Dissertations / Theses on the topic 'JOAC'
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Lee, Jerin, Edward C. Chang, Abigael G. Lucas, and Jameson K. Hirsch. "Academic Motivation and Psychological Needs as Predictors of Suicidal Risk." Digital Commons @ East Tennessee State University, 2019. https://doi.org/10.1002/jocc.12123.
Full textCalloway, Cailan C. "Becoming Joan: An Actress' Journey into the Mind of Joan of Arc." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/170.
Full textWeyer, Christine Louise. "Joan Metelerkamp : poet of connection." Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/734.
Full textCanoquena, Joao M. "Developing a theoretical framework for improved practical application of a coordinated response in road safety." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/107924/2/Joao%20Canoquena%20Thesis.pdf.
Full textSakamoto, Chiyo. "Interprétations romantiques de Jeanne d'Arc." Villeneuve d'Ascq : Presses universitaires du Septentrion, 1998. http://catalog.hathitrust.org/api/volumes/oclc/41525198.html.
Full textFernández, García Rosa María. "La obra del compositor Joan Guinjoan." Doctoral thesis, Universitat Autònoma de Barcelona, 2001. http://hdl.handle.net/10803/5194.
Full textMoreta, Ignasi. "El pensament religiós de Joan Maragall." Doctoral thesis, Universitat Pompeu Fabra, 2008. http://hdl.handle.net/10803/7441.
Full textUntil now Joan Maragall's religious thought has not been the object of an extensive and methodical study. This thesis aims to offer a systematization of his religious thought within the framework of an intellectual biography which allows for the visualization of its evolution and development. For the purpose of this analysis, the intellectual biography has been divided in four stages: 1) the romantic period of the religion of beauty (1860-1890); 2) the positivist period, from the exaltation of the strong to the Christianization of the excelsior (1890-1901); 3) the modernist neo-spiritualist period (1901-1906), and 4) the last period (1906-1911). Maragall develops a specific terminology for his thought and gives it a coherent and unified form in the last stage. From a clearly anti-ascetic position though not anti-mystic , Maragall detects the existence of moments when temporality is suspended «moments of eternity» , the experience of which allows for the overcoming of the distinction between earthly and otherworldly.
Steggall, Susan Margaret English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "Joan Kerr in context: a biography." Awarded By:University of New South Wales. English, Media, & Performing Arts, 2009. http://handle.unsw.edu.au/1959.4/44475.
Full textCarroll, M. Catharine. "Joan Finnigan, an essay and bibliography." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ48380.pdf.
Full textGonçalves, Adriana de Souza Jordão. "Silenced women in Joan Rileys fiction." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2337.
Full textEsta dissertação busca analisar como Joan Riley, escritora jamaicana que vive na Inglaterra, expõe e denuncia em suas obras a submissão feminina diante da opressão e violência sexual sofridas por mulheres negras. Objetivamos apontar a crítica ao papel dos discursos patriarcal e pós-colonial, práticas de poder que tornam o contexto social das mulheres representadas em seus romances propício para o exercício do jugo masculino, através da exploração do silêncio de mulheres vítimas de abusos sexuais. O necessário recorte do objeto restringiu a análise às duas personagens centrais dos romances The Unbelonging (1985) e A Kindness to the Children (1992), mulheres cujas subjetividades foram anuladas pela objetificação de seus corpos e a desumanização de suas identidades
The present work aims at analyzing how Joan Riley, Jamaican writer who lives in England, exposes and denounces in her work the female submission in face of the oppression and sexual violence suffered by black women. The objective of the study is to point out the authors criticism of patriarchal and post-colonial discourses, power practices which insert the women represented in her fiction into the proper social context for the exercise of male domination, through her exploration of silence of women who are victims of sexual abuse. The necessary cut of the object restricted the analysis to the two central characters in the novels The Unbelonging (1985) and A Kindness to the Children (1992), women whose subjectivities were made null by the objectification of their bodies and the dehumanization of their identities
Shaw, Amy Catherine. "Joan of Kent : life and legends." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300362184.
Full textBarjau, Civil Alejo. "Les équilibres euphoniques chez Joan Margall." Paris 5, 1992. http://www.theses.fr/1992PA05H084.
Full textIn the poetical work of Joan Maragall (1860-1911), a Barcelona poetone of the most representative of the catalan literary revival, between romantism and modernism - all sorts of euphonic representations appear such as: oscillations (a succession of two tones of the same sequence -vowel or consonant - over a group of at least three), series (a unity of at least two identical groups of two phonems running in the same sequence). These phonic representations have been outlined in "the euphonic and rhythmic system of French verse" by professor Michel Gauthier, adapted to the Catalan language. A detailed study (about stylistics, syntax, semantics and euphonic) of the one hundred verses of the new ode to Barcelona discloses certain relationships between the sound and the meaning. There are several hypothesis concerning the origin of various verses which bring to light the inherent euphonic balances in the poetic expression. Therefore the euphonic system turns into a euphonic theory, i. E. , a new method of approaching and interpreting poetry as a whole
Fields-Hawkins, Stephanie. "Frances Farenthold: Texas' Joan of Arc." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc177196/.
Full textGillingwators, Jean. "Joan Didion and the new journalism." CSUSB ScholarWorks, 1986. https://scholarworks.lib.csusb.edu/etd-project/417.
Full textJeoung, Ji-Young. "An analysis of Joan Tower's solo keyboard works." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/778.
Full textMacià, Xavier. "La Poesia de Joan Vinyoli, 1937-1963." Doctoral thesis, Universitat de Lleida, 1993. http://hdl.handle.net/10803/8188.
Full textMut, Garcia Juan Miguel. "El ioga de Joan Mascaró i Fornés." Doctoral thesis, Universitat de les Illes Balears, 2005. http://hdl.handle.net/10803/9427.
Full textLa tesis es una tesis bibliográfica centrada en la obra de Mascaró y que sistematiza en un solo documento gran variedad de obras dispersas y algunas de ellas inéditas. Pretende dar una visión de conjunto sobre su pensamiento y su relación con la filosofía oriental y sobretodo con las obras que tradujo.
El interés de la tesis se centra en la actitud vital de Mascaró hacia la espiritualidad y el Yoga como herramienta para acceder a la aprehensión de la Verdad espiritual. La taxonomia que utiliza Mascaró en sus obras se basa en las palabras: Luz, Amor y Vida y la tesis pretende demostrar también su equivalencia con los términos Jñana, Bhakti y Karma Yogas.
En la tesis se tratan además, desde la perspectiva de Mascaró, temas como el budismo, la unidad del fenómeno religioso, la educación, concepto de Karma, de Dharma y otros.
Joan Mascaró i Fornés (1897-1987) was philologist, poet, orientalist, professor at Cambridge University and, above all, the translator of The Bhagavad Gita, The Upanishads and The Dhammapada from Sanskrit and Pali into English.
The thesis is bibliographical. It is centred in Mascaró's works, and it systematises a variety of disperses works, some of them unpublished in an only a document. It aspires to give a vision of his thoughts as a whole and their relationship with oriental philosophy and the works that he translated.
The main interest of the thesis is Mascaró's vital attitude towards spirituality and Yoga as a tool to gain access to the apprehension of the spiritual Truth. Mascaró's taxonomy is based in the words: Light, Love and Life and the thesis aspires to prove their equivalence with the conceptions of Jñana, Bhakti and Karma Yogas.
The Thesis also deals whith Mascaró's vision of Buddhism, the unity of religious phenomenon, education, the concepts of Karma and Dharma and others.
Watson, Michael. "Joan of Art : in defence of subjectivity." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/7118/.
Full textUtéza, Francis. "Joao guimaraes rosa : metaphysique du grand sertao." Montpellier 3, 1990. http://www.theses.fr/1990MON30028.
Full textIt can be concluded from guimaraes rosa's statements, the contents of his library and the analysis of his answering speech at the brazilian academy that his metaphysics are based on the convergence of the esoteric traditions of east & west - taoism & zen budhism; hermeticism & alchemy. And this double key gives access to the exegesis of his great sertao: when interpreted as a series of projections in the eternal present during which the great myths of the primordial religions (egypt, babylon, old testament, ancient greece, new testament) are re-enacted riobaldo's path outlines a sacred geography in the brazilian hinterland - the sertao - where the quest for the philosopher's stone is played out. Helped by occult hierophants, the hero sets off from the primordial chaos of the great goddess yin, advances towards the separating light of the father-chief yang and finally discovers in the last episode the superior unity of the coincidentia oppositorum. Litterature thus becomes the transmission of a form of knowledge, in a falsely regional language, the deciphering of which can put the reader on the path of his own initiation. By the mediation of a work of art on the frontiere between the book and the word, the great chain of the esoteric tradition is reconstituted - of which roman catholicism in its popular brazilian version, with its naive and dualistic satanism, is only an exoteric "regional reality"
Taghian, Eftekhari Ladan. "Joao Domingos Bomtempo : itinéraire de son oeuvre." Paris 8, 1998. http://www.theses.fr/1998PA081549.
