscape gardening art of different eras.Methods.The historical method helps to trace the stages of the transformation of the symbolism of roses in different historical periods. The inductive method allows you to move from the analysis of the symbolism of roses in each era to generalization, the identification of patterns, the connection of the cultural life of society with the participation of roses in it. Graph-analytical method reveals the features of creating various types of gardens with roses, taking into account trends in styles and time.Results.In the gardens of Ancient Greece, the theme of refined aesthetics, reflections on life and death dominated. It is no accident that in ancient times it was an attribute of the goddesses of love. In antiquity, she was a favorite flower of the goddess of beauty and love of Aphrodite (Venus). In connection with the legend of the goddess, there was a custom to draw or hang a white rose in the meeting rooms, as a reminder of the non-disclosure of the said information. It was also believed that roses weaken the effect of wine and therefore garlands of roses decorated feasts, festivities in honor of the god of winemaking Dionysus (Bacchus). The rose was called the gift of the gods. Wreaths of roses were decorated: statues of the gods during religious ceremonies, the bride during weddings. The custom of decorating the floor with rose petals, twisting columns of curly roses in the halls came to the ancient palace life from Ancient Egypt, from Queen Cleopatra, highlighted this flower more than others. In ancient Rome, rose gardens turned into huge plantations. Flowers from them were intended to decorate palace halls during feasts. In Rome, a religious theme was overshadowed by luxurious imperial greatness. It is interesting that in Rome, which constantly spreads its borders, a rose from a "female" flower turned into a "male" one. The soldiers, setting out on a campaign, put on pink wreaths instead of helmets, symbolizing morality and courage, and returning with victory, knocked out the image of a rose on shields. From roses weaved wreaths and garlands, received rose oil, incense and medicine. The banquet emperors needed so many roses, which were also delivered by ships from Egypt. Ironically, it is generally accepted that Nero's passion for roses contributed to the decline of Rome. After the fall of the Roman Empire, rose plantations were abandoned because Christianity first associated this flower with the licentiousness of Roman customs. In the Early Middle Ages, the main theme is the Christian religion and roses are located mainly in the monastery gardens, symbolizing divine love and mercy. Despite the huge number of civil wars, when the crops and gardens of neighbors were violently destroyed, the only place of peace and harmony remained the monastery gardens. They grew medicinal plants and flowers for religious ceremonies. During this period, the rose becomes an attribute of the Virgin Mary, Jesus Christ and various saints, symbolizing the church as a whole. More deeply, the symbolism of the rose was revealed in Catholic life, when the rosary and a special prayer behind them were called the "rose garden". Now the rose has become the personification of mercy, forgiveness, martyrdom and divine love. In the late Middle Ages, in the era of chivalry, roses became part of the "cult of the beautiful lady." Rose becomes a symbol of love of a nobleman to the wife of his heart. Courtesy was of a socially symbolic nature, described in the novel of the Rose. The lady, like a rose, symbolized mystery, magnificent beauty and temptation. Thus, in the Late Middle Ages, the secular principle manifests itself on a par with the religious vision of the world. And in the Renaissance, the religious and secular component are in balance. The theme of secular pleasures and entertainments was transferred further to the Renaissance gardens. In secular gardens at palaces, villas and castles, it symbolized love, beauty, grace and perfection. In this case, various secret societies appear that choose a rose as an emblem, as a symbol of eternity and mystery. And if the cross in the emblem of the Rosicrucians symbolized Christianity, then the rose symbolized a mystical secret hidden from prying eyes. In modern times, secular life comes to the fore, and with it new ways of communication, for example, in the language of flowers, in particular roses. In the XVII–XVIII centuries. gardening art is becoming secular; sesame, the language of flowers, comes from Europe to the East. White rose symbolized a sigh, pink –an oath of love, tea –a courtship, and bright red –admiration for beauty and passionate love [2]. In aristocratic circles, the creation of lush rose gardens is in fashion. Roses are actively planted in urban and suburban gardens. In modern times, rose gardens carry the idea of aesthetic relaxation and enjoyment. Many new varieties were obtained in the 19th century, during the period of numerous botanical breeding experiments. At this time, gardening ceased to be the property of the elite of society and became publicly available. In the XX–XXI centuries. rosaries, as before, are popular. Many of them are located on the territory of ancient villas, palaces and other structures, continuing the tradition.
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Rychkov, A. L. „Alexander Blok between Vl. Solovyev and E.V. Anichkov: A. Blok’s drama “The Rose and the Cross” and the legacy of Western esotericism“. Solov’evskie issledovaniya, Nr. 1 (31.03.2021): 95–111. http://dx.doi.org/10.17588/2076-9210.2021.1.095-111.

