Academic literature on the topic '1874-1925'
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Journal articles on the topic "1874-1925"
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GORBUNOV, OLEG G. "On the taxonomy and morphology of Leuthneria ruficincta (Lepidoptera: Sesiidae)." Zootaxa 4244, no. 1 (March 17, 2017): 127. http://dx.doi.org/10.11646/zootaxa.4244.1.7.
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In this paper I place the type species Eublepharis ruficincta Felder et Felder, 1874 presently assigned to the genus Leuthneria Dalla Torre, 1925 to the genus Melittia Hübner, 1819 [“1816”]. The adults and the male genitalia Melittia ruficincta (Felder et Felder, 1874) comb. rev. are described and illustrated. The taxonomy of the genera Eublepharis Felder et Felder, 1874 and Leuthneria Dalla Torre, 1925 is discussed. Both genera are synonymized under the genus Melittia Hübner, 1819 [“1816”]. New distribution records from Ethiopia and Kenya for Melittia ruficincta are presented.
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Maisel, Adolfo. "Los bancos de Cartagena, 1874-1925." Lecturas de Economía, no. 32-33 (April 23, 2010): 69–96. http://dx.doi.org/10.17533/udea.le.n32-33a5132.
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En este artículo el autor presenta los nueve bancos que se establecieron en Cartagena durante el período de surgimiento, auge y decline de los bancos regionales privados en Colombia (1872- 925). Con base en las cuentas de un balance semestral de tres de los bancos más importantes, se ilustran las operaciones que realizaron. Además, se muestra como estos establecimientos fueron dominados por las familias de importantes comerciantes cartageneros dedicados al comercio exterior, especialmente a la exportación de ganado hacia Centro América y el Caribe.
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Ломтев, Д. Г. "Gerhard von Keußler аnd his Orchestral Works." Научный вестник Московской консерватории, no. 1(44) (March 23, 2021): 166–91. http://dx.doi.org/10.26176/mosconsv.2021.44.1.008.
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Впервые на русском языке предлагается биографический очерк о немецком композиторе Герхарде фон Койслере (1874–1949), основанный на архивно-рукописных и малоизвестных печатных источниках. Детальный анализ его сочинений для оркестра— «Левантийской фантазии» (1909), двух симфоний (1925 и 1928), «Торжественной прелюдии» (1934), симфонической фантазии «Австралия» (1935)— позволил выявить стилистические общности и различия образцов данного жанра в наследии композитора. For the first time, a biographical essay in Russian about the German composer Gerhard von Keußler (1874– 1949) has been compiled on the basis of poorly known printed sources and preserved manuscripts. Detailed analysis of his works for orchestra, including Morgenländische Phantasie (1909), two symphonies (1925, 1928), Praeludium solemne (1934) and Symphonic Fantasy Australia (1935), made it possible to identify their stylistic communities and differences.
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POORANI, J., NATALIA J. VANDENBERG, and R. G. BOOTH. "A revision of the genus Stictobura Crotch and description of a new species of Sticholotis Crotch (Coleoptera: Coccinellidae: Sticholotidinae)." Zootaxa 3031, no. 1 (September 16, 2011): 1. http://dx.doi.org/10.11646/zootaxa.3031.1.1.
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The species of Stictobura Crotch (1874) (Coccinellidae: Sticholotidinae) are revised. Stictobura gibbula (Weise, 1908) indeed belongs to Sticholotis Crotch (1874) under which it was originally described (stat. rev.) and is removed from Stictobura. Stictobura buruensis Korschefsky (1944) is transferred to Sticholotis (new combination). Lectotypes are designated for Sticholotis (Apterolotis) andrewesi Weise (1908), Sticholotis (Apterolotis) gibbula Weise (1908), Stictobura semipolita Sicard (1911), and Stictobura rubroguttata Sicard (1925). The species of Stictobura are keyed and notes on biology are provided wherever available. Sticholotis magnostriata sp. n., which is externally similar to the species of Stictobura, is described from India (Assam).