Full textThe work ofjoao domingos bomtempo (1775-1842), the first symphonist and the only preromantic portugese musician, has been occulted for a long time. It takes place in a period of transition, between classicism and romantism. With the era of patronage ending, musicians were aspiring after their independence. In 1803, bomtempo was in paris and appeared to be a composer and a virtuoso pianist. After the occupation of portugal by napoleon, he composed and executed other pieces in london (1810-1814) where he became a founder member of the philharmonic society. He published his compositions in paris by leduc and pleyel, and in london by clementi. He also composed pieces of religious music (he had been educated in religious music and a oboist to the portuguese royal chapel). He became a militant to the liberal cause. We have analysed some of his intrumental pieces from the point of view of esthetics (sonatas, concertos, variations, symphonies and religious compositions). To understand the evolution of his work, we chose to examine the way he lived and felt during this period of historical and social transition, that is the romantic stream of which he was representative. We attempted thus to find the esthetic dimension of his work through the social and historical transformations of portugal and europe in that period. After the 1820 portuguese liberal revolution, bomtempo founded the philharmonic society at a time when italian opera was in vogue in all europe and especially in portugal. He then founded in 1835 the conservatory of music in lisbon. This institution caused laicization of musical education, allowing for the first time women to study music
Guibert, Bertrand Devals Jean-Pierre. "Jean Boudou, visionnaire et humaniste /." Rodez : Grelh Roergàs, 2005. http://catalogue.bnf.fr/ark:/12148/cb41081210c.
Full textRingbom, Jakob. "French Nationalism and Joan of Arc : the Use of the Cult of Joan of Arc in France between 1871-1926." Thesis, University of Gävle, Ämnesavdelningen för kultur- och religionsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-5020.
Full textThe cult of Joan of Arc has always had an effect on the people of France, throughout history. It has aspired too many different views and re-surfaced at times in crisis for France. During some turbulent years after the mid 19th century the cult seems to have gained popularity. Emotional and historical writing became a fashion and Joan was presented in different ways depending on the writer and his motifs. As nationalistic front gained in popularity they understood to use her symbol in the name of France.
This following study, named French Nationalism and Joan of Arc: the Use of the Cult of Joan of Arc in France between 1871-1926, has been an attempt to study her cult from an ultra nationalistic point of view. By approaching the subject by a history of ideas theory I have tried to answer my questions in the matter, and tried to de-code the image of Joan of Arc in the name of nationalism. By first studying the nationalistic development in France as background and the basics and philosophy of the ideas I have then begun the research of the period mentioned. First and foremost I have studied the framework of nationalism and then I have used material coherent to my study, such as Action Française, writers of the 19th-20th century and other studies. I have come to learn that the cult of Joan was perfect for the time when ultranationalistic feelings grew in the late 19th century as a response to the ever twisted Dreyfuss-affair. Along with nationalism came anti-Semitism and fascism and in the line of Action Française also royalism. Joan of Arc stood for all those things, at least that is what the nationalist thought, using history and documents to back it up. And if the legend did not fit the purpose, it was made to fit, all in the ideology of nationalism. Joan of Arc became the symbol they wanted for all their own beliefs. Joan of Arc was to be a piece of raw clay, able to take on any form in the hands of politics.
Enjuanes, Puyol M. Soledad. "Joan Ponç: Aproximació crítica al seu imaginari pictòric." Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/308322.
Full textThe critical approach to the imagination and imaginary of Joan Ponç (1927-1984) has been carried out under two basic premises: the intrinsic interest of his creations and the possibility of deepening the knowledge from an artistic context representing the end of the Second World War and the havoc of the Civil War. The characteristics of his artistic language and his aesthetic attitude have been studied based on three different points of view: artistic historiography, the artist’s autobiography, and his work. The analysis carried out has enabled it to be placed in an artistic environment dominated by a refractory taste towards innovation and within the minority, which from the end of the 1940s, had a renewed interest in international avant-garde art. His filiation with more advanced art faded as Informalism gained popularity and Ponç opted to follow a system of work that distanced him from it. His loyalty to oil painting and drawing conditioned the subsequent interpretations of his work and meant that they were seen as outdated. The narrative built up by critics were enriched by the artist’s autobiography which was published for the first time in 1965, a self narrative in which Ponç articulated a parallel discourse on his life and artistic trajectory. He also made reference to the creators he considered his referrers: El Greco, Ramon Rogent, Joan Miró and Paul Cézanne. From the dialogue and comparison between this narrative and his work his creative mechanisms are understood and the characteristics of his artistic language are defined. His work brings to light his desire to transcend from the world of appearances and to carry out a formal experimentation that doesn’t pose any risk to painting. A creative path in which geometry progressively takes on greater importance and converges with an imaginary world that feeds off ancestral traditions. The union of seemingly contradictory elements such as the logic of geometry and fantasy are key in steering us towards a concept that allows us to define the complexity of his art without blurring it: the grotesque.
Domingo, Masdéu M. Teresa. "El llenguatge dramàtic de Joan Puig i Ferreter." Doctoral thesis, Universitat Rovira i Virgili, 2017. http://hdl.handle.net/10803/667002.
Full textEsta tesis estudia el lenguaje dramático de Joan Puig i Ferreter (1882-1956). Con este objetivo hemos elaborado el vocabulario de las obras teatrales del autor, y el análisis y caracterización de este vocabulario. Su producción literaria y, por lo tanto, la dramática, se inscribe en el primer tercio del siglo XX, un período de crisis y de cambio, porque los modelos de lengua floral, propios de la Renaixença, parecen definitivamente superados, y los escritores como Puig i Ferreter tuvieron que esforzarse a encontrar un tono y un estilo de lengua modernos y adecuados a los nuevos términos y tratamientos, porque en aquel momento no existía un estándar literario compartido. El estudio de la lengua de Puig i Ferreter nos ha permitido seguir, a parte del interés que tiene por si misma, este proceso que conduce a la consolidación del modelo general de catalán literario que empieza a cristalizar hacia la tercera década del siglo XX. Puig fue tratado desde su irrupción en la escena catalana como un autor singular en la época por sus planteamientos dramáticos atrevidos, que no dejaron a nadie indiferente. Por esta razón ha sido de gran interés para nosotros analizar y describir la expresión lingüística de este autor, por medio de la que los elementos renovadores que hemos citado anteriormente se han manifestado en su obra. Los ejemplares de su obra han sido sometidos a un proceso de escaneo electrónico y se ha pasado de una lista de formas a una lista de lemas. Y, a partir del lemario, de la variación de ocurrencias a lo largo de las obras y del estudio de préstamos, arcaísmos, cultismos estilísticos, coloquialismos y léxico dialectal procedente del Camp de Tarragona, hemos llegado a unas conclusiones: Puig asumió progresivamente el nuevo modelo de lengua; en cuanto al estilo, como él mismo nos confiesa, a los cuarenta años tuvo que volver a aprender a escribir.
This thesis studies the Joan Puig i Ferreter’s (1882-1956) dramatic language With this aim we have developed the vocabulary of the author's theatrical works, and the analysis and characterization of his vocabulary. His literary production and, therefore, dramatic production, is part of the first third of the twentieth century, a period of crisis and change, because the Floral language models, typical of the Renaixença, seem definitely overcome, and writers like Puig i Ferreter had to strive to find a modern tone and style of language appropriate to the new terms and treatments, because at that time there was no a shared literary standard language. The study of Puig i Ferreter’s language has allowed us to follow, apart from the interest that it has for itself, this process that leads to the consolidation of the general model of Catalan literary language that begins to crystallize towards the third decade of the twentieth century. Puig was treated from his irruption in the Catalan scene like a singular author in the time by his bold dramatic expositions, that did not leave anyone indifferent. For this reason it has been of great interest for us to analyze and describe the author’s linguistic expression by which the renovating elements mentioned above have been manifested in his work. The copies of his work have been subjected to an electronic scanning process and it have been moved from a list of forms to a list of slogans. And, from the lemmary, the variation of occurrences throughout the works and the study of loans, archaisms, stylistic cultisms, colloquialisms and dialectal lexicon from Camp de Tarragona, we have arrived at some conclusions: Puig gradually assumed the new language model; in terms of style, as himself confesses, at the age of forty he had to re-learn to write.
Ripley, Samara. "Joan La Barbara's early explorations of the voice." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/59109.
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Music, School of
Graduate
Lika, Foteini. "History, fiction and satire in Roidis' Pope Joan." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608597.
Full textMeurer, Clio Elizabeth de Carvalho. "Joan MIRÓ, René MAGRITTE : écriture et création picturale." Paris 7, 2008. http://www.theses.fr/2008PA070003.
Full textThe present work has as its main objective to verify the role of writing in pictorial creation - to verify how written language may influence, interfere with and/or incorporate itself into the genesis of an artwork. It does so by carrying out a contrastive analysis of the interaction of text and image in the works of Joan Miró and René Magritte. The research rests upon four main axes of analysis, each one having its own methodology and its own theoretical approach. The first axis examines the founding principles of the artists' modus operandi, in an attempt to bring forth evidence of the important role played by poetry in the construction of such principles. The second axis places the two artists side by side in order to analyze a certain number of aesthetic instances where text and image interact with one another, first in their graphic and plastic work (titles, narrative, literary influences, illustration), and then in their literary work (their poetry and prose, as well as Magritte's aphorisms). The third and fourth axes of analysis explore the question of the role of writing in pictorial creation from the perspective of genetic criticism. The third axis tries to bring an understanding of Magritte's creative process through the traces that can be found in his correspondence. The fourth and last axis of analysis searches for the main operative functions of writing in the notebooks and the preliminary drawings of Miró, in order to see how writing can play a role in the creation of an image. It is thus through writing that this work aims to bring an understanding of the pictorial creation of Miró and Magritte
Franz, Michaelee Marie Hoffman. "Joan of Arc in Shakespeare, twain and shaw." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106217.
