Academic literature on the topic 'Artur Influence'
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Journal articles on the topic "Artur Influence"
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Marzec, Łukasz. "ARTUR DUCK, DE USU ET AUTHORITATE IURIS CIVILIS ROMANORUM IN REGNO GALLIARUM. PRZEGLĄD BAZY BIBLIOGRAFICZNEJ." Zeszyty Prawnicze 8, no. 1 (June 23, 2017): 141. http://dx.doi.org/10.21697/zp.2008.8.1.06.
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Artur Duck, De Usu et Authoritate Iuris Civilis Romanorum in Regno Galliarum. The Overview of the BibliographySummaryDe Usu et Authoritate Juris Civilis Romanorum in Dominiis Principum Christianorum, the work by Artur Duck was published in London in 1653. Duck, one of the leading civil lawyers, a royalist, high commissioner, Master in Chancery, King’s Advocate and a chancellor of three dioceses wrote his book in exile in Oxford during the English Civil War. In his work he analysed the position and influence of the Roman Law in fourteen countries of 17th-century Europe. The chapter concerning the Kingdom of France deserves a special interest, mainly due to the great number of learned lawyers cited by Duck. His study shows his excellent knowledge of legal works on the French law of that time. This paper tries to present the complete bibliography of the books used by Duck to describe the influence of the Roman Law in the Kingdom of France.
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Marzec, Łukasz. "ARTUR DUCK, DE USU ET AUTHORITATE JURIS CIVILIS ROMANORUM - PODRZĘDNA ROZPRAWA CZY DZIEŁO ŚWIATOWEJ ROMANISTYKI?" Zeszyty Prawnicze 6, no. 1 (June 22, 2017): 145. http://dx.doi.org/10.21697/zp.2006.6.1.09.
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Artur Duck, De Usu et Authoritate Juris Civilis Romanorum - Mediocre or Brilliant Work?SummaryDe Usu et Authoritate Juris Civilis Romanorum in Dominiis Principum Christianorum, the work by Artur Duck was published in London in 1653. Duck, one o f the leading civil lawyers, a royalist, high commissioner, Master in Chancery, King’s Advocate and a chancellor of three dioceses wrote his book in exile in Oxford during the English Civil War. In his work he analysed the position and influence o f Roman Law in fourteen countries of 17th-century Europe. Apart from England, Scotland and Ireland, he researched the German Empire, France, Italy, Sicily and Naples, Poland, Hungary, Bohemia, Spain, Portugal, Denmark and Sweden. Although Duck was an Englishman, he admired Roman Law and believed it could unify and consolidate the legal systems of Christian Europe. His work shows deep knowledge of how the legal systems o f 17th-century Europe were organized and influenced by Roman Law. What seems to be of a special significance is the section of his book considering the role o f Roman law in England, where Duck was involved in judicial activity for several years as a judge and advocate. Although his work remained forgotten for centuries, contemporary science is attempting to restore it to its proper position. So far, Duck’s work has not been scientifically analysed but there is no doubt that it deserves a detailed study.
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Michalczuk, Joanna. "Postać Jana Pawła II w dramacie najnowszym." Roczniki Humanistyczne 68, no. 1 Zeszyt specjalny (2020): 493–506. http://dx.doi.org/10.18290/rh.2068s-33.
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This article analyses several artistically important Polish 21st-century plays, in which a character has been modelled on the person of Pope John Paul II. The works studied here are Jerzy Pilch’s Narty Ojca Świętego, Paweł Grabowski’s Dotknięci, Michał Walczak’s Człowiek z Bogiem w szafie and Artur Grabowski’s Cnoty zachodniej cywilizacji. This article aims to show not only the way the above-mentioned literary texts present the figure of the Pope, his life and works, but also his influence on the life of ordinary people. By researching John Paul II’s presence in literature, this article helps to contribute to the commemoration of the Pope Saint.
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Chojnowski, Zbigniew. "Mit tristanowski." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 51, no. 2 (August 16, 2021): 301–5. http://dx.doi.org/10.36770/bp.614.
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The article attempts to discuss and evaluate the book The Passion of the Tristan Myth in Modern Literature, Philosophy, and Music by Artur Żywiołek, which was published in Cracow in 2021. The reviewer starts with the legend of Tristan and Isolde, which the book explores through modernity. According to the author of the article, the book about Tristan myth combines methodologies of such fields as literary studies, musicology, history, cultural studies and philosophy in a great way. In the conclusions, the reviewer evaluates the book in a favourable light, and states that it constitutes an original analysis which will have a considerable influence on the comparative studies.
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Ostapchuk, Oxana. "«Alphabet wars» in the history and modernity of Slavic languages: sidenotes to the Artur Steplewski’s book." Slavianovedenie, no. 5 (December 2021): 110–22. http://dx.doi.org/10.31857/s0869544x0017704-7.
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The article concerns problematics of the (re)interpretation of graphicsof graphics and the alphabet in national categories in the history of Serbian, Croatian, and Ukrainian literary languages through the prism of A. Stemplevsky's monograph «Semiosis of Script: monograph «Semiosis of Script: Cyrillic and latin alphapet in Serbian and Croatian national discourse on the Slavic background».The concept of nationalization is introduced to describe expanding of meaning due to ideological and cultural connotationswhile alphabets as a whole or their separate graphemes have been used in the symbolic function.The article highlights the issues of the parallel functioning of the Latin and Cyrillic alphabet in the history and modernity of Serbian and Croatian, as well as other Slavic languages, and the perception of this fact in the usus and national discourse.Special attention is paid to the measures of language policy and the efforts of representatives of national elites who influence the choice of the alphabet and/or the principles of spelling during standardization.
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Serraller Calvo, Amelia. "Ryszard Kapuściński and the Fierce Debate on “Magical Journalism”." Polska szkoła reportażu w świecie 18, no. 3 (December 31, 2021): 395–406. http://dx.doi.org/10.4467/23531991kk.21.030.14317.