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In the third article of the series publications on the topic “A. Blok and Vl. Solovyov”, the author considers the representation of the heritage of Western esoterism in Blok’s drama “The Rose and the Cross” on the example of the poet's appeal to the themes of Joachimism and Catharism, including the neo-mythological connection of the Cathars with the legend of the Holy Grail. The author analyzes the influence of V.V. Solovyov's historiosophy and E.V. Anichkov's aesthetics on the symbolism of the drama from the perspective of rethinking these themes. It is shown that the drama of Blok is deeply intertwined with the neo-mythological concepts of the "French school" of Western esotericism, which were widely discussed in the circle of Russian symbolists, for example, in connection with the work of Sar Peladan. The conclusion is made about the influence on the symbolism of the drama of the works of V. Solovyov and the beliefs of E. V. Anichkov associated with medieval mysticism. An extensive bibliography is provided.
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Wadley, Lyn. „What is Cultural Modernity? A General View and a South African Perspective from Rose Cottage Cave“. Cambridge Archaeological Journal 11, Nr. 2 (Oktober 2001): 201–21. http://dx.doi.org/10.1017/s0959774301000117.

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Storage of symbolic information outside the human brain is accepted here as the first undisputed evidence for cultural modernity. In the hunter-gatherer context of the Stone Age this storage could include artwork, rapidly changing artefact styles and organized spatial layout of campsites. Modern human behaviour in this context is distinguished by a symbolic use of space and material culture to define social relationships, including significant groupings based on attributes such as kinship, gender, age or skill. Symbolism maintains, negotiates, legitimizes and transmits such relationships. It is argued here that artefacts are not inherently imbued with symbolism and that modern human culture cannot be automatically inferred from inventories of archaeologically recovered material culture. Evidence for the out-of-brain storage of symbolism in southern African sites first appears in the final phase of the Middle Stone Age at about 40,000 years ago.
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Oboladze, Tatia. „Wine, Opium, and Hashish in Georgian and European Symbolism“. Ars & Humanitas 16, Nr. 1 (22.12.2022): 219–30. http://dx.doi.org/10.4312/ars.16.1.219-230.

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The subject of the article “Wine, Opium, Hashish in Georgian and European Symbolism” is the identification of the cultural links between Georgian and European (primarily French and, German) symbolism. Our goal is to determine the role and place of Georgian symbolism in the world literature context and study the cultural-aesthetic ties that have influenced the art of the Georgian symbolist group, the process of forming their aesthetic taste and worldview. In this article, we focus on the genesis of the symbolist theory of the myth, its specific nature and the motivation for the creation of a new mythology. In addition, we consider the theme of wine, opium and hashish in Georgian and European cultural areas, and analyse the conceptual sense and function of this new mythology.
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Dumas, Véronique. „Le peintre symboliste Alphonse Osbert et les Salons de la Rose+Croix“. Revue de l'art N° 140, Nr. 2 (01.02.2003): 41–60. http://dx.doi.org/10.3917/rda.140.0041.

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Bychkov, Victor. „Metaphysics of a landscape in symbolism“. Культура и искусство, Nr. 4 (April 2020): 53–70. http://dx.doi.org/10.7256/2454-0625.2020.4.31966.

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This research is dedicated to examination of a specific role of landscape in symbolism. Based on comprehensive analysis of the works of symbolists and artists of their circle – Segantini, Böcklin, Gauguin, Nesterov, Čiurlionis, the author attempts to determine the characteristic features of using the images of nature in the overall system of pictorial artistic-aesthetic expression. Special attention is paid to the problem of inscription of human figures into landscape, as in doing so many symbolists and artists of their circle were bringing the landscape to life, forming a special creative space. Landscape of symbolists is viewed as a peculiar animated space that carries a mediating role between the visually palpable images and indescribable pleroma of metaphysical being. Such approach to symbolism is considered innovative. In the course of this research, it is demonstrated that special artistic space as a carrier of symbolic meanings or a spirit of symbolism in painting emerges in each painters a set of artistic means of expression characteristic only to their works. At the same time, some symbolists view the unreachable in external forms of visible nature by focusing attention of the opposition of earth and sky, life and death, human and divine beginning, reality and its mythological grounds. Some symbolists create the world of practically abstract and musically accented color forms and graphic solutions. While others paint landscape imbued with tranquility, tenderness and picturesque hymns of the Creator. In general, symbolic landscape leans towards a fairly vivid philosophical aspect.
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Ridzuan, Irina. „Discovering Dèduit: An examination of the garden setting in the Roman de la Rose“. Arbutus Review 7, Nr. 1 (08.08.2016): 38. http://dx.doi.org/10.18357/tar71201615686.