Full textMade available in DSpace on 2013-12-05T19:43:36Z (GMT). No. of bitstreams: 1 321697.pdf: 4289936 bytes, checksum: 48a579916a6445d8628b9f33c15246d8 (MD5)
Grünewald, Heidi. "Joan Maragalls Rezeption deutscher Literatur im Identitätsdiskurs der Moderne." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/84097.
Full text“Joan Maragall’s Reception of German Literature within the Discourse of Identity of the Modern Age” This dissertation addresses the Catalan author Joan Maragall i Gorina‘s (1860-1911) extensive preoccupation with Goethe, Nietzsche and Novalis. His reception of their works greatly shapes his reflections on questions of individual and national identity and generally reflects a process of self-discovery and positioning that was taking place in the discourse of identity in European modernism around 1900. Accordingly, Maragall develops a discourse that relates, on the one hand, to the cultural and socio-political concerns of Catalonia and to contemporary issues (the phenomenon of crowds, criticism of naturalism and decadence, etc.), while, on the other hand, creating room for models of identity which affect his personal life as well as his concept of literature. Furthermore, his discourse on identity implies a perspective that is critical of civilization, since his reflections always touch upon aspects of the development of humanity. This study discusses Maragall‘s reception of German texts not only with respect to his literary output, but also as a determining factor in his intellectual activity in general, and it searches for the meaning and function of his productive reception in the cultural regeneration of Catalonia. In this regard, this work focuses both on the primary texts which Maragall read as well as on his readings of secondary texts (reviews, introductions, contemporary literary criticism) about German authors and works, most of which he encountered in French magazines. Focusing on these sources, one is able to link Maragall’s discourse of identity with an intellectual field that, thus far, has scarcely been examined in the research on Maragall. Very influential literary critics and commentators who introduced their own world view by interpreting Nietzsche, Goethe and Novalis, brought Maragall into contact with the irrational tendencies of a new spirituality and with contemporary monism, as well as with the Goethe cult of the empire. This expanded perspective of reception leads to a critical view of “direct” comparisons (i.e. titles such as “Maragall and Novalis”), since this treatment does not take into account the obvious influence of contemporary patterns of reception, particularly the thematic interconnections of Nietzsche’s Zarathustra, Goethe’s or Emerson’s personality cult and Novalis’ representation of the poet. This specific configuration of themes also influences Maragall’s idea of a nation in the twentieth century, as well as what determines that literature complies with life, and what is life when it is successfully lived ethically and aesthetically. He defines his own culture through the mirror of the foreign and the universal, in the same way as he consistently tries to measure himself spiritually as a poet and a person via a subtle inner discourse. Therein lies his modernity.
Boix, Pons Antonio. "Joan Miró: El compromiso de un artista, 1968-1983." Doctoral thesis, Universitat de les Illes Balears, 2010. http://hdl.handle.net/10803/9407.
Full textAnd all this is reflected in an artistic response with a renewed openness to the latest avant-garde artistic movements, which are now the Arte Povera, especially the use of debris; ephemeral art in 1969 the murals of the College of Architects of Barcelona and the Expo in Osaka; brutalism as the "toiles brûlées" in 1973; the return to dramatic expressionism of "wild paintings" which had already manifested in the most tragic times of the Civil War; the growing predominance of black and gestualism, what had already experienced in the sixties; the alternation between thought and spontaneous styles; the approach of his work in series and groups both in painting and other arts; the highest propensity to make larger works; and the use of almost all artistic useful means to achieve more widespread popular. The painting was always his favorite art, which shaped and informed the other arts. The original Miro's works are fertilized by his lively internal debate between tension to express universal ideas, with a tendency to abstraction, while his personal emotions, more prone to the use of figuration, using motives and methods of artistic tradition, the personal and collective subconscious, and the experimental will of the avant-garde transgression.
Liaño, Gibert María Soledad. "Joan Rubió i Bellver en Mallorca. Arquitectura y teoría." Doctoral thesis, Universitat de Barcelona, 2010. http://hdl.handle.net/10803/2023.
Full textRubió se convirtió en el principal embajador del gaudinismo en la isla de Mallorca. Mediante todos los proyectos que Rubió dejó repartidos por la isla estaba contribuyendo a la difusión de la nueva arquitectura creada por su maestro, Antoni Gaudí. No sólo contó para estos cometidos con la ayuda de alguno de sus frecuentes colaboradores y amigos catalanes, sino que actuó de acuerdo a unas pautas que como referente último tendrían a Gaudí. Si bien es cierto que otros catalanes pasaron por la isla, véase Domènech i Montaner o Madorell, es nuestro arquitecto quien se involucró más en la idiosincrasia y el contexto mallorquín del momento, convirtiéndose en el arquitecto modernista catalán con más obra en Mallorca.
La presente investigación analiza la presencia de Rubió en Mallorca como una estrategia de un grupo reducido de intelectuales -fundamentalmente religiosos- para vincularse a Cataluña y hacerse partícipes del sentimiento nacionalista tan ferviente en aquellos años. Figuras como el obispo Campins o el vicario general Alcover son fundamentales en los encargos que Rubió recibe en la isla respondiendo esto, en última instancia, a un movimiento deliberado con los propósitos arriba mencionados. La presencia de Rubió en lugares de la isla a priori inconexos y, si cabe, algo insólitos, respondería a esta estudiada estrategia de los religiosos.
Tal vez sea su faceta como teórico aquella más desconocida, sorprendiendo muy especialmente el hecho de que, directa o indirectamente, con frecuencia aparece vinculada a Mallorca. Prácticamente un tercio del volumen de sus textos tienen como objeto algún tema o arquitectura de la isla. Varios de estos escritos fueron publicados, además, en diarios mallorquines. Dentro de todo este legado escrito interesan muy especialmente las aportaciones que se refieren al gótico meridional, siendo uno de los primeros en tomar conciencia de unas diferencias estilísticas con respecto al más popular gótico nórdico. Cabe entender estas reflexiones como parte de su sentir nacionalista y de su continua búsqueda de unas raíces comunes en todos lo países catalanes. Estas conclusiones las extrae, en su mayoría, a propósito de las exhaustivas y rigurosas investigaciones que lleva a cabo en la catedral de Mallorca, convirtiéndose estas también en estudios sin precedentes y esenciales para el conocimiento de este templo. El legado teórico de Rubió es lo que traduce más claramente su personalidad e ideología, siendo esencial para la óptima comprensión de sus arquitecturas. Su paso por Mallorca y, en especial todas sus reflexiones y estudios que de esta derivaron son fundamentales para comprender la trayectoria profesional de Rubió como arquitecto.
"Joan Rubió i Bellver in Mallorca.
Architecture and Theory
TEXT:
The aim of this research is the study of the theoretical and architectural legacy of Joan Rubió i Bellver (Reus, 1879 - Barcelona, 1952) in Mallorca. Rubió I Bellver went to Palma de Mallorca with his master, Antoni Gaudí, to collaborate with him in the works of La Seu. This collaboration set up the start for the development of a series of projects that were carried out around the island; the revision of the catalogue of all the works he left in Mallorca, is one of the most important challenges of this study.
This research analyses the presence of Rubio in Mallorca as a result of a strategy of a reduced group of intellectuals, mainly religious, in order to be related to Cataluña and take part of the nationalism that was a strong and determinant feeling at that time. Figures as the bishop Campins or the General Vicar Alcover, played an extremely important roll in involving Rubio in different projects in Mallorca.
His work as theoretician, is probably the less known side of Rubio, and specially surprising is the fact that directly or indirectly it is frequently related to Mallorca. Nearly a third of his writing is based on the architecture or other subjects of interest in the island. Moreover, several of these articles were published in newspapers of Mallorca.
Within all this written legacy, the most interesting are those referred to the Southern Gothic, being Rubió one of the pioneer in clearly establishing the differences between the above mentioned style and the most popular Northern Gothic. His statements were likely due to his nationalism and his constant research of a common identifier in all of the Catalonian Countries.
The majority of his conclusions were based on the exhaustive and rigorous research he carried out in the Cathedral of Mallorca, which became essential for the further knowledge of the temple. His work in Mallorca, and mainly his conclusions and consequents studies are of the most importance in order to understand the professional performance of Rubió as architect.
Pasqual, Marta 1983. "Creativitat i subversió en les reescriptures de Joan Sales." Doctoral thesis, Universitat de Girona, 2011. http://hdl.handle.net/10803/34761.