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As a journalistic genre, reportage is determined by the context in which it is produced. It transports the reader to a specific time and place, but, unlike the news, it does not depend on current events. Therefore, a reporter is not constrained by brevity and, like any other author, aims to develop their own style. This was the case of Ryszard Kapuściński, who was the Polish Press Agency’s only correspondent in Latin America from 1967 to 1972. After this experience, Kapuściński returned several times to the continent from 2001 to 2005 and gave lectures for the Fundacion Nuevo Periodismo Iberomericano, founded by Gabriel Garcia Marquez. His reportages about the continent are considered highly political (in fact Artur Domosławski describes him as a naive “true believer” in communism during his stay as a correspondent). This article, however, views the significance of his time on the new continent from a different perspective. Was the most important Latin American influence on Kapuściński actually the style and genre that he developed as he explored a new kind of reportage: ‘‘magical journalism”? Reportaż jako gatunek dziennikarski jest zdeterminowany przez kontekst, w którym powstaje. Przenosi czytelnika w określony czas i konkretne miejsce, ale w przeciwieństwie do newsów nie jest zależny od bieżących wydarzeń. Dlatego reporter nie jest skrępowany wymogiem zwięzłości i jak każdy inny autor dąży do wypracowania własnego stylu. Tak było w wypadku Ryszarda Kapuścińskiego, który w latach 1967–1972 był jedynym korespondentem Polskiej Agencji Prasowej w Ameryce Łacińskiej. Po tym doświadczeniu Kapuściński kilkakrotnie wracał na ten kontynent w latach 2001–2005 i prowadził wykłady dla Fundacion Nuevo Periodismo Iberomericano, założonej przez Gabriela Garcię Marqueza. Jego reportaże o Ameryce Łacińskiej są uważane za wysoce polityczne (Artur Domosławski opisuje Kapuścińskiego korespondenta w tamtym regionie jako naiwnego „prawdziwego wyznawcę” komunizmu). W niniejszym artykule spojrzymy jednak na znaczenie jego pobytu na nowym kontynencie z innej perspektywy. Czy własny styl, który rozwinął, zgłębiając nowy rodzaj reportażu: „dziennikarstwo magiczne”, nie okazał się najważniejszym owocem jego zagłębiania się w świat latynoamerykańskiej kultury?
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Ulyanova, M. V. "Soviet Medicine on the Liaodong Peninsula in the Second Half of the 1940s – Beginning of the 1950s." Bulletin of Irkutsk State University. Series History 40 (2022): 59–68. http://dx.doi.org/10.26516/2222-9124.2022.40.59.
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The article deals with the activity of Soviet physicians on the Liaodong Peninsula in the 40- 50s of the twentieth century. On the basis of a wide range of sources, some of which are introduced into scientific circulation for the first time, the analysis of the sanitary-epidemiological situation in Port-Artur (Luishun), Dalniy (Dalyan), and Dzin-Zhou is performed. There is an information on training of Chinese medical workers, interaction of Soviet military and Chinese civilian administrations in issues of healthcare is reflected. Soviet medical workers activity was a set of therapeutic, scientific and education al measures which condition effectiveness of the transfer of Soviet health care principles. Disinterested Soviet medical worker`s help was commended by Chinese patients and colleagues and was reflected in reviews, letters with gratitude and articles in local newspapers, which are kept in foundation R-9501 of State Archive of Russian Federation (GARF). Documents and memoires show that Soviet medicine became a factor in strengthening the political influence of the USSR and forming its positive image in the mass opinion of the Chinese population of the region.
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Marin, Irina. "World War I and Internal Repression: The Case of Major General Nikolaus Cena." Austrian History Yearbook 44 (April 2013): 195–208. http://dx.doi.org/10.1017/s006723781300012x.
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On 24 August 1914, Lieutenant General Artur von Bolfras warned his peer Franz Conrad von Hötzendorf that the draconian measures directed against domestic suspects were causing a lot of trouble and amounted to throwing the baby out with the bath water by fostering internal animosity. “We should not,” Bolfras insisted, “unnecessarily antagonize the population who have so far shown themselves to be loyal and ready for sacrifice beyond all expectations.” He urged in particular that Conrad should use his influence to put a stop to the excesses of the military command in Temesvár in southern Hungary, where, starting in late July 1914, hundreds of arrests were made following the partial mobilization against Serbia, thus putting into practice Conrad's professed military rationale: “better lock up one hundred people than one too few.” The initial spate of arrests and internments that accompanied the mobilization for war continued well into the autumn of 1914, snowballing into virulent state-driven repression, targeting mostly, but not only, Serbs, a situation which Josef Redlich referred to in his journal as a “race war” and a “systematic policy of extermination.” To Bolfras's letter of notification, Conrad replied that orders had been wired to Temesvár to the effect that abuses should be avoided and the military should work harmoniously with the civilian authorities, but he also signified that “we here can't do anything about individual abuses.”
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Quinn, Michael L. "Theaterwissenschaft in the History of Theatre Study." Theatre Survey 32, no. 2 (November 1991): 123–36. http://dx.doi.org/10.1017/s0040557400001034.
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Recent surveys of theatre theory and historiography have given only very limited attention to a critical episode in the organization, development and legitimation of modern theatre scholarship, the Theaterwissenschaft writings of German-language theorists of theatre study in the first half of the twentieth century. I propose to survey briefly the major moments in this group's emergence, characterize the theoretical approaches associated with some principal figures in the group, outline something of their influence (or reception), and make a few suggestions about their importance for further study. Their work has been undergoing a steady re-appraisal in the contemporary German theatre academy, and some members of the group, like Hans Knudsen and Artur Kutscher, were sufficiently self-conscious about the process of institution-building that their own history has itself been subject to historiographic comment. Consequently I will offer some German reconsiderations of the structure and significance of the field where they seem appropriate. Though there is some sense in the current American construction of this group as “positivist,” the label does not quite acknowledge the variety of theatre theories in which their relatively adequate theory of empirical evidence can be applied, nor does it do justice to the group's interest in theatre as a social phenomenon. The work of the group is so varied in relation to its empirical basis, and so involved in the emerging discourses of sociology, anthropology, and psychology, that it gives us reason to doubt any narrow construction of the theatre-historical tradition as theoretically naive or one-dimensional.