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Lionel Gossman. "Jugendstil in Firestone: The Jewish Illustrator E. M. Lilien (1874–1925)." Princeton University Library Chronicle 66, no. 1 (2004): 11. http://dx.doi.org/10.25290/prinunivlibrchro.66.1.0011.
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McCarthy, Christine. "Concrete passions: Anscombe's material politics." Architectural History Aotearoa 8 (January 1, 2011): 20–29. http://dx.doi.org/10.26686/aha.v8i.7097.
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Edmund Anscombe (1874-1948) was an advocate of concrete as a building material, especially in relation to housing. This paper examines Anscombe's promotion of concrete, with specific reference to his patented OK blocks in the 1920s, a time when he is better known for his work on the University of Otago campus, the 1925 New Zealand and South Seas Exhibition, and his move from Dunedin to Wellington in 1928.
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de León Atria, Macarena Ponce, and Antonia Fonck Larraín. "Election through complaint and controversy for political power in Chile, 1874–1925." Parliaments, Estates and Representation 37, no. 2 (May 4, 2017): 176–92. http://dx.doi.org/10.1080/02606755.2017.1333775.
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Euraque Méndez, Darío. "En busca de Froylán Turcios: Apuntes sobre la vida y obra de Armando Méndez Fuentes." Diálogos Revista Electrónica 5, no. 1-2 (August 8, 2005): 645. http://dx.doi.org/10.15517/dre.v5i1-2.6252.
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Este ensayo resume un proyecto biográfico de la vida de un gay hondureño, Armando Méndez Fuentes (1925-2003). Méndez Fuentes, escritor y poeta inédito, vivió un exilio cultural en Nueva York desde 1953. Inicialmente se dedico a investigar la vida de Froylan Turcios (1874-1943), otrora aliado del General Augusto Sandino, y uno de los mas importantes escritores de Honduras del siglo XX. La vida y obra de Méndez Fuentes es un texto para analizar y narrar aspectos de la historiografía sexual centroamericana que aun permanecen inéditos, especialmente la historiografia de las masculinidades en el siglo XX.
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Morgan, Kevin. "Class Cohesion and Trade-Union Internationalism: Fred Bramley, the British TUC, and the Anglo-Russian Advisory Council." International Review of Social History 58, no. 3 (June 20, 2013): 429–61. http://dx.doi.org/10.1017/s0020859013000175.
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AbstractA prevailing image of the British trade-union movement is that it was insular and slow-moving. The Anglo-Russian Advisory Council of the mid-1920s is an episode apparently difficult to reconcile with this view. In the absence to date of any fully adequate explanation of its gestation, this article approaches the issue biographically, through the TUC's first full-time secretary, Fred Bramley (1874–1925). Themes emerging strongly from Bramley's longer history as a labour activist are, first, a pronouncedly latitudinarian conception of the Labour movement and, second, a forthright labour internationalism deeply rooted in Bramley's trade-union experience. In combining these commitments in the form of an inclusive trade-union internationalism, Bramley in 1924–1925 had the indispensable support of the TUC chairman, A.A. Purcell who, like him, was a former organizer in the small but militantly internationalist Furnishing Trades’ Association. With Bramley's early death and Purcell's marginalization, the Anglo-Russian Committee was to remain a largely anomalous episode in the interwar history of the TUC.
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HEIDEMAA, MIKK, DAVID R. SMITH, and AKIHIKO SHINOHARA. "Taxonomy of Dolerus subfasciatus auct. and D. subfasciatus F. Smith with notes on the sawfly subgenus Equidolerus (Hymenoptera, Tenthredinidae)." Zootaxa 3525, no. 1 (October 24, 2012): 1. http://dx.doi.org/10.11646/zootaxa.3525.1.1.