Full textCreativity and subversion in Joan Sales’ rewritings focuses on the editor and novelist Joan Sales (1912-1983) and seeks to relocate the author of Uncertain Glory in the Catalan literary scene from a diversification of points of view from which it becomes possible to make an study. Translation theories of the late twentieth century have been used as a basis, written by authors such as André Lefevere and Susan Bassnett, who consider translation, edition, adaptation, critics and historiography inside the field of creative rewriting and give a subversive power to all these activities. So, the goal has been try to change the trend that historically had considered negatively Sales’ rewritings. Under the umbrella of the theory of rewriting, manipulations, changes and interventions become a tool which contributes to the development of literary culture.
Carreira, Joao [Verfasser]. "Bottom-up Object Segmentation for Visual Recognition / Joao Carreira." Bonn : Universitäts- und Landesbibliothek Bonn, 2013. http://d-nb.info/1044868961/34.
Full textDickinson, Rachel Miriam Wilson. "Terms of empowerment : John Ruskin's correspondence with Joan Severn." Thesis, Lancaster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436744.
Full textPinheiro, Neto Joao [Verfasser]. "Criticality and sampling in neural networks / Joao Pinheiro Neto." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2021. http://d-nb.info/1228364605/34.
Full textHeller, Claudia. "Oligopólio e progresso técnico no pensamento de Joan Robinson." [s.n.], 1996. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285363.
Full textTese (doutorado) - Universidade Estadual de Campinas, Instituto de Economia
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Doutorado
Doutor em Economia
Vegro, Maria Fernanda Andrade Saiani. "O desenho arquitetônico: fenomenologia e linguagem em Joan Villà." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-11032015-104228/.
Full textThis work is an interface between architecture and philosophy. The theoretical tool used in this research is the phenomenology of Maurice Merleau-Ponty language therefore propose here a reading of the drawings of the architect Joan Villa via an expressive language, conquering, established as a complex system, open, in which the signs articulate by the difference established between them and thus constitute the unity of the language of the architect. Our goal is to situate the phenomenon in creative designs of the architect and dealing with issues of the genesis of sense. To read the latent aspects of the designs we have chosen the theory of intersubjectivity in Merleau-Ponty, this phenomenology of language to situate participatory work villa next to needy communities in housing, exposing an open, democratic architectural design. For the visible aspects of the drawings, chose the issue of positive void and the dialectic between public space and private space. Thus, we intend to develop a merely communicative, indirect, allusive, expressive language is able to give directions to architecture because our hypothesis is that in contemporary times, in architecture and urbanism, one lives a crisis of meaning.
Owens, Clarke Wayne. "Person and Place in the Works of Joan Didion." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1389176659.
Full textSclaunick, Élisa. "L'écriture de Joan Miró dans l'oeuvre de Jacques Dupin." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC049.
Full textJacques Dupin and Joan Miró undermine the borders between poetry and art, and yet they maintain the gap separating their subjects. Built on a field of reins, their art community is the place of a creative but negative expérience. That tension is what this dissertation explores, questioning the relations not only between plastic artist and writer, but also between plastic and linguistic signs and between forces of destruction and of creation. As a poet or an art critic, Jacques Dupin thinks a choice must be made. While he is considered as a specialist and even an expert of Joan Miró's works, he puts aside the poet's voice, disturbs the critic's and dismisses the specialist's. As a malter of fact, rather titan speaking front a different perspective, he chooses to dive into the workshop. There, the polymorphic work of Joan Miró, as well an artist and a poet, writes his reviews, and there too, the painter stands as a model for the critic and the poet. Without denying that otherness, the art review itself becomes a workshop and paradoxically identifies Jacques Dupin with Joan Miró. Jacques Dupin's critic and poetic work is there ore studied within the proximity of the Catalan artist
Dalla, Costa Murilo José Farias. "Significações mortuárias da série Les constellations de Joan Miró." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/100639.
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Não há estudos aprofundados sobre a série Constelações (1940-1941) de Joan Miró (1893-1983). O caráter hermético das pinturas pode ser considerado uma das causas do silêncio crítico sobre a série. Nesta investigação, propomos a hipótese, a partir da análise dos documentos disponíveis, de que a dispersão da série depois de sua chegada aos Estados Unidos em meados da década de 1940 prejudicou a recepção das Constelações, pois, segundo a idéia inicial de Miró, a série de pinturas deveria ter sido integralmente adquirida pelo Museum of Modern Art (MoMA), o que garantiria a sua exposição de maneira permanente na sede da prestigiosa instituição de Nova York. A investigação também sugere que o Guernica de Pablo Picasso tenha sido uma das motivações secretas das Constelações, idealizadas por Miró como uma alternativa estética ao tratamento do tema da guerra na Arte, epitomado pelo célebre painel de Picasso. Le bel oiseau déchiffrant l'inconnu au couple d'amoureux, o vigésimo quadro da série, destaca-se dos demais por apresentar características peculiares à série, que permitem a identificação de temas e personagens do imaginário do artista, constituindo uma chave de acesso ao significado oculto das Constelações de Joan Miró e suas relações com a Cabala hebraica.
Abstract : There are no detailed studies about the Constellations series (1940-1941) by Catalan artist Joan Miró (1893-1983). The hermetic character of the paintings can be considered one of the causes of the critical silence about the series. In this research, we propose the hypothesis that the dispersion of the series after its arrival to the United States in the mid-1940s hampered the appraisal of the Constellations by critics and public, inasmuch as the initial idea of Miró was taht the series should have been fully acquired by the Museum of Modern Art (MoMA), which would had ensured its permanent display at the prestigious institution in New York. The research suggests that the Guernica by Pablo Picasso could be considered one of the secret motivations of Constellations, devised by Miró as an alternative to the aesthetic treatment of the theme of war in the Arts, epitomized by the celebrated panel by Picasso. Le bel l'oiseau déchiffrant l'inconnu au couple d'amoureux, the twentieth painting of the series, stands out from the others pictures of the suite by presenting peculiar features that enables the identification of themes and characters of the imagery of the artist, providing a key access to the hidden meaning of the Constellations of Joan Miró and its ignored relation with the Hebrew Kabbalah.
Jones, Margo S. "Joan Tower's Hexachords for Solo Flute: an Analysis and Comparison of its Flute Writing to Tower's Flute Concerto with Three Recitals of Selected Works of Vivaldi, Rivier, Mozart, Davidowsky, and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc279028/.
Full textShouha, Laura. "The Musical Language of Joan Tower: An Energy Line Analysis of Island Prelude for Oboe and Wind Quartet." Thesis, connect to online resource, 2001. http://www.library.unt.edu/theses/open/20013/shouha%5Flaura/index.htm.
Full textBadrinas, Bassas Ramón. "Espacio pictórico en la obra de Joan Hernández Pijuan, El." Doctoral thesis, Universitat de Barcelona, 2006. http://hdl.handle.net/10803/2562.
Full textHemos demostrado que Joan Hernández Pijuan no está donde está por casualidad, sino como consecuencia de una serie de acontecimientos más o menos "ancestrales" y actuales que ha sabido captar en nuestra época, aplicarlos, y coger su bandera. "Es imposible ver el mundo, en este caso el espacio pictórico de la obra de Hernández Pijuan, desde el centro, tan sólo es posible verlo atravesándolo en todas direcciones". Fernando Zobel, apuntaba los adjetivos que, a su entender, mejor cuadraban a Hernández Pijuan: "limpio, sutil, riguroso, cerebral, elegante".
La tesis se estructura en diversos apartados que conducen al núcleo de nuestro análisis que es el espacio pictórico. En el primer bloque hemos creído conveniente situar a Hernández Pijoan en el contexto del arte español, y en mayor medida catalán, de su época, para dejar claro su personalidad diferenciada del resto de pintores, señalando su individualidad y su libertad creativa, al margen de toda clase de modas.
Un segundo bloque explica sus aspectos formales, el nouveau roman relacionado con su obra, sus lenguajes artísticos en referencia a la influencia del arte extremo - oriental y sobre todo, lo que hemos dado en llamar las imágenes indecibles presentes en sus obras.
El tercer bloque se estructura en tres grandes apartados que tratan de explicar su obra en relación a una serie de interferencias culturales que creemos le han podido influir; algunas muy próximas a su entorno, y otras-culturas primitivas o no europeas- que podemos ver al analizar concretamente todas y cada una de sus obras. Hemos creído necesario en este apartado profundizar también en el amplio espectro cultural europeo desde la filosofía presocrática hasta la más actual, pasando por el panorama científico vital, tal como es la vida y el genoma humano, la relación con el arte y la religión, a las que hemos relacionado conceptualmente la obra de Hernández Pijuan. Este relacionar su obra se convierte en el verdadero protagonista de nuestra tesis, en el hilo conductor que explica donde, cuando y porqué se sitúan sus composiciones en la global panorámica del arte de la segunda mitad del siglo XX y los inicios del siglo XXI.