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Shaibakova, Kamila Danilovna. "Transformation of the European arrest warrant in light of protection of the rights of extradited individuals." Право и политика, no. 4 (April 2020): 42–48. http://dx.doi.org/10.7256/2454-0706.2020.4.32293.
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The subject of this research is the norms of international legal acts, legislations of the EU member-states, decisions of foreign national courts, as well as decisions of the European Court on Human Rights and European Court of Justice. A hypothesis is advanced that within the framework of the European arrest warrant there are new trends associated namely with the desire to strengthen the system of protection of rights of the extradited individuals, which can negatively affect functionality of the procedure as a whole. Thus, a number of cases of the national courts (for example Artur Celmer case) and Court of the European Union (Pál Aranyosi and Robert Căldăraru case), as well as provisions of the constitutional courts lead to the fact that the principle of mutual recognition of court decision is used with caution. The article examines the case law of national courts of the EU member-states, as well as practice of the European Court of Justice and European arrest warrant. The author compared the decisions of the aforementioned courts for confirming the hypothesis that the protection of extradited individuals plays a significant role in the context of operation of the European arrest warrant. The intention to provide legal guarantees to individuals extradited in the context of the European arrest warrant, which loses its main influence; particularly the procedure is interrupted due to absence of guarantees of protection of rights in case of extradition, as well as raises doubt towards judicial systems and their decisions of some EU member-states brought forth by political actions of these countries. Moreover, protection of rights and guarantee of fair trial increases.
Dissertations / Theses on the topic "Artur Influence"
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Torres, Walter Lima. "Influence de la france dans le theatre bresilien au xixe siecle : l'exemple d'arthur azevedo." Paris 3, 1996. http://www.theses.fr/1997PA030103.
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Cette these est centree sur l'etude de l'influence francaise sur le theatre bresilien au cours des trente dernieres annees du xixe siecle. Initialement nous retracons les origines des manifestations theatrales organisees par des jesuites ; ensuite, a partir des recits de voyageurs francais de passage au bresil, nous constatons la laicisation de ces manifestations. Nous focalisons la recherche sur le cas particulier d'arthur azevedo (1855-1980), qui, en tant qu'auteur participant activement a la pratique theatrale bresilienne de l'epoque, est le meilleur representant de la concretisation de l'influence francaise. La diversite de la relation d'aa avec l'univers theatral francais est analysee a differents nivaux. D'abord en tant que journaliste, chroniqueur de l'activite bresilienne et temoin de la presence d'innombrables compagnies francaises en tournees au bresil; dans cette perspective nous relatons ses critiques concernant le travail de sarah bernhardt, de rejane et d'antoine. Le deuxieme niveau se manifeste par le sens aigu de filiation present chez aa, qui choisit francisque sarcey comme son maitre a penser. Dans le troisieme niveau, il ressort la presence de l'element francais dans la campagne menee par aa en vue de la construction d'une scene nationale bresilienne a l'image de la comedie francaise et du theatre de l'odeon ; cependant, ce modele, maintenant architectural, ne sera plus celui du theatre dramatique mais celui du theatre lyrique, avec le choix du modele architectural du nouvel opera (palais garnier) par les architectes bresiliens. Le quatrieme niveau concerne les relations qui animaient la pratique theatrale bresilienne dans cette fin de siecle. Nous analysons, au sein de cette pratique, les elements qui la composent : l'impresario, l'edifice theatral,le repertoire, la troupe, le public, etc. Enfin, dans le cinquieme niveau, nous soulignons le parallele existant entre les pieces theatrales ecrites par aa a partir du repertoire francais. A l'aide de l'hypertextualite theatrale, nous retracons le processus sous-jacent a l'ecriture d'aa e la facon dont il trouve une voie extremement personnelle d'utiliser les textes francais comme des brouillons pour ses pieces, tout en evitant le plagiatThis thesis focuses on the study of the french influence on brazilien theatre in the last thirty years of the 19th century. At first we recount the origins of the theatrical performances fostered by jesuits only to witness their subsequent secularization, set forth in the accounts of french travelers passing through brazil. Special emphasis is given to arthur azevedo (1855-1908), an author who, through his involvement with the theatrical pratice of the time, is the best personification of the french influence. The diversity of this relation with the univers of french theatre is analysed through different levels. At first as a journalist and a critic of the brazilian theatrical activities, but also as the witness of the presence of innumerable french companies on tour in brazil. From this perspective we relate his critics concerning sarah berhanrdt, rejane and antoine. The second level corresponds to an acute sense of filiation manifested through aa's choice of francisque sarcey as his intellectual guide. The third level focuses on the presece of french components in aa's campaign for the construction of a brazilian stage made in the image of the comedie francaise and theatre de l'odeon. However, this model, now in architecture, will eventually apply to lyric drama rather than to drama itself on account of the choice, by brazilian architects, on the architectonic model thar inspired the freche opera house palais garnier. The fourth level refers to the relations that underlay the brazilian theatrical practice at the end of the century. The elements that compose this practice -the impresario, the theatrical body, the repertoire, the company, the public, etc - are herein analysed. Finally, the fifth level focuses on the parallel that can be made from aa's plays inspired on french repertoire. Through theatrical hypertextuality we recount the process of aa's writing and relate how the author, while avoiding plagiarism, finds an extremely personal way to make use of french texts as drafts for his own plays
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Carette-Drencourt, Fabienne. "Schopenhauer et les grands courants littéraires français de la fin du XIXe siècle." Paris 4, 1995. http://www.theses.fr/1995PA040030.