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Dolerus (Equidolerus) subfasciatus F. Smith 1874 is a valid species. Dolerus subfasciatus auct. is shown to include threedistinct species: the Nearctic D. (Equidolerus.) neoaprilis MacGillivray, 1908, spec. rev. and two Palaearctic species,D. (E.) pseudoanticus Malaise, 1931, spec. rev. and D. (E.) rhodogaster Zhelochovtsev, 1935, stat. nov. Distributionrecords and imaginal diagnostic characters of the species are provided, and the male of D. (E.) subfasciatus is described.Lectotypes are designated for Dolerus picinus Marlatt, 1898, D. picinus rhodogaster Zhelochovtsev, 1935,D. pseudoanticus Malaise, 1931, and D. yokohamensis Rohwer, 1925. Dolerus lucidus Freymuth, 1870 and D. purusJakowlew, 1891 are associated with the subgenus Equidolerus and D. glabratus Wei, 2002 is transferred from Equidolerus to Dolerus s. str.Kew words: Sawflies, lectotype, nomenclature
Dissertations / Theses on the topic "1874-1925"
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Swarts, Lynne Michelle Art History & Art Education College of Fine Arts UNSW. "Resistance, Regeneration and the Figuring of the 'New Jew': Ephraim Moses Lilien and 'Muscular Jewry'." Publisher:University of New South Wales. Art History & Art Education, 2007. http://handle.unsw.edu.au/1959.4/44089.
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This thesis embraces a cross-disciplinary approach to the examination of Jewish body culture, and integrates aspects of Jewish studies with new theories of gender and visual culture, thus contributing specifically to the field of Jewish body culture in relation to the visual arts. It demonstrates that at the fin de si??cle the Zionist artist, Ephraim Moses Lilien, integrated Nordau's concept of 'Muscular Jewry' and Buber's notion of a 'Jewish Cultural Renaissance' in order to figure the 'New Jew'. It establishes that Lilien's figuring of 'Muscular Jewry' as a visibly athletic, explicitly heterosexual, male body, bearing Jewish distinction, was developed as a crucial strategy to overcoming the twin dilemmas of Jewish alterity: antisemitism and assimilation. By proving that Lilien's art serves as a crucial model for both regenerating the Jewish male body and resisting antisemitic projections of decadence and degeneracy, this thesis expands upon current scholarship. It applies Margaret Olin's theory of ' visual redemption' to Lilien's figuring of the 'New Jew' and Daniel Boyarin's articulation of Homi Bhaba's Post-Colonial theory of mimicry as imitation, inversion and resistance to determine how Lilien's images functioned as an art of resistance against the dominant Christian European culture. By demonstrating how Lilien drew upon the modern and rebellious Jugendstil to figure the 'New Jew' and produce a new, defiant and authentic Jewish visual culture, this thesis proves he transformed the image of the diaspora Jew into the New Hebrew or Israeli tsabar, forty years before it became part of Israeli identity. Nevertheless, this thesis also uncovers the double-binded predicament inherent to Lilien's quest; despite his attempt to use mimicry of the athleticised, hyper-masculine, genetically pure, normative body as a strategy to resist antisemitic rhetoric and invert its projection, the closest parallel to Lilien's figure of 'Muscular Jewry' remained this same image which became instrumental to eugenic campaigns across Europe, particularly in Nazi Germany. Ultimately what is exposed by this thesis is the illusion underpinning Lilien's figuring of the 'New Jew'; that the Christianised Eurocentric body culture, designed to eradicate decadence, degeneration and Semitism, could resolve the problematic struggle for a Jewish national identity.
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Goodspeed-Chadwick, Julie Elaine. "Representations of war and trauma in embodied modernist literature : the identity politics of Amy Lowell, Djuna Barnes, H.D., and Gertrude Stein." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1364941.