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<p class="p1">Roman de la Rose is a French poem which chronicles the journey of a young man within a secluded garden setting (the Garden of Dèduit). The poem was initially written by Guillaume de Lorris in c.1230 and later completed by Jean de Meun in c.1270. However, the authors’ differing literary styles have resulted in debates surrounding the poem’s meaning. In this study, I address the central interpretative problem by focusing on the illustrated garden setting of Dèduit and its relation to the literary content. Ultimately, I attempt to answer the following questions: How did the medieval audience perceive the garden symbolism? Did the images make a difference in the medieval reader’s understanding of the garden? What are the possible ways in which the medieval reader could interpret this garden symbolism?</p><div> </div><p class="p1"><strong> </strong></p>
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Borozan, Igor. „Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini“. Ars Adriatica 9 (28.02.2020): 133–50. http://dx.doi.org/10.15291/ars.2928.

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The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital. In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner, which speaks both of the artist’s personality and of the eclectic turn of the century. Symbolism in Marinković’s work reflects his training in Munich, which in the late 19th and early 20th centuries was the European centre of somnambular themes and artistic experiments. In this paper, his oeuvre has been considered in the context of general symbolist structures, with particular references to the Munich symbolism. Some reviews of Marinković’s symbolist paintings have been pointed out, which testify to the history of the reception of his work in the Kingdom of Serbia in the early 20th century. The positive reception of Marinković’s paintings in the Serbian setting is evident from the fact that as many as thirty-five of his works have been included in the holdings of the National Museum in Belgrade.
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Harasztos, Ágnes. „The Image of the East-Central European in Rose Tremain’s The Road Home“. Acta Universitatis Sapientiae, Philologica 7, Nr. 1 (01.12.2015): 83–94. http://dx.doi.org/10.1515/ausp-2015-0038.

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Abstract In Rose Tremain’s The Road Home, the culture clash of the British and the East-Central European is portrayed through a complex symbolism centred on images of food, consumption and waste. This literary representation may shed light on British literary auto-images, as well as hetero-images of the Eastern European immigrant. The novel’s presentation of this culture shock is defined by the cultural historical and economic circumstances of the parties. Food and material provide the symbolic sphere where the relationship between Britain and East-Central Europe is characterized in terms of capitalist worldview as opposed to a post-communist existence. William Shakespeare’s Hamlet is the most important intertext for Tremain’s novel. Hamlet is obsessed with the vulnerability of material in light of the spiritual value attached to it in the form of human soul. Stephen Greenblatt’s ideas on food, waste and the Christian belief in divine existence residing in material objects - ideas that originate in early modern times - shed light on the motif of material and food in The Road Home. Seen through the symbolism of food and the idea of differing values being attached to matter, the narrative identity of Lev, the protagonist of Tremain’s work, experiences drastic change due to his encounter with the capitalist, British ‘other’.
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Dissertationen zum Thema "Symbolisme de la rose"

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Dicaire, Francine. „Symbolisme et senefiance dans le Roman de la Rose de G. de Lorris“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0007/MQ43852.pdf.

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Delille, Damien. „Le troisième genre : androgynie et trouble de la masculinité dans les arts visuels en France au passage du XXe siècle“. Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010584.

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Cette thèse entend analyser la figure de l’androgyne du mouvement symboliste à l’avant-garde abstraite. La relecture de la modernité au passage du XXe siècle en France permet de comprendre de quelle manière le symbolisme a exploré le trouble de la sexualité dans un contexte sociopolitique de crise de la masculinité. L’étude visuelle et anthropologique des normes sexuelles révèle une angoisse de l’entre-deux androgyne, associée aux théories psychopathologiques de l’homosexualité. Cette thèse démontre de quelle manière l’androgynie correspond à ce que nous intitulons « le troisième genre » artistique, défini par le rejet des assignations de genre et par de nouveaux modèles de représentation et d’intersubjectivité, issus de l’immersion du féminin dans le masculin. Dans la première partie, l’étude des sources néo-classiques et spirituelles de l’androgyne révèle la recherche d’un idéal politique et artistique permettant la régénération de l’unité des sexes. La deuxième partie envisage la résurgence de cet idéal dans les pratiques symbolistes fin-de-siècle, à travers différents modèles androgynes comme la figure de l’ange, celles d’Orphée et du troisième sexe primitif. Face au trouble des identités sexuelles, la réception de l’idéalisme est analysée à partir de la rhétorique de la dégénérescence associant androgynie, efféminement du masculin et homosexualité. La quatrième partie examine la poursuite de l’idéal androgyne dans les sources de l’abstraction. Le troisième genre abstrait alimente l’utopie avant-gardiste d’un art qui s’auto-génère, dépourvu de caractère sexué et créé par un artiste moderne, célibataire et androgyne
This thesis aims to analyze the figure of androgyny from the movements of Symbolism to the abstract avant-garde. This reinterpretation of modernity at the turn of the 20th century in France allows an understanding of how Symbolism explored the trouble of sexuality within a social and political context entrenched by the crisis of masculinity. The visual and anthropological study of sexual norms reveals a fear of the androgynous in-between associated with psychopathological theories of homosexuality. This thesis demonstrates how androgyny is tied to what I call the artistic “third gender,” defined by the refusal of gender assignation and new models of representation and intersubjectivity, following the feminine immersion within the masculine. In the first part, the study of the Neoclassical and spiritual sources of androgyny demonstrates the search for the political and artistic ideal, allowing for the regeneration of the unity of sex. The second part reveals the resurgence of this ideal in the fin-de-siècle Symbolist's practices through different androgynous models such as the figure of the angel, the ones of Orpheus and the primitive third sex. Toward the trouble of sexual identities, the reception of idealism is analyzed through the rhetoric of degeneration associating androgyny, masculine effeminacy and homosexuality. The last part examines the pursuit of the androgynous ideal in the sources of abstraction. The abstract third sex nourishes the avant-gardist utopia of an art that is self-perpetuating, devoid of sexual characteristic and led by a modern artist, single and androgynous
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Latino, Piero. „La Rose initiatique. Des Fidèles d'Amour à la littérature européenne des XIXe et XXe siècles“. Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL150.