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La philosophie de schopenhauer, qui accorde a l'art, et en particulier a la musique, une place privilegiee, eut une influence considerable sur l'esthetique de la seconde moitie du dix-neuvieme siecle, et notamment en france sur les courants litteraires. Schopenhauer, qui considere la representation artistique non comme l'image illusoire d'une apparence trompeuse, mais comme l'expression veritable de l'etre en soi, confere a l'art une fonction metaphysique et redemptrice. Des ecoles de poetes tres differentes vont se reclamer de son esthetique, depuis la poesie gnomique et philosophique de jean lahor ou de louise ackermann, jusqu'aux extremes raffinements et deliquescences des decadents, en passant par l'impassibilite et la mystique du beau des parnassiens. Mais, plus que tout autre, le symbolisme, domine par les themes du solipsisme et de l'idealisme sujectif, vise a mettre en pratique la metaphysique de la musique du philosophe allemand. Quant aux ecrivains realistes, ils sont attires, tantot par les aspects subversifs et pessimistes, tantot par l'aspect consolant de la doctrine. Schopenhauer depouille le createur lucide de toute illusion, mais en meme temps, il permet une distanciation et un salut, par l'art ou par l'ascetisme. Seduits, maupassant, zola, huysmans entre autres, lui consacrent une de leurs oeuvres. Mais c'est certainement sur la recherche du temps perdu, que l'enpreinte de schopenhauer est la plus profonde. En effet, de jean santeuil au temps retrouve, proust exprime une conception du temps, de l'art et des rapports humains qui se rattache au systeme schopenhauerien. En definissant l'homme moderne et ses angoisses, face a un monde sans valeur, face a une raison qui se derobe devant la toute puissance de l'inconscient, schopenhauer a bouleverse les fondements de toute creation litteraire authentiqueSCHOPENHAUER'S PHILOSOPHY, GRANTING A PRIVILIGED PLACE TO ART AND PARTICULARLY TO MUSIC, HAD A TREMENDOUS INFLUENCE OVER THE AESTHETICS OF THE SECOND HALF OF THE NINETEENTH CENTURY, AND ESPECIALLY IN FRANCE OVER ITS LITERARY CURRENTS. SCHOPENHAUER, WHO REGARDS ARTISTIC REPRESENTATION NOT AS AN ILLUSIVE IMAGE BUT AS THE ACTUAL CONVEYANCE OF THE BEING IN ITSELF, BESTOWS ON ART A METAPHYSICAL AND REDEEMING OFFICE. VERY DIFFERENT SCHOOLS OF POETS WILL CLAIM THEIR BELONGING TO HIS AESTHETICS, STARTING FROM THE GNOMIC AND PHILOSOPHICAL POETRY OF JEAN LAHOR OR LOUISE ACKERMANN, THEN ON TO THE IMPASSIVITY AND MYSTICISM OF THE BREAUTIFUL OF THE PARNASSIAN SCHOOL, AND FINALLY TO THE UTMOST SUBTELIES OF THE DECADENTS. BUT INDEED SYMBOLISM, SWAYED BY THE THEMES OF SOLIPSISM AND SUBJECTIVE IDEALISM, FAR MORE THAN ANY OTHER SCHOOL AIMS TO PUTTING INTO PRACTICE THE GERMAN PHILOSOPHER'S METAPHYSICS OF MUSIC. AS TO REALISTIC WRITERS, THEY ARE ATTRACTED NOW BY THE PESSIMISTIC AND SUBVERSIVE ASPECTS, NOW BY THE COMFORTING SIDE OF THE DOCTRINE. SCHOPENHAUER DEPRIVES THE CLEAR-HEADED CREATOR OF ANY ILLUSION BUT AT THE SAME TIME ALLOWS HIM REMOTENESS AND SOME SORT OF SALVATION, THROUGH ART OR ASCETISM. ENTICED, MAUPASSANT, ZOLA, HUYSMANS, AMONG OTHERS, HAVE DEDICATED ONE OF THEIR WORKS TO HIM. BUT WE CAN ASCERTAIN THAT IT IS IN THE OUEST OF LOST TIME THAT SCHOPENHAUER'S MARK PROVES THE DEEPEST. IN FACT, FROM JEAN SANTEUIL UP TO RECAPTURED TIME, PROUST EXPRESSES A CONCEPTION OF TIME, ART, AND HUMAN RELATIONSHIPS THAT IS QUITE CONNECTED with THE SCHOPENHAUERIAN SYSTEM. BY DEFINING THE MODERN MAN WITH HIS ANGUISH WHEN ENCOUNTERING A WORTHLESS WORLD, AND AN ELUSIVE REASON IN FACE OF THE ALMIGHTY UNCONSCIOUS, SCHOPENHAUER HAS OVERTHROWN THE FOUNDATIONS OF ANY GENUINE LITERARY CREATION
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Lhermelier, Cyrille. "Lectures des Premiers vers de Germain Nouveau (1851-1920) : Paul Verlaine, Arthur Rimbaud, intertextualité, intermétricité." Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20004.
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Ce travail est consacré à l'étude quasi exhaustive des Premiers poèmes de Germain Nouveau (1851-1920) qui recouvrent la période 1872-1879. Le fil conducteur en est l'approfondissement de l'analyse des liens poétiques et personnels que le poète entretint avec Paul Verlaine et Arthur Rimbaud. L'objectif est de montrer comment la passion de Nouveau pour les oeuvres de ces deux étoiles a déterminé son esthétique, mais également dansquelle mesure sa poésie est restée très personnelle, lui conférant une place de choix parmi les poètes de la décennie qui suivit la Guerre de 1870. Une première partie étudie les poèmes des années 1872-1873, qui pour laplupart paraissent dans la Renaissance littéraire et artistique. Ces textes sont déjà parsemés de références métriques et intertextuelles aux poèmes de Verlaine et Rimbaud. Un deuxième mouvement est consacré à la rencontre humaine et poétique entre Germain Nouveau et Arthur Rimbaud. Nous tentons d'y préciser la chronologie des événements, à Paris puis à Londres, à travers la correspondance de Nouveau et divers témoignages, dont celui de Jean Richepin. Notre recherche s'intéresse enfin aux poèmes ultérieurs à 1874, ou non datés, parfois en prose, qui, toujours pleins d'inventions et d'originalité, témoignent des centres d'intérêt du poète, parmi lesquels la Commune de Paris et son écrasement semblent tenir bonne placeThis work is devoted to the almost exhaustive study of early poems written by Germain Nouveau (1851-1920) covering the period 1872-1879. The common thread is the deepening of the analysis of poetic and personalrelationships that the poet has with Paul Verlaine and Arthur Rimbaud. The aim is to show how Nouveau’s passion for the works of these two stars has determined its aesthetic, but also how his poetry is still very personal, givinga prominent place among the poets of the decade that followed the war of 1870. The first part examines the poems in 1872-1873, most of which appeared in the literary and artistic renaissance. These texts are dotted with metric and intertextual references to Rimbaud and Verlaine’s poems. The second movement is dedicated to human and poetic meeting between Germain Nouveau and Arthur Rimbaud. We try to clarify the chronology of events, in Paris then in London, through Nouveau’s correspondence and various accounts, including the one of Jean Richepin. Our research is finally interested in subsequent poems to 1874 or undated, sometimes in prose, which, always full of invention and originality, show the Paris Commune and its crushing seem to hold a goodposition
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Jones, Leslie Tara. "Arthur Gooch : the political, economic, and social influences that led him to the gallows /." Read thesis online, 2010. http://library.uco.edu/UCOthesis/JonesLT2010.pdf.