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This study situates the literary works of Amy Lowell, Djuna Barnes, H.D., and Gertrude Stein in a genealogy of American modernist war writing by women that disrupts and revises patriarchal war narrative. These authors take ownership of war and war-related trauma as subjects for women writers. Combining the theories of Dominick LaCapra, Judith Butler, Elaine Scarry, and Elizabeth Grosz with close readings of primary texts, I offer feminist analyses that account for trauma and real-world materiality in literary representations of female embodiment in wartime. This framework enables an interdisciplinary discussion that focuses on representations of war and trauma in conjunction with identity politics.I examine Lowell's poetry collection Men, Women and Ghosts (1916), Barnes's novel Nightwood (1936), H.D.'s poem Trilogy (1944-1946), and Stein's novel Mrs. Reynolds (1952). The chapters highlight the progressively feminist and personal ownership of war and trauma embedded in the texts. Lowell and Barnes begin the work of deconstructing gendered binary constructions and inserting women into war narrative, and H.D. and Stein continue this trajectory through cultivation of more pronounced depictions of women and their bodies in war narrative.The strategies are distinct and specific to each author, but there are common characteristics in their literary responses to World War I and World War II. Each author protests war: war is destructive for Lowell, perverse for Barnes, traumatic for H.D., and disruptive for Stein. Additionally, each author renders female bodies as sites of contested identity and as markers of presence in war narrative. The female bodies portrayed are often traumatized and marked by the ravages of war: bodily injury and psychological and emotional distress. H.D. and Stein envision strategies for resolving (if only partially) trauma, but Lowell and Barnes do not.This project recovers alternative war narratives by important American modernist women writers, expands the definition and canon of war literature, contributes new scholarship on works by the selected authors, and constructs an original critical framework. The ramifications of this study are an increased awareness of who was writing about war and the shape that responses to it took in avant-garde literature of the early twentieth century.Department of English
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Girardi, Clément. "Le Morceau de sucre et la fleur de papier. Écrire avec et contre Bergson, 1890-1940." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL063.
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Nous considérons quelques écrivains et critiques littéraires chez qui la lecture de la philosophie d'Henri Bergson, du vivant de celui-ci, a fait naître une réflexion intense et rigoureuse quant à sa signification et à son avenir. Charles Péguy, Marcel Proust, Jacques Rivière, Albert Thibaudet et Jean Paulhan – l'antibergsonien Julien Benda leur servant de contrepoint – éprouvent la nécessité de contester la quiétude de Bergson ou la manière qu'il a de refermer son problème. Ils restent néanmoins fidèles à ce problème, apparaissant dès lors surtout soucieux de recommencer le bergsonisme, de repartir de sa table rase. Bergson leur semble trahir inconsciemment ses propres principes : soit qu'il échoue à faire attention aux découpages propres du réel et qu'il cède à de faux problèmes, soit qu'il cède plutôt à de fausses solutions et laisse ses lecteurs dans l'incertitude, initiant malgré lui une « crise de la durée ». Ils ont le sentiment de pouvoir être bergsoniens mieux que Bergson, indissociablement avec et contre lui. Il leur semble surtout que l'accomplissement du bergsonisme comme philosophie ne puisse se faire que dans une œuvre de littérature : soit qu'ils trouvent dans Bergson une théorie inattendue de l'urgence d'écrire, soient qu'ils voient dans la littérature, notamment romanesque, la réalisation vraie de l'intention bergsonienne, ou le moyen d'atteindre une philosophie enfin durable. L'heure n'est plus à mettre la vérité du morceau de sucre dans sa dissolution, mais bien à laisser l'eau du temps gonfler les arêtes de la fleur de papier japonais – et refaire d'elle l'occasion de retrouvailles, de soi avec soi et de soi avec tous les autresI consider a few literary writers and critics whose reading of Henri Bergson's philosophy was careful and passionate enough to make them reflect on its true meaning and possible future. Each in their own way, Charles Péguy, Marcel Proust, Jacques Rivière, Albert Thibaudet and Jean Paulhan – Julien Benda working here as a counterpoint – needed to criticize Bergson's tranquillity and rejected part of the solutions he offered. They nevertheless stayed true to his fundamental problem, thus offering more of a new beginning to bergsonism than a condemnation. They felt that Bergson unconsciously betrayed his own principles: either because he failed to pay attention to the true divisions of reality and was led to the formulation of fake problems, or because he accepted fake solutions on the contrary, and therefore left his readers in distress. In the latter case, they argued, the philosophy of duration did nothing but increase the destructive effect of time. They felt that they could be better bergsonians than Bergson. More importantly, they came to the idea that bergsonism as a philosophy could only be accomplished within the pages of a literary work. Some discovered in Bergson an unexpectedly positive theory of language. Some saw in the writing of novels the true realization of Bergson's intention. Others understood literature as the only way to escape the anguish created by philosophy and to slow down the pace of history. The truth of sugar lies not in its dissolving, unlike Bergson suggested, and one should rather let the water of time swell the edges of Proust's flower of japanese paper. In it lies the possibility of finding oneself again, as well as regaining a community
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KARTALOFF, KIRIL PLAMEN. "L'opera di Mons. Angelo Giuseppe Roncalli, visitatore e delegato apostolico in Bulgaria (1925-1934), alla luce delle nuove fonti archivistiche. Studio Storico-diplomatico e silloge documentaria." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1874.