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La présente thèse porte sur les relations entre littérature et courants ésotériques, à travers l’étude du symbole de la rose dans la littérature européenne, plus particulièrement dans les littératures française et anglaise des XIXe et XXe siècles. Il s’agit d’une recherche caractérisée par une approche transversale et interdisciplinaire, qui fait dialoguer différents domaines d’étude, le littéraire et l’historique, ainsi que plusieurs littératures et auteurs appartenant à différentes époques. La dimension initiatique de la rose, couplée avec le topos de l’amour, est au fondement de notre travail de recherche, dont le point de départ est un ouvrage oublié du XIXe siècle : Il Mistero dell’Amor Platonico nel Medioevo de Gabriele Rossetti, père du peintre et poète préraphaélite Dante Gabriele Rossetti. Dans cet ouvrage, Gabriele Rossetti montrait pour la première fois la dimension ésotérique de l’œuvre de Dante et des Fidèles d’Amour, à savoir les poètes d’amour italiens du Moyen Âge, qui véhiculaient, à travers leurs compositions poétiques, des idées mystiques et initiatiques, ainsi que religieuses et politiques. Selon Rossetti le courant critique qu’il inaugura, cette doctrine de l’amour ésotérique était également présente chez les poètes d’amour des différents pays européens, tels que les troubadours et les trouvères français, les poètes d’amour anglais, les minnesingers allemands ou les scaldes scandinaves, et elle se transmettra au cours des siècles, jusqu’au XIXe siècle. Ce dernier aspect est au centre de notre recherche : la transmission de cette présumée connaissance ésotérique, sous forme d’amour, dans l’âge moderne. Dans son Mistero dell’Amor Platonico, Gabriele Rossetti souligne que le symbole le plus important pour comprendre la doctrine ésotérique de l’amour est la rose, et notre travail est centré sur le symbolisme de la rose. L’étude de la dimension initiatique de la rose dans la littérature comporte deux discours rattachés au concept d’initiation : un discours relatif au mysticisme et un discours sur les Ordres initiatiques. Dans le premier cas, l’initiation est liée à une dimension mystique impliquant une transformation ontologique de l’être ; dans le second cas, le symbolisme de la rose se réfère aux Ordres ésotériques et initiatiques qui, d’une manière plus ou moins directe, ont joué un rôle dans l’histoire des idées. Ces deux discours sont souvent liés entre eux, et se retrouvent dans la littérature européenne, en particulier chez Gérard de Nerval ou William Butler Yeats. La première partie de notre thèse est consacrée à Dante, aux poètes du Moyen Âge et aux auteurs de la Renaissance. Nous nous concentrons ensuite sur les auteurs des XIXe et XXe siècles, tels que Honoré de Balzac, Gérard de Nerval, Joséphin Péladan, Dante Gabriel Rossetti, Ezra Pound, William Butler Yeats ou Umberto Eco. La majorité des écrivains et des poètes qui font l’objet de notre thèse sont directement ou indirectement liés à Dante et à la poésie d’amour du Moyen Âge, aux Fidèles d’Amour, et même à Gabriele Rossetti. Notre thèse propose de repenser une littérature dans laquelle la culture et la pensée ésotériques ne jouent pas un rôle secondaire, mais fondamental. Maintes œuvres littéraires de toute époque sont imprégnées d’éléments et de motifs renvoyant à la tradition ésotérique. L’étude de la dimension ésotérique et initiatique du symbole de la rose conduit donc à explorer un horizon de recherche dans lequel la littérature est étroitement liée aux courants ésotériques, notamment les littératures française et anglaise, et plus généralement la littérature européenne des XIXe et XXe siècles. Ainsi, de la rose des Fidèles d’Amour du Moyen Âge à la Rose secrète de William Butler Yeats qui affirmait que « ni homme ni femme depuis le commencement du monde n’a jamais su ce qu’est l’amour »