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Shibuya, Yutaka. "La réception de Rimbaud au japon : 1907-1956." Paris 4, 2003. http://www.theses.fr/2003PA040037.
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Notre étude se propose de fournir une vue d'ensemble de la première période de l'introduction de l'óeuvre de Rimbaud au Japon et d'en analyser quelques points de repère significatifs en référence aux problemes et à l'évolution de la société et de la littérature japonaises. Les deux dates figurant dans son titre indiquent le cadre de nos recherches : 1907, année de la première allusion japonaise à Rimbaud ; 1956, date de la publication du dernier tome de la première édition des oeuvres complètes de Rimbaud en japonais. Durant cette période, au Japon, alors que la recherche érudite ne parvient pas à composer véritablement une tradition, l'influence de Rimbaud sur l'activité politique ne cesse de s'affirmer. Nous établissons d'abord une chronologie faisant apparaître les principales références japonaises à Rimbaud, l'accompagnant d'un tableau de la situation historique dans laquelle prend place la decouverte progressive du poète par le public japonais. Ensuite, nous étudions certains cheminements personnels ; nous abordons Kuchiha Mitomi, Tarô Tominaga, Mitsuharu Kaneko et Hideo Kobayashi, autant de lecteurs-créateurs qui révèlent leur personnalité à travers la lecture de l'oeuvre de Rimbaud. Enfin, nous envisageons comment le sonnet des Voyelles a été accueilli au Japon, poème qui, là comme ailleurs, figure parmi les plus connus de Rimbaud. Certains des écrits relatifs au poète que nous étudions ont une valeur littéraire propre, au sens où, à partir de la lecture de Rimbaud, leurs auteurs se sont engagJs plus profondJment dans la recherche de leur propre vérité et ont ainsi trouvé une forme d'inspiration. Ils ont aujourd'hui encore, pour nous, une résonance profonde, ce qui témoigne de la fécondité de la poésie de Rimbaud pour la littérature japonaise moderneThis thesis attempts to trace the history of reception or acceptance of Arthur Rimbaud by the Japanese world of letters and intends to discuss several important aspects of these literary phenomena in detail. Efforts are targeted to the period from 1907 to 1956, which corresponds to the time between the first appearance of the name Rimbaud in Japan and the publication of the final volume of his first complete works translated into Japanese. In the first part of the thesis, the major materials written in Japanese that referred to Rimbaud are collected chronologically and the historic backgrounds of importation of Rimbaud's works into Japan are described. Next, an analysis is focused on four literary men who played important roles in the Rimbaud reception in Japan; they are Kuchiha Mitomi, Taro Tominaga, Mitsuharu Kaneko, and Hideo Kobayashi. Last, how "The Vowels", one of the best-known poems of Rimbaud, was read in Japan is examined extensively. Although academic researches on this French poet in Japan did not make much progress in this period, Rimbaud certainly exerted profound influences on the literary activities of Japanese writers and poets. Most of the works written in Japanese, which are taken up here, possess literary values of their own. Namely, the authors discovered and expressed their own truth upon comprehension of Rimbaud's works. In this mean, their works never become antiquated today
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Monnier, Nolwena. "Arthur dans les chroniques historiques de l'Espace Plantagenêt : émergence, construction et utilisation d'un personnage de légende à la cour d'Angleterre." Marne-la-Vallée, 2003. http://www.theses.fr/2003MARN0178.
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Gibert, Arthur [Verfasser], Ralf [Akademischer Betreuer] Schülein, and Gerhard Paul [Akademischer Betreuer] Püschel. "Influence of Amyloid Aggregates on the Trafficking and Signaling of GPCRs / Arthur Gibert ; Ralf Schülein, Gerhard Paul Püschel." Potsdam : Universität Potsdam, 2021. http://d-nb.info/1236786408/34.
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Libis, Jean. "Bachelard et la mélancolie : l'ombre de Schopenhauer dans la philosophie de Gaston Bachelard." Dijon, 1998. http://www.theses.fr/1998DIJOL017.