El cuarto bloque trata de explicar su trayectoria artística desde la óptica del espacio pictórico, en ocho subapartados, que en las conclusiones reducimos a cuatro etapas claramente diferenciadas, que muestran cada una de sus señas de identidad, sus soluciones plásticas, su pensamiento sobre el arte en general, su obra en particular y sus referencias culturales. Hacemos mención entre otros, de artistas como Giotto, Cèzanne, Monet, Franz Kline, Barnet Newman, Saura, Millares, Van Gogh, Tàpies, Kandinsky y Seurat; filósofos como Platón y Aristóteles; la poesía de Mallarmé, Paul Valery, etc. Todo ello, como en los apartados anteriores con el contrapunto obligado de sus composiciones que muestran gráficamente lo que la literatura explica. Cierra este capítulo dos subapartados: El primero analiza su obra gráfica y el segundo intenta explicar su personalidad a través de sus escasos retratos, y a la vez componer un autorretrato de Hernández Pijuan.
A continuación expresamos las Conclusiones junto con la Bibliografía de la tesis: Libros, artículos en periódicos - revistas y catálogos del artista utilizados para la realización de la tesis, a la vez que adjuntamos la Bibliografía completa sobre Hernández Pijuan. Para finalizar adjuntamos un Apéndice Documental.
On a situé et analysé l'oeuvre de Joan Hernández Pinuan, dans son contexte "conceptuel", on a décrit le " firmament latent de l'art, la philosopie et la science", comme un spectre artistique le plus ample possible, et on a relié et évalué l'ensemble de son oeuvre. Alors, on s'est écarté, dans la mesure du possible, de nombreux commentaires et écrits de critiques d'art, en les glosant selon notre critère comme basse d'une étude qui puisse évaluer, avec détail, où et comment se situe son oeuvre dans le monde de l'art, pour "connaître ainsi son espace pictural" en relation avec ses prédécesseurs et comme conséquence à son entourage actuel. Il peut sembler qu'on s'écarte du "tronc", mais mon désir a été que, dans toute l'information complémentaire plane, rôde et déambule "l'esprit" de son oeuvre et de sa pensée; et que par contraste elle nous aide á l'evaluer, le situer et mieux le connaître. On a demontré que Joan Hernández Pijuan ne se trouve pas où il est simplement harsd, mais comme conséquence d'une série d'évenements plus au mois "ancestraux" et actuels qu'il a su capter, dans notre époque, les appliquer et arborer son drapeau.
"Impossible de voir le monde et dans ce cas, l'espace pictural de l'oeuvre de Hernández Pijuan, depuis le centre, car il est seulment possible de l'apprécier en le traversant dans tous les sens".
Fernando Zobel, designait les adjectifs que, selon lui, cadraient le mieux à Hernández Pijuan: "propre, subtil, rigoureux, cérébral, élégant"
La thèse est structrée en différentes parties qui conduissent au noyeau de notre analyse de l'espace pictural.
Dans le premier point on a cru opportun, pour mieux connaître sa personnalité différenciée du reste des peintres, de situer à Hernández Pijuan dans le contexte de l'art espagnol, et principalement catalan de son époque, en soulignant son individualité et sa liberté créative, à l'écart de n'importe quelle mode.
Le deuxième point explique ses apects formels, le nouveau roman en rapport avec son oeuvre, ses langages artistiques en référence à l'influence de l'art externe - oriental et surtout, ce qu'on a appelé les images indicibles présentes dans ses oevres.
Le troisième point est structuré en trois grands parties qui essaient d'expliquer son oeuvre en la rattachant avec une série d'interférences culturelles, qu'ont pu, selon nous, l'influencer; quelques unes très proches à son entourage, et autres cultures primitives ou pas européennes qu'on peut observer si on étudie en détail toutes et chacune de ses oeuvres.
On a cru nécessarie dans cette partie d'approfondir aussi dans l'ample espectre cuturel européen qui va de la philosophie presocratique jusqu'à la plus actuelle, en pasant par le panorama scientifique vital, comme la vie ou le génome humain, qu'on a conceptuellement relié avec l'oeuvre de Hernández Pijuan
Mettre en relation son oeuvre devient le protagoniste de notre thèse, car c'est le fil conducteur qui explique, où, quand, et pourquoi ses oeuvres se situent dans la panoramique globale de l'art du Xxème siècle et débuts du XXIéme.
Le quatrième point essaie d'expliquer sa trajectoire artisitque de l'optique de l'espace pictural, en huit sous-alinéa, que dans les conclusions on réduit à quatre etapes bien différenciées, qui montrent chacun de ses signes d'identité, ses solutions plastiques, sa pensée sur l'art en général, son oeuvre en particulier et ses références culturelles. On fait mention entre autres à artistes comme: Giotto, Cézanne, Monet, Franz Kline, Barnet Newman, Saura, Millares, Van Gogh, Tàpies, Kandinsky et Seurat; philosophes comme Platon et Aristote; la poésie de Mallarmé, Paul Valery, etc. Tout cela, comme dans les points précédents avec le contrepoint oubligé de ses compositions qui montrent graphiquement ce qui explique la littérature. Ce chapitre se ferme avec deux sous-alinéa: le premier analyse son oeuvre graphique et le deuxième tente d'expliquer sa personnalité à travers ses portraits, et composer au même temps, un autoportrait de Hernández Pijuan.
Par la suite on présente les Conclusions avec la Bibliographie de la thèse: Livres, articles journalistiques - revues et catalogues de l'artiste employés pour la réalisation de cette thèse, ainsi que la Bibliographie complète sur Hernández Pijuan. Pour finir on joint un Appendice Documentaire.
Dans l'espace pictural de l'oeuvre de Joan Hernández Pijuan, la thèse pourrait commencer par "il était une fois", parler de ce qui est arrivé de ses débuts jusqu'à nos jours. Les mots de Gombrich: "une fois tu as été petit et debout a peine tu atteingnait le main de ta mère. Tu te souviens?. Si tu le voudrais tu pourrais raconter un histoire avec ce début: Il était une fois un garçon et ce garçon c'était toi. Et, une fois toi aussi tu as été un bébé enveloppé en couches. Tu ne peut pas t'en souvenir, mais tu le sais. Ton père et ta mère aussi, une fois ils ont étés petits. Et aussi tes grands-parents. Ça fait longtemps de celà. Cependant, tu le sais, on dit qu'ils sont vieux, mais eux aussi ils ont eu de grands-pères et grands-mères qui ont pu leur dire la même chose: il était une fois. Et aisni continuellement, sans laisser de revenir en arrière. Derrière chaque il était une fois il y a toujours un autre. Tu t'es placé au moins une fois entre deux miroirs?. Ce que tu vois en eux ce sont des miroirs et des miroirs, chaque fois plus petits et flous, mais aucun est le dernier. Mème quand on n'en voit plus, il y a encore d'autres miroirs qui se trouvent derrière, devenant le "réductionnisme" le plus absolu. Il nous semble impossible d'imaginer que cela finisse, le grand-père du grand-père du grand-père du grand-père. Si tu y penses doucement avec le temps tu réussiras à le concevoir. Ajoute encore un autre. De cette façon on arrive à une époque ancienne et après à une encore plus ancienne. Toujours au-delà, comme les miroirs. Mais sans jamais retrouver le début. Derrière de chaque début il y a à nouveau un autre "il était une fois".
En ce moment on est dans cet espace pictural, cet espace microscopique dans l'histoire de la peinture dont Jean Hernández Pijuan en fait partie, (dictionnaires, livres, catalogues, expositions, prix, académicien, professeur agrégé, etc.) et tout cela sera aussi un objetif d'étude dans cette thèse, et l'espace continue encore, fils, petits-fils, arrière-petits-fils, etc, l'espace pictural persiste, jusqu'à que d'autres prennent la chaîne de la relève et ainsi successivement, tirer du fil, comme disait Joan Hernández Pijuan, se prolonge.
" C'est un puits sans fin!". Sens-tu le vertige quand tu regardes en bas? Moi aussi! Si on jete dans ce puits profond un papier brûlant, il tombera doucement, chaque fois plus fond. Et lorsqu'il tombe, il éclairera le mur du puits!. Le vois-tu plus bas? Il continue à fondre; il est arrivé si loin qu'il semble une étoile minuscule dans ce puits obscur; il devient de plus en plus petit et on ne le voit plus".
Ainsi arrive avec le souvenir et avec le futur qui deviendra souvenir. Avec lui on projecte une lumière sur le passé et avec les "rêves" celle du futur. Comme dit Maria Girona: " L'important est avoir quelque chose à dire et savoir l'exprimer". C'est ce que, dans le déroulement des années Joan Hernández Pijuan, nous a montré avec son art.
Wir haben Joan Hernández Pijuan's Werk in seinem "konzeptuellen" Zusammenhang festgelegt und analysiert; wir haben das "latente Kunst-, Philosophie und Wissenschaftsfirmament" als ein so weit wie möglich reichender Geist beschrieben, wir haben sein Werk als Ganzes aufgezeichnet und bewertet. Dabei haben wir uns soweit es ging von den zahlreichen Kommentaren und Schriften der Kunstkritiker entfernt gehalten und diese zusammen mit unserem Erachten kommentiert; als gerechte Untersuchungsgrundlage die das "wann" und "wie" der Situation seines Werks innerhalb der Kunstwelt bewertet und klassifiziert; um damit seinen piktorischem Bereich in Bezug auf seine Vorgänger und, als Konsequenz, seine heutige Umwelt kennenzulernen. Auch wenn wir uns anscheinend vom "Stamm" entfernen war es mein Wunsch, dass in der ganzen komplementären Information der "Geist" seines Werks und seiner Gedanken schwebe, sich drehe und umgehe und uns mittels dem Kontrast helfe ihn besser zu kenne, zu bewerten und zu orten. Wir haben bewiesen, dass Joan Hernández Pijuan nicht durch Zufall da ist wo er ist, sondern eher als Konsequenz einer Reihe von mehr oder weniger "urahnenhaften" und aktuellen Geschehen, die er in unserer Zeit erfasst und angewandt hat und verteidigt.