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Il decennio bulgaro di Mons. Angelo Giuseppe Roncalli (1925-1934) è un capitolo importante nella vicenda biografica di un uomo che, eletto Papa nel 1958, avrebbe segnato una svolta importante nel cammino verso l’unità delle Chiese cristiane: lo sviluppo della sensibilità ecumenica.
In Bulgaria egli fu Visitatore apostolico con il compito soprattutto di provvedere ai gravi bisogni della piccola e disastrata comunità cattolica. L’incarico, inizialmente a termine, si trasformò in una permanenza decennale durante la quale il rappresentante della Santa Sede pose le basi per la fondazione di una Delegazione apostolica; egli stesso, infatti, ne fu nominato primo rappresentante.
Scopo di questa tesi di dottorato è offrire una ricostruzione della missione di Mons. Roncalli in Bulgaria nell’ottica storico-diplomatica, basata, grazie all’apertura degli Archivi Vaticani dei fondi del Pontificato di Pio XI (6 febbraio 1922 - 10 febbraio 1939), su un lungo e attento studio archivistico.Monseigneur Angelo Giuseppe Roncalli’s Bulgarian decade (1925-1934) is an important chapter of the men who, elected Pope in 1958, was able to lead the first steps of change in bringing together Christian churches: the transformation of ecumenical sensibility. He was Apostolic Visitor in Bulgaria and his important mission was focused on looking after the problematic catholic community. At the beginning, Mons. Roncalli’s permanence was supposed to be temporary, but it easily was transformed in ten very important years of catholic mission. The Holy See’s representative indeed established the Apostolic Delegation in Bulgaria becoming himself the first representative on charge. The hereby presented purpose is offering to wide audience a specific reconstruction of Monseigneur Angelo Roncalli’s operation in Bulgaria through a historical and diplomatic look. The accomplishment of this study is completely based on the newly unearthed documents of Pope Pius XI treasured in the Vatican Secret Archives.
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Lambiet, Maud. "Le critique et l’analyste : réceptions de la forme sonate chez Beethoven, Liszt, Ives et Boulez." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0160.
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La critique et l’analyse musicales sont les premières intervenantes à débattre de l’œuvre, de son expression et de sa signification. Liées à des pratiques précises, elles décrivent et interprètent la musique en mobilisant des catégories différentes d’analyse et de compréhension. En participant à transformer les valeurs et les normes auxquelles se conforme la musique et à définir de nouveaux rapports, elles enrichissent chacune à leur façon l’expérience musicale. Partir de quatre sonates pour piano, l’Appassionata de Beethoven, la Sonate en si mineur de Liszt, la Concord Sonata d’Ives et la Deuxième sonate de Boulez, balise un espace temporel de 150 ans et circonscrit un espace herméneutique. Il s’agit de quatre points d’ancrage à partir desquels il est possible d’observer et d’analyser les rapports que les acteurs entretiennent avec les œuvres, les représentations qu’ils projettent et la façon dont ils donnent sens à leurs représentations et à leurs actions. Circuler entre la critique et l’analyse met en évidence qu’un dialogue s’instaure entre les deux et ébranle ce que le sens commun retient, à savoir que l’analyse en tant que pratique savante modère les évaluations subjectives énoncées spontanément et arbitrairement par les critiquesMusic criticism and musical analysis are first to present and discuss the musical meaning and significance of the artworks. They are bound to methods of reasoning and they describe and interpret music by mobilizing different categories of analysis and understanding. In their own ways they improve the musical experience by transforming values and norms and defining new relationships. Four piano sonatas demarcate a period of 150 years and delimit a hermeneutical space : Beethoven’s Appassionata, op. 57, Liszt’s B minor Sonata, Ives’ Concord Sonata and Boulez’s Deuxième Sonate. They are the four beacons from which the relationships between the players and the artworks could be observed and analysed. Critics’ statements and analyses of these sonatas highlight the representations reflected by the players on the artworks and how they give sense to their representations and actions. The flow of ideas between music criticism and musical analysis emphasises that a dialogue is established between them. That undermines what the popular mind retains, i. E. That musical analysis holds the epistemological authority in musical thought
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Piniau, Bernard. "Patrice Lumumba et la crise du Congo dans la presse belge : 1955-1961 : étude des origines littéraires et politiques de ces représentations et de leur mode de transformation : 1874-1988." Bordeaux 3, 1989. http://www.theses.fr/1989BOR30059.