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L’œuvre de Gaston Bachelard, volontiers séduisante et foisonnante, pose problème à son lecteur dès lors qu'il veut en comprendre l'architecture générale. Une tendance fréquente est de l'interpréter dans le sens d'un eudémonisme rassurant, capable de réconcilier les progrès de la rationalité scientifique avec les productions profuses de l'imagination poétique. En réalité, cette œuvre couve aussi en elle une mélancolie diffuse, voire un désenchantement secret. Le fait qu'elle se réfère, de façon récurrente et complexe, à la philosophie de Schopenhauer, est certainement emblématique. A partir des ombres portées dans le corpus bachelardien par les intrusions du pessimisme philosophique, il devient pertinent de jauger les significations de la mélancolie bachelardienne. La question du temps et de la mort, le dialogue paradoxal avec la psychanalyse, ainsi que les troublants silences du philosophe sur les plans éthique, politique et théologique, prennent ainsi un relief nouveau : la physionomie de la solitudeGaston Bachelard has left a body of work which, many-faceted and wittingly enticing as it is, may appear rather daunting when one attempts to work out how it is organized in its entirety. There is a tendency to view it as some kind of soothing eudemonism which manages to reconcile the advances in scientific rationality with the outpourings of poetic imagination. In actual fact it is suffused with melancholy, with subdued disenchantment. Its referring to Schopenhauer's philosophy, in a manner both complex and recurrent, is certainly highly significant. Focusing on the inroads of philosophical pessimism which loom large in Bachelard's body of work, it is worthwhile to try and gauge what Bachelard's melancholy actually signifies. Thus the issues of time and death, the ambivalent dialogue with psychoanatysis, but also the philosopher's puzzling silences on ethical, political and theological questions cannot fail to take on a new face: that of solitude
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Caballeros, Gabriel [Verfasser]. "La influencia de la TV en el pueblo Zutujil de Santiago Atitlán / Gabriel Arturo Caballeros Gálvez." Berlin : Freie Universität Berlin, 2010. http://d-nb.info/1024541290/34.
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Chan, Yun Jung Astrid. "André Mathieu and His Piano Concerto No. 4: The Influence of Arthur Honegger in Mathieu's Evolution Toward a Mature Voice." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/202744.
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André Mathieu (1929-1968), a Canadian composer and performer, received acclaim in Europe, Canada and United States from his earliest years. He revealed brilliant pianistic skill, and critics hailed him as the "young Canadian Mozart". Mathieu's early solo piano works, written mostly in ternary form, reveal an abundance of compositional ideas based on the influences of Romantic and Impressionist styles. However, when he began composing Piano Concerto No. 3, a much larger work, his lack of compositional training became evident. Formal weakness resulted in a disconnection between themes and lack of thematic and motivic development. Not until Mathieu studied with Swiss composer Arthur Honegger did he develop and clearly display a concept of formal structure. In this study, I will demonstrate that, through compositional studies with Arthur Honegger, André Mathieu assimilated a new approach to form, resulting in the discovery of his mature compositional voice found for the first time in the Piano Concerto No. 4. The synthesis of Romantic and Impressionistic styles in this concerto further contributes to the unique nature of this mature voice.This document is organized in six chapters. Chapter I reviews current literature on André Mathieu and his music and points out both the values and the limitations of this literature. Chapter II relates Mathieu's biography. Chapter III provides background information on Mathieu's solo piano works and four concerti, as well as the difficult pianistic techniques composed into those works. Chapter IV discusses the influences of Romantic and Impressionist styles in Piano Concerto No. 4 and how Mathieu synthesized both styles. Chapter V analyzes the form, motivic and thematic material, and rhythmic design of all three movements of Piano Concerto No. 4 and compares them with that of Piano Concerto No. 3. Honegger's influence also is discussed in Chapter V. Chapter VI is the conclusion. Musical examples throughout will illustrate points made.
Books on the topic "Artur Influence"
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History on the edge: Excalibur and the borders of Britain, 1100-1300. Minneapolis: University of Minnesota Press, 2000.
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Ireland, National Gallery of, ed. James Arthur O'Connor. Dublin: National Gallery of Ireland, 1985.
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Ray, Papiya. Marilyn Monroe & Arthur Miller's tragedies. Calcutta: Writers Workshop, 1997.
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E, Green Nancy, and Ira Spanierman Gallery, eds. Arthur Wesley Dow, 1857-1922: His art and his influence. New York: Spanierman Gallery, 1999.
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Weiner, David Avraham. Genius and talent: Schopenhauer's influence on Wittgenstein's early philosophy. Rutherford [N.J.]: Fairleigh Dickinson University Press, 1992.
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Il conflitto della società moderna: La ricezione del pensiero di Arthur Schopenhauer nell'opera di Georg Simmel (1887-1918). Lecce: Pensa multimedia, 2010.
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Relativität und Subjektivität: Zum dramatischen Werk Arthur Schnitzlers im Kontext des "Pirandellismo" : ein Vergleich. Wien: Braumüller, 1999.
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Sebbag, Georges. Le point sublime: André Breton, Arthur Rimbaud, Nelly Kaplan. Paris: J.-M. Place, 1997.
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Castro, Pedro Léon. Pedro León Castro: Objetos metafíscos : invitación al génesis : Fundación Museo Arturo Michelena : Caracas, diciembre de 1993. Caracas: Consejo Nacional de la Cultura, 1993.
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King Arthur in antiquity. London: Routledge, 2003.
Find full textBook chapters on the topic "Artur Influence"
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Abeles, Francine F. "The Influence of Arthur Cayley and Alfred Kempe on Charles Peirce’s Diagrammatic Logic." In Research in History and Philosophy of Mathematics, 139–48. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-22258-5_10.
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Bradley, Ian. "1842‒1852." In Arthur Sullivan, 12–24. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863267.003.0002.
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Three of Arthur Sullivan’s grandparents were Irish and probably Roman Catholic. This chapter explores his ancestry and the Irish and Roman Catholic influences on his character, his faith, and his music. It considers and dismisses the suggestions made during his lifetime that he had Jewish and negroid antecedents. It covers his childhood in Sandhurst, where his father was military bandmaster, the influence of the parish church there, his early schooling, and his entrance into the Chapel Royal as a chorister.
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Snider, Jill D. "Epilogue." In Lucean Arthur Headen, 161–72. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469654355.003.0011.
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The epilogue reflects on what invention meant to Headen and to the larger artisanal class from which he came and examines his legacy. Addressed are his influence on other African American transportation technology pioneers, his encouragement of mechanization among British farmers, the role of his bi-fuel engine improvements in supporting the British war effort in World War II, and his long-term influence on engine designs and on anti-icing technologies for air and rotor craft, turbine engines, and wind turbines. The epilogue also probes historiographical questions illuminated by Headen’s story, including the nature of African American automobility in the 1920s, specifically the participation of black beauty culturalists as investors and the automobile’s role in expanding African American social networks; the influence of early religious leaders on the business strategies of African American entrepreneurs; and the implications that social networks carry for personal success and for future racial advancement.