"Es ist unmöglich die Welt, in diesem Falle den piktorischen Bereich von Hernández Pijuan's Werk vom Mittelpunkt aus zu sehen, es ist nur möglich dies zu sehen, wenn man seine Welt in von allen Richtungen aus durchkreuzt".
Fernando Zobel bemerkte die Adjektive, die seines Erachtens nach Hernández Pijuan am besten beschreiben: "sauber, subtil, rigoros, zerebral, elegant".
Die These baut auf verschiedene Abschnitte auf, die zum Mittelpunkt unserer Analyse des piktorischen Bereichs führen.
Im ersten Block haben wir es als notwendig befunden, Hernández Pijuan innerhalb der spanischen Kunst, genauer in der katalanischen Kunst seiner Zeit zu orten um damit seine vom Rest der Maler verschiedene Persönlichkeit hervorzuheben wobei wir seine Individualität und schöpferische Freiheit ohne Einfluss irgendwelcher Moden aufzeichnen.
Ein zweiter Block erklärt seine formellen Aspekte, das nouveau roman in Bezug auf sein Werk, seine künstlerische Sprachen in Bezug auf den Einfluss der Extremkunst - Orientale und vor allem was wir in seinem Werk als "unaussprechbare" Abbildungen bezeichnet haben.
Der dritte Block besteht aus drei Abschnitten, die sein Werk in Bezug auf einer Reihe kultureller Interferenzen, die laut unserer Meinung einen Einfluss auf Ihn hatten, beschreibt. Einige seiner Umwelt sehr nahe gelegen, andere - primitive nicht europäische Kulturen - die wir sehen können, wenn wir jedes einzelne seiner Werke konkret analysieren.
Wir haben es für notwendig gehalten in diesem Abschnitt auch tiefer auf den europäischen Kulturgeist vom Standpunkt der pre-Sokratischen bis zur heutigen Philosophie und über das lebenswichtige wissenschaftliche Panorama wie zum Beispiel das Leben und das menschliche Genom, seine Verbindung mit der Religion und der Kunst ein zu gehen, Dinge die wir mit dem Werk von Hernández Pijuan in Verbindung gebracht haben.
Dieses sein Werk in Beziehung bringen" wird dann zum echten Darsteller unserer These, zum Leitfaden, der erklärt, wo, wann und warum seine Zusammenstellungen innerhalb des globalen Kunstpanoramas des 20. und Anfang 21. Jahrhunderts ihren Platz finden.
Der vierte Block versucht, seine Laufbahn vom Standpunkt des piktorischen Bereichs aus in acht Unterabschnitten zu erklären, die wir in den Schlüssen in vier klar unterschiedenen Etappen zusammenfassen, eine jede mit ihren eigene Identitätsanzeichen, ihren plastischen Lösungen, ihren Gedanken über die Kunst im Allgemeinen und Ihren kulturellen Zusammenhängen. Unter anderen erwähnen wir Künstler wie Giotto, Cèzanne, Monet, Franz Kline, Barnet Newman, Saura, Millares, Van Gogh, Tàpies, Kandinsky und Seurat; Philosophen wie Plato und Aristoteles; die Dichtungen von Mallarmé, Paul Valery, usw. Alles wie in den vorherigen Abschnitten zusammen mit dem entsprechenden Gegensatz seiner Zusammenstellungen, die das, was die Literatur erklärt, graphisch darstellen. Als Abschluss dieses Kapitels kommen zwei unterabschnitte: der erste analysier sein graphisches Werk und des zweite versucht, seine Persönlichkeit durch seine Bilder zu erklären und gleichzeitig ein Selbstbildnis von Hernández Pijuan darzustellen.
Anschließend erläutern wir unsere Schlussfolgerungen zusammen mit der Bibliographie der These: Bücher, Zeitungs- und Zeitschriftartikel und Kataloge des Künstlers, die wir zur Erarbeitung der These benutzt haben. Auch die vollkommene Bibliographie Hernández Pijuans wird beigelegt. Zum Schluss fügen wir einen Dokumentenanhang bei.
Innerhalb des piktorischen Bereichs von Joan Hernández Pijuans Werk könnte die These mit einem "Es war einmal" beginnen, über das berichten, was am Anfang war und was heutzutage ist. Diese Ideen werden von Gombrich wie folgt ausgedrückt: "Du warst einmal klein und im Stehen konntest du gerade die Hand deiner Mutter erreichen, Erinnerst Du dich dran? Wenn Du wolltest könntest du eine Geschichte die so anfängt, erzählen: Es war einmal ein Kind, und das warst Du. Und Du warst auch einmal ein Wickelkind. Du kannst dich nicht daran erinnern aber Du weißt, dass es so war. Dein Vater und Deine Mutter waren auch einmal klein. Und so waren es deine Großeltern. Das ist schon lange her. Aber, wie Du weißt, sagen wir sie seien Greise. Aber sie hatten auch Großeltern und konnten damals das gleiche sagen: es war einmal. Und so geht es weiter und weiter in die Vergangenheit. Hinter jedem dieser "Es war einmal" kommt immer wieder ein nächstes. Hast6 Du dich jemals zwischen zwei Spiegel gestellt? Was Du da siehst sind Spiegel und mehr Spiegel, jedes mal kleiner und unschärfer, aber Keiner ist der Letzte. Auch wenn man sie nicht mehr sieht sind da immer Spiegel im Spiegel dahinter und so wird es zum absolutesten Reduktionismus. Ein Ende ist für uns nicht vorzustellen. Der Großvater vom Großvater vom Großvater vom Großvater. Wenn Du darüber nachdenkst wirst Du es im Laufe der Zeit verstehen. Und füge noch einen ein. So kommen wir sehr weit in die Vergangenheit. Und immer weiter, wie in den Spiegeln. Hinter jedem Neuanfang gibt es immer ein"Es war einmal".
In diesem Augenblick befinden wir uns im genannten piktorischen Bereich, dieser mikroskopisch kleine Bereich in der Malereigeschichte von der Joan Hernández Pijuan Teil ist (Wörterbücher, Bücher, Kataloge, Ausstellungen, Preise, Akademiker, Professor, usw.) das ist was wir studieren und untersuchen werden als ein weiteres Thema dieser These; von hier ab geht der Bereich weiter, Söhne, Enkel, Urenkel, usw., der piktorische Bereich geht weiter bis andere die Staffel übernehmen, und so geht es weiter, das Ziehen am Leitfaden, wie Joan Hernández Pijuan sagte, geht weiter.
"Es ist ein bodenloses Loch!". Wird es Dir schwindelig wenn Du nach unten schaust!? Mir auch! Wenn wir ein brennendes Papier in diesen tiefen Brunnen werfen wird es langsam, immer tiefer, fallen. Und während es fällt wird es di Brunnenwand beleuchten! Kannst Du es immer noch da unten sehen? Es sinkt immer weiter; es ist schon so weit entfernt, dass es wie ein Stern in diesem Dunkel aussieht; es wird immer kleiner und kleiner und wir können es nicht mehr sehen."
Das gleiche passiert mit der Erinnerung und mit der Zukunft, die zu seiner Zeit zur Erinnerung wird. So werfen wir ein Licht auf die Vergangenheit und mit den "Träumen" auf die Zukunft. Wie Maria Girona schon sagte: "Das wichtige ist, etwas zu sagen haben und zu wissen, wie man es ausdrückt". Das ist es, was uns Joan Hernández Pijuan mit seiner Kunst im Laufe der Jahre gezeigt hat.
Hem situat i analitzat l'obra de Joan Hernández Pijuan al seu context "conceptual"; hem descrit el "firmament latent de l'art, la filosofia i la ciència" com un espectre artístic el més ampli possible; hem relacionat i valorat la seva obra en conjunt. Així doncs, ens hem allunyat el màxim possible dels nombrosos comentaris i escrits dels crítics d'art, comentant-los junt amb el nostre criteri; com a base d'una investigació que valori y classifiqui adientment; on i com es situa la seva obra en el món de l'art per conèixer el seu espai pictòric relacionat amb els seus antecessors i com a conseqüència del seu entorn actual. Tot i que pot semblar que ens allunyem del "tronc", el meu desig ha estat que a tota la informació complementària hi sigui present d'alguna forma l'esperit de la seva obra i el seu pensament i ens ajudi a valorar-lo, situar-lo i conèixer-lo millor per contrast. Hem demostrat que Joan Hernández Pijuan no és on és per casualitat, sinó com a conseqüència d'una sèrie de fets més o menys "ancestrals" i actuals que ha sabut captar, aplicar i agafar en la nostra època.