This thesis focuses on the relationship between literature and esoteric currents, through the study of the symbol of the rose in European literature, more specifically in French and English literature of the nineteenth and twentieth centuries. This research is based on a transversal and interdisciplinary approach, bringing together different fields of literary and historical study, as well as a variety of literatures and authors from different periods. The initiatory dimension of the rose, coupled with the topos of love, is the basis of my research, whose starting point is a forgotten work from the nineteenth century: Il Mistero dell'Amor Platonico nel Medioevo by Gabriele Rossetti, father of the Pre-Raphaelite painter and poet Dante Gabriele Rossetti. In this work, for the first time Gabriele Rossetti revealed the esoteric dimension of the work of Dante and the Fedeli d’Amore (Faithful of Love) – the Italian love poets of the Middle Ages who, through their poetic compositions, conveyed mystical and initiatory ideas, as well as religious and political ones. According to Rossetti and the critical movement he initiated, this doctrine of esoteric love was also present in the love poets in a number of European contexts, such as the French troubadours and trouvères, the English minstrels, the German Minnesänger and the Scandinavian scaldes, handed down through the centuries until the nineteenth century. This aspect is the focus of my research: transmission of this alleged esoteric knowledge, in the form of love, to later centuries. In his Mistero dell’Amor Platonico, Gabriele Rossetti pointed out that the most important symbol for understanding the esoteric doctrine of love is the rose, and this thesis is devoted to the symbolism of this flower. The study of the initiatory dimension of the rose in literature involves two themes linked to the concept of initiation: one concerns mysticism and the other, initiatory Orders. In the first case, initiation is linked to a mystical dimension involving an ontological transformation of the being, while in the second, the symbolism of the rose refers to esoteric and initiatory Orders which have more or less directly played an important part in the history of ideas. These two themes are often connected and can be found in European writers such as Gérard de Nerval and William Butler Yeats. The first part of this thesis is devoted to Dante and the poets of the Middle Ages, as well as to authors of the Renaissance. I then move on to nineteenth and twentieth century authors, such as Honoré de Balzac, Gérard de Nerval, Joséphin Péladan, Dante Gabriel Rossetti, Ezra Pound, William Butler Yeats and Umberto Eco. Most of the writers and poets featured in this thesis are directly or indirectly linked to Dante and the love poetry of the Middle Ages, to the Fedeli d’Amore, and even to Gabriele Rossetti. Thus, this research proposes a rethinking of literature – one in which esoteric culture and thought are of particular importance, as many literary works throughout history are imbued with elements and motifs referring to the esoteric tradition. The study of the esoteric and initiatory dimension of the rose symbol provides the opportunity to explore a field of research where literature is closely linked to esoteric currents, particularly in French and English literature (and more generally, in European literature) of the nineteenth and twentieth centuries: from the rose of the Fedeli d’Amore in the Middle Ages to the Secret Rose by William Butler Yeats, who affirmed that “no man or woman from the beginning of the world has ever known what love is”
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Tavares, Maria Helena Silva. „Guimarães Rosa e a linguagem infantil : travessia no simbólico /“. Rio de Janeiro : UFRJ, 1989. http://catalogue.bnf.fr/ark:/12148/cb36658226f.