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Bradley, Ian. "1852‒1861." In Arthur Sullivan, 25–51. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863267.003.0003.
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Arthur Sullivan’s musical formation was effected during his teenage years in three institutions: the Chapel Royal, where he was a chorister between the ages of 12 and 15, the Royal Academy of Music, where he studied from 14 to 16 as the first Mendelssohn scholar, and the Conservatory of Music in Leipzig which he attended from the age of 16 until just before his 19th birthday. Each of these places had a considerable impact on him, deepening his childhood love of church music and laying the foundations of his later career as a composer and conductor of sacred works. His time at the Chapel Royal also played a significant role in his spiritual development, owing partly to the strong influence of Thomas Helmore, the master of the choristers. In his teens, Sullivan composed several anthems and got to know many of the leading church musicians of the day. His training in church music is compared to the similar grounding in church and religious music experienced by several of the most prominent Continental European composers of operetta in the mid-nineteenth century.
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Bradley, Ian. "The 1860s." In Arthur Sullivan, 52–88. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863267.003.0004.
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On his return from Leipzig, Arthur Sullivan earned his living as a church organist while making his way as a composer of anthems and serious orchestral works. In the mid-1860s he began a close, life-long friendship with George Grove, founder of the music dictionary which still bears his name and a leading Biblical scholar. As well as promoting Sullivan’s music and securing its performance at the Crystal Palace, Grove introduced him to leading figures in the world of Victorian culture and religion, and influenced his spiritual development and beliefs. He also played a key role in Sullivan’s first and rather tortuous love affair. The death of Sullivan’s father inspired his In Memoriam overture and he put much of his own faith into his first oratorio, The Prodigal Son (1869), which drew on an eclectic selection of Biblical texts and emphasized the themes of repentance, forgiveness, and reassurance that would recur in many of his sacred works.
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Snider, Jill D. "Introduction." In Lucean Arthur Headen, 1–4. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469654355.003.0001.
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The Introduction provides an overview of the life of early African American inventor, aviator, auto racer, engineer, and entrepreneur, Lucean Arthur Headen, It also prefaces the biography’s main themes, including Headen’s childhood influences; the obstacles he faced as an African American independent inventor, including segregation and the increasing corporatization of invention; the social networks on which he relied to build his career; the “coalition economics” strategy he employed to succeed; his emigration to England in 1931 and his career there until his death in 1957; his legacy as a designer of automotive engine improvements and anti-icing methods for aircraft; and his role as a transportation technology promoter.
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Snider, Jill D. "A Dream Begins." In Lucean Arthur Headen, 5–24. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469654355.003.0002.
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This chapter examines the Carthage, NC, childhood of African American inventor and entrepreneur Lucean Arthur Headen, with special attention paid to the social networks Headen’s family forged and to the mentors who inspired him to become an inventor. It describes the influence of former slave artisans, among them his grandfather, a wheelwright for the Tyson & Jones Buggy Company, and his great-uncle, a nationally known toolmaker, who schooled him in mechanics; his father, a sawmill owner, who sparked his entrepreneurial ambitions; and aunts and uncles active in the Presbyterian Church and Republican Party, who offered important social connections. Finally, it describes the economic strategy demonstrated for Headen by Rev. Henry D. Wood, who built a diverse coalition of supporters to finance the construction of John Hall Presbyterian Church and Dayton Academy (the church and school Headen attended). Headen later adapted this coalition-building model to finance his first inventions and business efforts.
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Foley O'Connor, Elizabeth. "Forging a Path." In Pamela Colman Smith, 53–88. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781949979398.003.0003.
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Chapter 2 discusses important influences on her early art and her critical reception. It argues that the two most important influences were Arthur Wesley Dow and Howard Pyle. The British Arts and Crafts movement was another key influence. Furthermore, Colman Smith’s life illuminates the ways in which increasing numbers of women navigated a still firmly patriarchal and often misogynistic arts scene. In order to sustain herself, Colman Smith began to surround herself with a network of women artists and writers. These female artistic communities were to provide key support and encouragement to her over the course of her life, especially as she became jaded by the false promises of her male patrons and publishers. The chapter concludes by asserting that we can see the clear feminist focus in her early work through her emphasis on strong female characters, such as her portrayal of Lady Macbeth, as well as her distinctive use of color, movement, shape, and line.
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Budd, Malcolm. "Richard Arthur Wollheim 1923–2003." In Proceedings of the British Academy Volume 130, Biographical Memoirs of Fellows, IV. British Academy, 2005. http://dx.doi.org/10.5871/bacad/9780197263501.003.0011.
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Richard Arthur Wollheim (1923–2003), a Fellow of the British Academy, was an advocate of pacifism. Born in London to Eric Wollheim and Constance Baker, he went to Westminster School as a King’s Scholar at the age of thirteen and was influenced by Aldous Huxley’s Encyclopaedia of Pacifism. After volunteering for service during World War II, he returned to Balliol College at the University of Oxford in 1945, obtaining two first class BA degrees, one in History in 1946, the other in Philosophy, Politics and Economics in 1948. His first substantial piece of work, F. H. Bradley (1959), notable for the elegance and lucidity of its writing and its unrivalled mastery of Francis Herbert Bradley’s philosophy, was immediately recognised as the best book on its subject. Underlying his concern with social issues was one of the deepest commitments of Wollheim’s life, ‘devotion to the cause of socialism’, and it is in the final section of his Fabian Society pamphlet Socialism and Culture (1961) that his own conception of socialism becomes clear.
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Pak, Chris. "Terraforming and the City." In Fantastic Cities, 229–44. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496836625.003.0014.
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Chris Pak’s chapter examines worlds beyond our own. Focusing on Arthur C. Clarke’s novel The Sands of Mars, Frederick Turner’s Genesis: An Epic Poem, and Kim Stanley Robinsons Mars trilogy, Pak argues that representations of animals, plants, and bacteria are fundamental to how terraforming narratives conceive of cities as centers for the technological transformation of worlds. This chapter thus discusses how nonhuman nature is incorporated into images of the city; after all, terraforming is centrally concerned with a future dominated by global cities, communication technologies, and the corporate influence on society, politics, and economics.