"Es impossible veure el món, en aquest cas l'espai pictòric de l'obra d'Hernández Pijuan, des del centre, només es pot veure si el travessem en totes les direccions".
Fernando Zobel, indicava els adjectius que segons ell millor caracteritzaven Hernández Pijuan: "net, subtil, rigorós, cerebral, elegant".
La tesi s'estructura en diversos apartats que condueixen al nucli del nostre anàlisi, que és l'espai pictòric.
Al primer bloc hem considerat adient situar a Hernández Pijuan dins del context de l'art espanyol, i en la mida del possible l'art català, de la seva època per deixar clara la seva personalitat diferenciada de la resta de pintors, remarcant la seva individualitat i llibertat creativa, al marge de qualsevol tipus de moda.
Un segon bloc explica els seus aspectes formals, el nouveau roman relacionat amb la seva obra, els llenguatges artístics relacionats amb la influència de l'art extrem - oriental i sobretot allò que em anomenat les imatges indicibles presents a la seves obres.
El tercer bloc s'estructura en tres grans apartats que expliquen la seva obra en relació a una sèrie d'interferències culturals que creiem que l'han pogut influir; algunes molt properes al seu entorn o altres cultures primitives o no europees que podem veure si analitzem concretament totes les seves obres.
Hem cregut convenient analitzar en aquest apartat l'ampli espectre cultural europeu des de la filosofia presocràtica fins la més actual, passant pel panorama científic vital, tal com és la vida i el genoma humà, la relació amb l'art i la religió, les quals hem relacionat conceptualment a l'obra de Hernández Pijuan.
Aquesta relació amb la seva obra es converteix en el verdader protagonista de la nostra tesi, en el fil conductor que explica el lloc, el moment i el motiu de les seves composicions dins el panorama artístic global de la segona meitat del segle XX i principis del segle XXI.
El quart bloc explica la seva trajectòria artística des de la perspectiva de l'espai pictòric, en vuit sub-apartats, que a les conclusions reduïm a quatre etapes molt diferenciades que mostren cadascuna de les seves senyes d'identitat, les seves solucions plàstiques, el seu pensament sobre l'art en general, la seva obra en particular i les seves referències culturals. Cal destacar, entre d'altres, artistes com Giotto, Cèzanne, Monet, Franz Kline, Barnet Newman, Saura, Millares, Van Gogh, Tàpies, Kandinsky i Seurat; filòsofs com Plató i Aristòtil; la poesia de Mallarmé, Paul Valery, etc. Com en apartats anteriors, tot això es presenta amb el contrapunt obligat de les seves composicions que mostren gràficament allò que la literatura explica. Dos sub-apartats tanquen aquest capítol: el primer, analitza la seva obra gràfica i el segon intenta explicar la seva personalitat a través dels seus retrats escassos i composar un autorretrat d'Hernández Pijuan.
A continuació, s'inclou les conclusions i la bibliografia de la tesi: Llibres, articles de diaris - revistes i catàlegs de l'artista utilitzats per a la realització de la tesi, així com la bibliografia completa sobre Hernández Pijuan. Per acabar, adjuntem un Apèndix documental.
A l'espai pictòric de l'obra de Joan Hernández Pijuan, la tesi podria començar amb "hi havia una vegada", parlar de qualsevol cosa des dels inicis fins als nostres dies. Les paraules de Gombrich reflexen aquesta idea: "Un cop vas ser petit i, dempeus, les teves sabates eren com la mà de la teva mare. Te'n recordes? Si volguessis, podries contar una història que començaria així: hi havia una vegada un nen i aquest nen eres tu. I un cop, també vas ser un nadó embolicat en bolquers. No ho pots recordar, però ho saps. La teva mare i el teu pare també van ser petits un cop. I també els avis. D'això en fa molt de temps. No obstant això, diem que són ancians però també van tenir avis i àvies que els van poder dir el mateix: hi havia una vegada... I així successivament, sense parar de retrocedir. Darrera de cada hi havia una vegada... segueix havent-hi sempre una altra. T'has col·locat alguna vegada entre dos miralls? Allò que veus són miralls i miralls, cada cop més petits i borrosos, cada cop més borrosos però cap d'ells és l'últim. Fins i tot quan no se'n veuen més, hi segueixen cabent més miralls que també es troben darrera i es converteixen en el "reduccionisme" més absolut. No és impossible imaginar que acabi; l'avi de l'avi de l'avi de l'avi de l'avi. Si ho penses amb deteniment, amb el temps aconseguiràs concebre-ho. Afegeix un altre més. D'aquesta manera arribem a una època antiga i després a una època molt antiga. Sempre més enllà, com als miralls. Però sense trobar mai el principi. Darrera de cada inici torna a haver-hi un altre inici "hi havia una vegada".
En aquest instant ens trobem en aquest espai pictòric, aquest espai microscòpic a la història de la pintura a la qual en Joan Hernández Pijuan hi forma part, (diccionaris, libres, catàlegs, exposicions, premis, acadèmic, catedràtic, etc.). Això és allò que estudiarem i investigarem com uns dels objectius més de la tesi i a partir d'aquí l'espai continua cap endavant, fills, nets, besnéts etc., l'espai pictòric continua fins que altres agafin la cadena de relleu i així successivament, l'estirar del fil, tal i com deia Joan Hernández Pijuan, continua.
"És un forat sense fons! Sents vertigen quan mires cap a baix? Jo també! Si tirem a aquest pou un paper cremant-se, caurà lentament, cada cop més fons. I en caure, il·luminarà les parets del pou! El veus allà a baix? Continua enfonsant-se; ha arribat des de tan lluny que sembla una estrella minúscula en aquest fons obscur; es fa més i més petit i ja no el veiem".
El mateix succeeix amb el recompte i amb el futur que en el seu moment serà un record. Amb aquest projectem una llum sobre el passat i amb els "somnis" projectem la llum del futur. Tal i com diu María Girona: "El més important és tenir alguna cosa a dir i saber expressar-ho". Això és allò que Joan Hernández Pijuan ens ha ensenyat amb el seu art al llarg del temps.
We have set and analyzed Joan Hernández Pijuan's work in its "conceptual" context; we have described, as comprehensively as possible, the "latent firmament of art, philosophy, and science" as an artistic spectrum, we have related and valued his work altogether. We have strayed, to the extent possible, from the numerous comments and writings of art critics, discussing them with our criterion; as the foundation of an investigation that rightly values and classifies where and how his work is set in the art world; in order to "learn about his pictorial space" in connection with his predecessors and as a result of his current environment. Although it seems that we are straying from the "core", my intention is that all complementary information can soar, go around or wander about the "spirit" of his work and thought; so as to help us value, set and know him better. We have shown that Joan Hernández Pijuan has not achieved all the things he has achieved by sheer chance, but as a consequence of a series of relatively "ancient" and current events that he has been able to capture in our times, apply and adopt as his flag.
"It is impossible to see the world, in this case the pictorial space of Hernández Pijuan's work, from the core, we can only see it by going through it in all directions".
Fernando Zobel pointed out the adjectives that, in his opinion, better described Hernández Pijuan: "clean, subtle, rigorous, cerebral, elegant".
The thesis is structured in different sections that lead to the core of our analysis, which is the pictorial space.
In the first section, we have thought it advisable to set Hernández Pijuan in the context of the Spanish art, mainly Catalan art, of his times, in order to make it clear that his personality was very different from other painters, pointing out his individuality and creative freedom, regardless any kind of fashion.
The second section explains his formal aspects, the nouveau roman related to his work, his artistic languages in connection with the influence of extreme art - Eastern art and above all, what we have called the indescribable images of his works.
The third section is structured in three large sections that try to explain his work in connection with a series of cultural interferences that we think may have had an influence on him; some of them are very close to his environment, and others-primitive cultures or non European cultures-that we can see when specifically analyzing each and every work.
For this section, we have deemed necessary to describe in greater depth the broad European cultural spectrum from Pre-Socratic philosophy to the most current philosophy, including the vital scientific scene, such as life and human genome, the relationship with art and religion, which we have conceptually related with Hernández Pijuan's work.
Connecting his work has truly become the main feature of our thesis, the guiding principle that explains where, when and why his compositions are set in the global scene of art during the second half of the 20th Century and the beginning of the 21st Century.
The fourth section tries to explain his artistic career from the point of view of the pictorial space. It is divided into eight subsections, which are summarized in the conclusions in four clearly differentiated periods that show all the signs of his identity, his plastic solutions, his thought about art in general, his work in particular and his cultural references. We mention artists that include, among others, Giotto, Cèzanne, Monet, Franz Kline, Barnet Newman, Saura, Millares, Van Gogh, Tàpies, Kandinsky and Seurat; philosophers, such as Plato and Aristotle; and the poetry of Mallarmé, Paul Valery, etc. As in the previous sections, all this includes the obliged counterpoint of his compositions that graphically show what literature explains. Two subsections bring this chapter to an end: The first one analyzes his graphic work, and the second one tries to explain his personality through his limited portraits, and attempts to compose Hernández Pijuan's self portrait.