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Pal, Nandinee. „The warrior and the rose : Spenser's iconography of chastity in The faerie queene“. Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74055.

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Guillaume-Coirier, Germaine. „Couronnes et guirlandes vegetales a rome des origines jusqu'a la mort d'auguste : mots et objets“. Poitiers, 1987. http://www.theses.fr/1987POIT5023.

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Mattiacci, Angela (Angela Marie Rose) Carleton University Dissertation French. „Les sources, le role et le symbolisme de la forest de Broceliande de la fontaine et du lion dans le roman d'Yvain de Chretien de Troyes“. Ottawa, 1989.

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Stevenin, Anne-Blanche. „Luc-Olivier Merson (1846-1920) : de la peinture d’histoire à la peinture décorative“. Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040268.

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Élève de l’École des beaux-arts de Paris, Luc-Olivier Merson obtient en 1869 le premier grand prix de Rome de peinture d’histoire, titre qui lui permet de parfaire sa formation pendant quatre années en Italie. Artiste reconnu de son vivant, Merson expose régulièrement au Salon parisien, avant d’ouvrir l’éventail de son talent à la décoration et à l’illustration. Au-delà de son goût pour la peinture monumentale, il affirme sa dilection pour l’art religieux dont il bouscule les conventions, grâce à des sources iconographiques recherchées et des sujets rares. Entre Académisme et Symbolisme, Merson confirme sa prédisposition pour le dessin, privilégiant la ligne, tout en entretenant un caractère coloriste subtil et recherché. En s’affranchissant de l’influence de son père Olivier Merson, critique d’art, et en dotant ses réalisations d’archaïsme et d’idéalisme, Luc-Olivier Merson est désormais considéré à juste titre comme l’un des précurseurs du Symbolisme. L’étude de la vie et de l’œuvre de Luc-Olivier Merson permet de comprendre les choix esthétiques et les audaces d’un artiste, trop souvent – et hâtivement – qualifié de Pompier par l’historiographie du vingtième siècle
In 1869, when a student at the École des Beaux-Arts de Paris, Luc-Olivier Merson received the Rome Prize in history painting. The award allowed him to complete his training with four years of study in Italy. A well-known artist in his own time, Merson showed regularly at the Paris Salon before broadening the scope of his creative activity to include decorative painting and illustration. Beyond his taste for monumental painting, he evinced a keen interest in religious art, whose conventions he overturned, making use of recondite iconographic sources and unusual subjects. Suspended between Academism and Symbolism, Merson displayed a penchant for drawing, always privileging line, even as he maintained a subtle and refined sense of color. Having emerged from the shadow of his father, the art critic Olivier Merson, and endowed his work with a self-conscious archaism and idealism, Luc-Olivier Merson might justly be classed among the precursors of Symbolism. By studying the life and work of Merson, we may come to understand the aesthetic choices and the audacity of an artist too often—and too hastily—termed “Pompier” in twentieth-century art historiography
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Fatemi, Sarah. „Saffron 'n Rose“. Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/687.

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GIRARD, SAUZEAU ANNE-MARIE. „Rose macaulay, romanciere“. Angers, 1987. http://www.theses.fr/1988ANGE0007.

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L'introduction et la premiere partie presentent rose macaulay et son oeuvre. Un resume biographique rappelle ses antecedents familiaux et les episodes les plus marquants de sa vie (1881-1958), notamment son enfance en italie, ses etudes universitaires a oxford, sa rencontre avec gerald o'donovan, ses multiples voyages, enfin la serenite de ses dernieres annees, illuminees par la vigueur de sa foi retrouvee. Sont ensuite etudiees l'evolution de sa carriere litteraire et de sa reputation, ainsi que sa conception du genre romanesque et la genese de ses oeuvres. La deuxieme partie analyse les differentes facettes de l'oeuvre : romans d'une intellectuelle qui a le culte du savoir et dont l'erudition apparait a chaque page; romans d'une journaliste qui nous offre une riche chronique de la vie politique, sociale, religieuse dans la premiere moitie du vingtieme siecle; romans d'une historienne amoureuse du passe; romans d'une moraliste, tolerante et anti-conformiste. Dans la troisieme partie sont evoques les grands axes thematiques : le voyage, la femme, la religion. Voyageuse infatigable, elle ne reve que de pays lointains, mediterraneens ou exotiques; feministe moderee, elle nous revele, en defendant les droits de ses soeurs, l'idee qu'elle se fait de la femme; championne de l'anglicanisme, elle manifeste, malgre une longue periode d'agnosticisme, un interet constant pour la religion. La derniere partie est consacree a l'art de la romanciere : si sa technique reste traditionnelle, ses personnages sont remarquables de verite et de vie. Son ironie sarcastique, son ecriture tres personnelle, son recours frequent a l'image et au symbole, conferent a ses romans une indeniable originalite. Enfin, la conclusion tente de mettre en lumiere la complexite de cette personnalite secrete et attachante, et d'evaluer les merites de l'oeuvre romanesque
This study examines the 23 works of fiction published by rose macaulay in the first half of the twentieth century. As her writing had many close connections with her life, a biographical sketch can remind the reader of the most significant episodes of her life (1881-1958), especially her childhood in italy, her studies at oxford, her meeting with gerald o'donovan, her innumerable journeys and the serenity brought to her last years by her return to the church. The end of the first section deals with the evolution of her literary career and reputation, her views on the novel as a genre and the genesis of her works. The second section analyses the different aspects of her novels. They are the works of an intellectual who has a cult for knowledge and whose staggering erudition appears at every page; of a journalist who offers us a rich chronicle of the political, social and religious life of her time; of a historian deeply in love with the past; of a moralist, keenly aware of the tragic meaning of life, but who remains nevertheless a tolerant nonconformist. The third section discusses the three key motifs - travelling, woman and religion - of a writer who dreams of "abroad", especially mediterranean and exotic countries, who, although a rather moderate feminist, succeeds in creating a number of unforgettable female characters, and who, despite a long period of agnosticism, shows a constant interest in the church of england the last part is devoted to the art of the novelist. If her technique remains traditional, her characters are remarkably real and alive
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Bücher zum Thema "Symbolisme de la rose"

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Joret, Charles. La rose dans l'antiquité et au Moyen Age: Histoire, légendes et symbolisme. Genève: Slatkine Reprints, 1989.