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Dodet, Cyrielle. "Entre théâtre et poésie : devenir intermédial du poème et dispositif théâtral au tournant des XXe et XXIe siècles." Thèse, Sorbonne Paris Cité, 2015. http://hdl.handle.net/1866/13605.
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Thèse réalisée en cotutelle avec l'Institut d'Études théâtrales de l'Université Sorbonne nouvelle - Paris 3Désireuse de s’affranchir d’une approche essentialiste et figée de la poésie au théâtre ainsi que d’une lecture générique, cette recherche envisage selon une méthodologie intermédiale les relations entre théâtre et poésie. En analysant un corpus témoin composé de créations textuelles et scéniques, elle montre comment la présence active de la poésie travaille le théâtre, et partant, elle les précise tous deux par leurs interactions. La première partie établit une généalogie de l’intermédialité du théâtre et de la poésie, et des liens dynamiques entre théâtre et poésie. Tout au long du XXe siècle, poésie et théâtre se sont en effet affirmés comme des « hypermédias » (Kattenbelt), mettant respectivement en jeu divers médias, tandis que plusieurs dramaturges ont développé des poésies théâtrales explorant des processus intermédiaux. Sont dégagées et analysées quatre configurations spécifiques à travers les œuvres et réflexions de Mallarmé et Maeterlinck, de Stein et Artaud, de Gauvreau et Novarina et à travers la poésie transmédiale que Cocteau développe entre théâtre et cinématographe. Consacrée au tournant des XXe et XXIe siècles, la deuxième partie élabore une approche théorique du poème théâtral, qui actualise les relations entre théâtre et poésie. Le poème théâtral constitue un dispositif intermédial qui, selon un modèle élaboré par Ortel et Rykner, articule inextricablement trois niveaux : technique, pragmatique et symbolique. Plusieurs traits précisent ce dispositif : sa radicalité dynamique, sa performativité, sa valorisation de l’écriture comme processus, et sa façon de considérer l’impossible comme moteur théâtral. Des analyses d’œuvres textuelles et scéniques de Kane, Malone, Danis, Régy et Lemoine montrent ensuite comment ce dispositif intermédial est activé et ce que le poème théâtral propose au lecteur et au spectateur comme expérience esthétique. Saisir le devenir intermédial de la poésie au théâtre permet de penser un modèle interartial placé sous le signe de l’hospitalité, où les arts, égaux, dialoguent entre eux et échangent, en faisant travailler ensemble leurs hétérogénéités et leurs altérités.