Conference papers on the topic "Artur Influence"
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Maya, Sebastian. "A reflexive educational model for design practice with rural communities: the case of bamboo product makers in Cuetzalan, México." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.58.
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In the '60s and '70s, a global economic and technological development plan for "undeveloped" countries defined the base of the professionalization process of industrial design in Latin America. Since then, many scholars have revised the industrial design practice and proposed new ways to reinterpret Latin American design according to current perspectives about the context and territory. This research strives on a reflexive educational model based on a socio-technical system's understanding for a mixed craft-industrial design practice with rural communities in Mexico. By combining post and decolonial perspectives and critical theories of neoliberalism in the design field; and analyses of the design education process inside the rural communities of bamboo product makers in Cuetzalan (Puebla, México), it is possible to unravel the translation agency of designers (also as individuals with personal and professional interests) between the global economic system pressures and internal beliefs and positions of communities. Following Arturo Escobar's (2007, 2013, 2017) and Walter Mignolo's (2013) ideas, the design practice in Latin America is highly questionable when it tries to involve rural or social perspectives due to the influence of the development's regimes of representation. These regimes vigorously promote the generation of economic wealth from economic and technological development, primarily based on a globalized neoliberal logic. As Professor Juan Camilo Buitrago shows in the Colombian case, many universities were linked to government economic policies "due to the need to align themselves with the projects that the State was mobilizing based on industrialization to encourage exports." (2012, p. 26). This idea is still valid since public and private universities constantly compete for economic resources that they exchange with applied knowledge that points to the development of various economic sectors. Numerous studies attempt to reconcile academic epistemological and ontological forms with rural ways of understanding the world. Regardless of these efforts, it is necessary to highlight that professional design education has barely incorporated these reflections within its institutional academic structures. This work has been part of a series of university-level courses that mix experiences and perspectives between Anahuac University final year design students and the Tosepan Ojtatsentekitinij (bamboo workshop) members. The current research considers the participation of all the actors involved in the educational process (directors, lecturers, and students) and the people close to the bamboo transformation processes in Cuetzalan. The course is divided into three phases. First, students and professors discuss critical topics about complex systems and wicked problems, participatory methodologies, capitalism and globalization, non-western knowledge, social power dynamics, and Socio-technical systems. The second phase involves independent and guided fieldwork to share thoughts and intentions with the bamboo material and its possible applications. Lastly, there are different creation, experimentation, and exposition moments where each actor could share comments about all the experiences. The results intended to provide analytical tools that allow design students and educational staff members to deconstruct their economical-industrial roots to tend bridges that harmonize imaginative and creative attitudes between designers and rural craftspersons.
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Maya, Sebastian. "Un modelo educativo reflexivo para la práctica del diseño con comunidades rurales: el caso de los fabricantes de productos de bambú en Cuetzalan, México." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.58.g42.
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El diseño industrial se profesionalizó en América Latina durante los años 60 y 70, bajo un plan internacional de desarrollo económico y tecnológico para naciones “subdesarrolladas”, apoyado principalmente por Estados Unidos y varios países europeos. Desde entonces, muchos académicos han revisado la práctica del diseño industrial y propuesto nuevas formas de reinterpretar el diseño latinoamericano de acuerdo con las perspectivas actuales sobre el contexto y el territorio. Esta investigación se basa en un modelo educativo reflexivo dedicado a la comprensión de un sistema socio-técnico para una práctica mixta de diseño artesanal-industrial con comunidades rurales en México. Combinando perspectivas post y decoloniales y teorías críticas del neoliberalismo en el campo del diseño y análisis localizados de las prácticas de diseño dentro de las comunidades rurales de fabricantes de productos de bambú en Cuetzalan (Puebla, México), es posible desentrañar la agencia de traducción de los diseñadores (también como individuos con intereses personales y profesionales) entre las presiones del sistema económico global y las presiones internas y las creencias y posiciones de las comunidades. A pesar de los extensos esfuerzos para estudiar la transformación de la práctica del diseño en el continente, es necesario resaltar que la educación profesional en diseño apenas ha incorporado alguna de estas reflexiones dentro de sus estructuras académicas institucionales. Como muestra el profesor Juan Camilo Buitrago en el caso colombiano, muchas universidades estuvieron vinculadas a las políticas económicas gubernamentales “por la necesidad de alinearse con los proyectos que el Estado estaba movilizando con base en la industrialización para incentivar las exportaciones”. (2012, pág.26). Esta idea sigue vigente, ya que las universidades públicas y privadas compiten constantemente por recursos económicos que intercambian con conocimientos aplicados que apuntan al desarrollo de diversos sectores económicos. La influencia de los regímenes de representación del desarrollo en la práctica del diseño en América Latina se nota cuando se analiza desde una perspectiva rural. Es posible encontrar en estos contextos numerosos estudios que intentan conciliar las formas académicas epistemológicas y ontológicas con las formas rurales de entender el mundo. Pese a ello, las ideas de lograr el bienestar basado en el desarrollo se manifiestan en todos los estratos sociales, según la obra de Arturo Escobar. Este trabajo ha sido parte de una serie de cursos de nivel universitario que aportan nuevas perspectivas sobre la organización económica y política desde las estructuras cooperativas dentro de las prácticas de diseño. La investigación actual incluye a todos los actores involucrados en el proceso educativo, así como a las personas cercanas a los procesos de transformación del bambú en Cuetzalan. Los resultados brindan herramientas analíticas que permiten a los diseñadores deconstruir sus raíces económico-industriales para tender puentes que armonicen actitudes imaginativas y creativas entre diseñadores y artesanos rurales. Esas actitudes no solo están relacionadas con la configuración de las habilidades o la sensibilidad de los productos, sino también con la capacidad de comprender otras formas de percibir y conectar con el mundo y la sociedad.