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Joret, Charles. La rose dans l'antiquité et au Moyen âge: Histoire, légendes et symbolisme. Genève: Slatkine Reprints, 1989.

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The European heritage of rose symbolism and rose metaphors in view of Rilke's epitaph rose. New York: P. Lang, 1987.

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Clément, Roland. La politique et la Pierre cachée: Le grand dessein de la franc-maçonnerie. Genève: Georg, 2000.

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Rolland, Jacques. Le chevalier à la rose. Paris: Véga, 2010.

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The symbolic rose. Dallas, Tex: Spring Publications, 1989.

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Cowen, Painton. Rose windows. New York: Thames and Hudson, 1990.

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Gondinet-Wallstein, Eliane. Une rose pour la création. [Paris]: Mame, 1987.

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The rose window: Splendour and symbol. London: Thames & Hudson, 2005.

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Cowen, Painton. The rose window: Splendor and symbol. New York: Thames & Hudson, 2005.

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Buchteile zum Thema "Symbolisme de la rose"

1

Mingelgrün, Albert. „Symbolisme“. In Comparative History of Literatures in European Languages, 111. Budapest: Akadémiai Kiadó, 1986. http://dx.doi.org/10.1075/chlel.iv.20min.

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Salunkhe, Dattajirao K., Narayana R. Bhat und Babasaheb B. Desai. „Rose“. In Postharvest Biotechnology of Flowers and Ornamental Plants, 47–66. Berlin, Heidelberg: Springer Berlin Heidelberg, 1990. http://dx.doi.org/10.1007/978-3-642-73803-6_4.

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Reddy, P. Parvatha. „Rose“. In Sustainable Crop Protection under Protected Cultivation, 337–44. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-287-952-3_27.

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Belsey, Catherine. „Rose“. In Privileging Difference, 62–68. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-4039-0704-2_6.

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Datta, S. K. „Rose“. In Floriculture and Ornamental Plants, 153–80. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-15-3518-5_8.

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Datta, S. K. „Rose“. In Floriculture and Ornamental Plants, 1–28. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-1554-5_8-1.

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Bährle-Rapp, Marina. „rose“. In Springer Lexikon Kosmetik und Körperpflege, 480. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-71095-0_8978.

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Bährle-Rapp, Marina. „Rose“. In Springer Lexikon Kosmetik und Körperpflege, 480. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-71095-0_8979.

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Leus, Leen, Katrijn Van Laere, Jan De Riek und Johan Van Huylenbroeck. „Rose“. In Handbook of Plant Breeding, 719–67. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90698-0_27.

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Datta, S. K. „Rose“. In Role of Mutation Breeding In Floriculture Industry, 159–67. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-5675-3_10.

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Konferenzberichte zum Thema "Symbolisme de la rose"

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„Symbolism in A Rose for Emily“. In 2018 International Conference on Education Technology and Social Sciences. Francis Academic Press, 2018. http://dx.doi.org/10.25236/etsocs.2018.18.

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Xu, Yan. „Analysis of "A Rose for Emily" from the Perspective of the Stylistic Features of Confabulation and Symbolism“. In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.60.

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Korn, J. „Role of symbolism in a business organisation“. In IEE Colloquium on `Systematic Methods for Improving Business Performance'. IEE, 1996. http://dx.doi.org/10.1049/ic:19960502.

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González Hernández, Ana Teresa. „La femme au colt 45: un parcours dans imaginaire aquatique de Marie Redonnet“. In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3111.