In an effort to do away with an essentialist, rigid, and generic approach to poetry in dramatic works, this research looks at the relationship between poetry and drama using an intermedial methodology. By studying a sample corpus made up of textual and theatrical works, this thesis shows how the active presence of poetry is at work in theatre, thereby redefining each of the two concepts through the ways in which they interact. The first chapter traces the genealogy of intermediality within poetry and drama, and that of the dynamic connections between drama and poetry. Throughout the twentieth century, poetry and theatre have come to be seen as « hypermedia » (Kattenbelt), each of them bringing into play various types of media. Meanwhile a number of playwrights started developing dramatic poems exploring intermedial processes. This research identifies and analyses four distinct forms in the thought and works of Mallarmé and Maeterlinck, Stein and Artaud, Gauvreau and Novarina, through the transmedial poetry developed by Cocteau at the confines of drama and cinematography. With a focus on works from the turn of the twentieth to twenty-first century, the second chapter offers a theoretical approach to the dramatic poem, that seeks to bring an updated approach to interactions between drama and poetry. The dramatic poem is an intermedial apparatus that, in Ortel and Rykner's view, inextricably combines the technical, the pragmatic and the symbolic. This apparatus is characterised by its dynamic radicalism, its performativity, its focus on the value of writing as a process and the way in which it conceives of impossibility as a dramatic driving force. Analyses of textual and dramatic works by Kane, Malone, Danis, Régy and Lemoine suggest how intermedial apparatuses are triggered and the kind of aesthetic experience the dramatic poem offers to readers and viewers. Contemplating intermedial processes of poetry in theatre allows for the reframing of an interartial model in an inclusive, hospitable fashion, where all art forms are considered equal, engage in dialogue and exchange, and combine their differences towards a common object.
Books on the topic "1874-1925"
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A katedrától a halálsorig: Ágoston Peter, 1874-1925. Budapest: Napvilag, 2011.
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Edgeloe, V. A. Servants of distinction: Leadership in a young university 1874-1925. Adelaide: University of Adelaide Foundation, 1993.
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H, Lawrence D. The letters of D.H. Lawrence & Amy Lowell, 1914-1925. Santa Barbara: Black Sparrow Press, 1985.
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Queer poetics: Five modernist women writers. Westport, Conn: Greenwood Press, 1999., 1999.
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World War Two: Behind Closed Doors: Stalin, the Nazis, and the West. New York: Pantheon Books, 2008.
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World War Two: Behind Closed Doors: Stalin, the Nazis, and the West. London, United Kingdom: BBC Books, 2008.
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Life and times: A history of Chalmers Presbyterian Church 1874-1925, Blackheath United Church 1925-1994. [Ontario?: s.n., 1994.
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Lowell, Amy. Men, Women And Ghosts: American Massachusetts Poet And Critic 1874-1925. IndyPublish.com, 2005.
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Lowell, Amy. Men, Women and Ghosts (American (Massachusetts) poet and critic 1874-1925). IndyPublish, 2007.
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Lowell, Amy. Men, Women and Ghosts (American (Massachusetts) poet and critic 1874-1925). IndyPublish, 2007.
Find full textBook chapters on the topic "1874-1925"
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Tobin, Claudia. "Still Life in Motion." In Modernism and Still Life, 76–123. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474455138.003.0003.
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This chapter explores two European movement practices of the early to mid-twentieth century: the Margaret Morris Movement, established c. 1910 by the British dancer, Margaret Morris (1891–1980) in partnership with the Scottish painter and sculptor, J. D. Fergusson (1874–1961); and eurythmy, the synthetic art form and system of spiritual movement established in 1912 by the Austrian scientist and philosopher, Rudolf Steiner (1861–1925). This chapter uncovers the contribution of movement practitioners to the project of re-imagining aesthetic categories through hybrid sculptural, pictorial and poetic forms that engaged the ‘moving stillness’ of the body. It argues that Morris’s dance system constituted a vitalist expression of ‘still life in motion’, which was informed by the influence of Bergsonian philosophy and the currency of ‘rhythm’ in her circle of artists. The second section of the chapter investigates sculptural stillness. It examines Fergusson’s understudied sculptural practice and Morris’s role as a model who sought to revaluate the gender politics of stasis and movement. The final part of the chapter examines eurythmy as a form of ‘moving sculpture’ that complicates the relationship between dance and sculpture.
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"Melting-Pot Ideology, Modernist Aesthetics, and the Emergence of Graphical Conventions: The Statistical Atlases of the United States, 1874–1925." In Defining Visual Rhetorics, 227–54. Routledge, 2012. http://dx.doi.org/10.4324/9781410609977-15.
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"9. Vladimir Mayakovsky, My Discovery of America (1925-26)." In America through Russian Eyes, 1874-1926, 159–220. Yale University Press, 1988. http://dx.doi.org/10.12987/9780300159431-011.
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