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Sous l’apparence d’une écriture dépouillée et d’une narration dénudée, Marie Redonnet, écrivaine contemporaine, nous présente un univers fictionnel peuplé de personnages –féminins pour la plupart- démunis et solitaires, soumis aux grandes tensions sociales, ancrés dans un cadre spatio-temporel flou, et fréquemment plongés dans un état d’abandon existentiel, de stagnation, auquel vient contribuer la présence d’une composante clé de l’imaginaire redonnetien: l’élément aquatique. Chez Redonnet, les différentes variantes de l’eau: océans, mers, fleuves, lacs, cascades, marécages, etc, deviennent de véritables métaphores récurrentes, voire obsédantes, riches de signification. Prenant comme point de départ de notre parcours la trilogie: Splendid Hôtel, Forever Valley et Rose Mélie Rose, publiée entre 1986 et 1987, nous nous proposons d’analyser, dans un premier temps, le rôle et la signification de la présence récurrente de la thématique de l’eau dans cette trilogie. Nous dresserons, ensuite, le tableau des différentes manifestations de l’eau et des divers aspects de la symbolique aquatique dans son dernier roman: La femme au colt 45, paru en 2016. Dans ce roman, utilisant une langue épurée et minimaliste, proche du langage dramaturgique, Marie Redonnet nous pose la problématique de la précarité des réfugiés, et des sans-papiers, de la méchanceté humaine, des difficultés pour recommencer une nouvelle vie ailleurs, de « l’autre côté du fleuve », à travers l’expérience vitale de Lora Sander, une comédienne qui fuit la dictature de son pays. L’étude dans ce dernier roman de la présence de l’eau, sous toutes ses manifestations, ainsi que la signification des différents élements qui lui sont associés, nous permettra de nous interroger sur l’évolution du traitement de l’imaginaire aquatique dans la création littéraire de M. Redonnet.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3111
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Zenker, Bjørn, und Bernd Ludwig. „ROSE“. In the 6th International Conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1710035.1710051.

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Zhang, Bin, Ming Xie, Jinyan Shao, Wenjun Yin und Jin Dong. „ROSE“. In Proceeding of the 18th ACM conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1645953.1646129.

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Meneely, Andrew, Laurie Williams und Edward F. Gehringer. „ROSE“. In the 13th annual conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1384271.1384276.

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„RoSE 2019 Foreword“. In 2019 IEEE/ACM 2nd International Workshop on Robotics Software Engineering (RoSE). IEEE, 2019. http://dx.doi.org/10.1109/rose.2019.000-1.

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„ROSE 2023 Copyright“. In 2023 IEEE International Symposium on Robotic and Sensors Environments (ROSE). IEEE, 2023. http://dx.doi.org/10.1109/rose60297.2023.10410710.

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„ROSE 2023 TOC“. In 2023 IEEE International Symposium on Robotic and Sensors Environments (ROSE). IEEE, 2023. http://dx.doi.org/10.1109/rose60297.2023.10410772.

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Berichte der Organisationen zum Thema "Symbolisme de la rose"

1

Blaxter, Tamsin, und Tara Garnett. Primed for power: a short cultural history of protein. TABLE, November 2022. http://dx.doi.org/10.56661/ba271ef5.

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Protein has a singularly prominent place in discussions about food. It symbolises fitness, strength and masculinity, motherhood and care. It is the preferred macronutrient of affluence and education, the mark of a conscientious diet in wealthy countries and of wealth and success elsewhere. Through its association with livestock it stands for pastoral beauty and tradition. It is the high-tech food of science fiction, and in discussions of changing agricultural systems it is the pivotal nutrient around which good and bad futures revolve. There is no denying that we need protein and that engaging with how we produce and consume it is a crucial part of our response to the environmental crises. But discussions of these issues are affected by their cultural context—shaped by the power of protein. Given this, we argue that it is vital to map that cultural power and understand its origins. This paper explores the history of nutritional science and international development in the Global North with a focus on describing how protein gained its cultural meanings. Starting in the first half of the 19th century and running until the mid-1970s, it covers two previous periods when protein rose to singular prominence in food discourse: in the nutritional science of the late-19th century, and in international development in the post-war era. Many parallels emerge, both between these two eras and in comparison with the present day. We hope that this will help to illuminate where and why the symbolism and story of protein outpace the science—and so feed more nuanced dialogue about the future of food.
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Yang, Eunyoung. Jogakbo Rose. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1640.

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Parsons, Jean L. Spiral Rose. Ames: Iowa State University, Digital Repository, Februar 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-594.

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Gignac, Stormi. Spanish Rose. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-698.

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Liss, S. A. Rose diagram program. Alaska Division of Geological & Geophysical Surveys, 1991. http://dx.doi.org/10.14509/1482.

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Brown, Joan. Rose City Salon. Portland State University Library, Januar 2016. http://dx.doi.org/10.15760/honors.253.

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Steiner, Halina, und Bilwa Ashvinikumar Gulavani. Rose Run Corridor. Landscape Architecture Foundation, 2023. http://dx.doi.org/10.31353/cs1970.

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van Staal, C. R., S. Lin, L. Hall, D. Schofield, P. Valverde und M. Genkin. Geology, Rose Blanche, Newfoundland. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1996. http://dx.doi.org/10.4095/208186.

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Saeidi, Elahe, und Virginia Wimberly. Variation on a Rose. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-997.

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Hwang, Chanmi, und Ling Zhang. Carving a rose window. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-1128.

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