Next, we present the Conclusions together with the thesis' Bibliography: Books, articles in newspapers - magazines and artist's catalogues used for the thesis. We also attach the complete Bibliography concerning Hernández Pijuan. Finally, we attach a Documentary Appendix.
In the pictorial space of Joan Hernández Pijuan's work, the thesis could start as "Once upon a time", in order to talk about his beginnings until the present time. Gombrich's words illustrate this idea: "You were young once, and when standing, you barely reached your mother's hand. Do you remember? If you wanted to, you would be able to tell a story that would start like this: Once upon a time, there was a boy, and that was you. And once, you were also a baby wrapped in nappies. You can't remember, but you know this. Your father and your mother were also young once. Your grandparents too. That was a long time ago. However, we say that they are old people. But they also had grandfathers and grandmothers that may have said this: once upon a time. And so on, we continue going back. Behind each "once upon a time", there is another one. Have you ever stood between two mirrors? What you see in them is mirrors and more mirrors, increasingly small and blurred, but none of them is the last one. Even when you can't see any other mirror, more mirrors still fit in other mirrors, turning into the most absolute 'reductionism'. It is impossible to imagine that it could end; the grandfather of the grandfather of the grandfather of the grandfather. If you take your time and think about it, you'll be able to conceive of it. Add another person. This way, we get to an ancient period, and then, to another period that is even more ancient. Always beyond, as with mirrors. But never getting to the beginning. Behind each beginning, there is another "Once upon a time".
Right now, we are in that pictorial space, this microscopic space in the history of painting in which Joan Hernández Pijuan participates, (dictionaries, books, catalogues, exhibitions, awards, academician, professor, etc.). This is what we are going to study and investigate as another goal of this thesis, and from now on, the space continues, children, grandchildren, great-grandchildren, etc. The pictorial space continues until other persons start replacing it, and so on and on, we continue pulling the thread, as Joan Hernández Pijuan used to say.
"! "It is a bottomless hole!". Does looking down gives you vertigo?! Me too! If we throw a burning paper to the bottom, it will fall slowly, deeper and deeper. And when reaching the bottom, it will light the walls of the well. Can you see it down there? It continues going down; it has gotten so far that it seems a minuscule star in the dark bottom; it is increasingly smaller. We can't see it anymore".
That is what happens with memories and with the future, which will eventually be a memory. Memories cast a light on the past, and "dreams" cast a light on the future. As María Girona says: "To have something to say and to know how to express it is the most important thing". This is what Joan Hernández Pijuan has taught us with his art during the course of the years.
Montalbo, Segarra Anna. "Representació pictòrica de la música en l’obra de Joan Carandell." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/144935.
Full textThe main objective of the thesis is to analyse the representation of music in Joan Carandell’s work which is studied as the contemporary paradigm to establish links between the interdisciplinary world of arts and the iconography of musical representation. Carandell’s History of Music collection is researched and studied for its musical dimension. The thesis includes two volumes, the first is divided into two chapters, appendixes I and II, and the second is an annex. Appendix I gathers and selects representations of various artists to obtain complementary information and to record the main features of musical iconography, from Romanticism to contemporary painting. The iconographic constants and varied aesthetic features of representation of the musical aspects are observed. Appendix II includes a biographical complement about the artist. The starting point is the study of the iconography and musical representation to establish formal representation lines and the proposal of the following hypothesis: Carandell no doubt moves away from the established lines in the history of musical representation, his History of Music slipping away from conventional parameters due to its extension and educational and philosophical factors. First conclusion: Carandell’s proposal is innovative because of its sense of pictural unit towards musical vibration, with a consistent representation of musical evolution from the Greeks to contemporary composers, and being a summary of the history of music in a pictural fashion. Second: the artist’s works are based on the musical vibration which is transformed into his personal and innovative pictural manifestations of line and colour. Third: it refers to the educational intention of his project History of Music which is both progressive and innovative. Fourth: it deals about Carandells’s suggestion of real but invented which determines a surrealism and metaphysics leading to imagine a pictural dimension open to the eye of the beholder, to his own experience and sensitivity, uncovering to him expectations of philosophical reflection. The fifth conclusion refers to the achievement of the issues proposed in the hypothesis, with the result of a research work that is both innovative and necessary for the historiography of art.
Mas, López Jordi. "Els haikús de Josep Maria Junoy i Joan Salvat-Papasseit." Doctoral thesis, Universitat Autònoma de Barcelona, 2002. http://hdl.handle.net/10803/5255.
Full textL'objectiu és descriure el model poemàtic subjacent al conjunt de poemes escrits per cadascun dels autors. Partint, d'una banda, d'una anàlisi minuciosa dels poemes, i, de l'altra, d'un estudi de les idees estètiques en les quals s'insereix el conreu de l'haikú, s'explica com el motlle japonès original és manipulat per adaptar-lo a un nou context i convertir-lo en vehicle d'unes idees estètiques diferents.
El capítol inicial és dedicat a l'estudi dels referents amb què comptaven Junoy i Salvat-Papasseit. Així, s'analitza l'èxit que l'haikú assolí en la literatura francesa a partir de l'any 1916 i les obres amb què comptaven els escriptors i lectors francesos per documentar-se sobre aquesta forma. També s'hi consideren els experiments dels imaginistes angloamericans. En l'àmbit de la literatura catalana, s'estudien especialment les reticències que Eugeni d'Ors expressà sobre la forma de l'haikú.
En el capítol dedicat a Junoy, l'anàlisi dels poemes es posa en relació amb el mediterranisme defensat per l'autor. Junoy s'acosta a l'haikú intentant trobar un punt d'equilibri entre modernitat i classicisme, i els seus haikú es caracteritzen per la tensió entre objectivitat i subjectivitat i per la importància que es dóna al tractament del temps, no solament en cadascun dels poemes, sinó en els cicles en què s'integren.
En el capítol dedicat a Salvat-Papasseit, es relacionen els haikús salvatians amb les idees estètiques desenvolupades per Torres-Garcia, Barradas i el mateix Salvat-Papasseit en el context de l'art d'avantguarda europeu. Salvat hi presenta experiències breus en les quals una sensació desperta una intuïció profunda en el subjecte poètic i li permet atènyer un estat que transcendeix el temps cronològic i que es pot relacionar amb la "sensació d'immortalitat" de què parlà Diego Ruiz. Així, l'haikú esdevé una eina per enunciar els nuclis generadors de l'activitat poètica; és per això que Salvat els empra en funció de pròleg dels seus darrers poemaris.
This thesis is a descriptive study of the poems which Junoy and Salvat-Papasseit wrote using the Japanese haiku as a starting point. The field of study is the literature written in Catalan between the First World War and the Spa nish Civil War. Therefore, the haiku that Junoy wrote in Spanish after the Civil War are not considered, but those written in French are, since their publication was oriented towards the Catalan speaking readership.
Its aim is to describe the poetical model underlying the poems written by each author. The accurate analysis of the poems and the survey of the poetic ideas according to which they were written makes it possible to explain how the original Japanese form was manipulated in order to adapt it to its new context and to make into a vehicle for aesthetic ideas which are quite different.
The first chapter surveys the works which Junoy and Salvat-Papasseit could use as a reference. The success of haiku in French literature from 1916 on, as well as the works available to French authors and readers, are analyzed. The experiments carried out in English by the Imagists are also considered. As to Catalan literature, special attention is paid to the suspicion voiced by Eugeni d'Ors against the haiku form.
In the chapter devoted to Junoy, the analysis of the poems is put into relation with the mediterranian aesthetics he promoted. Junoy saw the haiku form as an adequate tool for reaching a compromise between classicism and modernity. His haiku try to balance objectivity and subjectivity and give a great importance to the treatment of the time, not only within each single poem, but also in the poetical cycles in which they are organized.
As to Salvat-Papasseit, his haiku are considered under the light of the aesthetical ideas which Torres-García, Barradas and Salvat-Papasseit himself developed in the context of the European Avantguard mouvements. These poems describe short experiences in which a mere sensation arouses a deep intuition within the poetical subject and enables him to reach a state which transcends the chronological time and can be identified with the "sensation of inmortality" described by Diego Ruiz. Thus, the haiku form becomes a medium to anounce the seeds of poetical writing. That is the reason why Salvat used it to write short prologues for his latest books.
Pesquero, Ramon Saturnino. "Joan Miró: una lectura filosófica a partir de "La Masia"." Doctoral thesis, Universitat de les Illes Balears, 1999. http://hdl.handle.net/10803/9426.
Full textLa parte central del estudio está dedicada a desvelar los significados: 1o) de los 20 signos de su Cortège des obsessions, siempre recurrentes en su obra y cuyo simbolismo cabalístico definiría el espíritu semita-catalán de su autor (I Parte); 2o) de "La Masia", como "metáfora mayor del habitar (existir, en sentido heideggeriano), poético- mí(s)tico del artista"(II Parte); 3o) de los "Autorretratos, cuyo discurso poético "traduce el acaecer concreto y real del devenir de su ser humano y artístico (III Parte). Así, el estudio tienta desvelar las fuentes místico-semitas,cuyas verdades dirigieron la vida y el quehacer creativo de Miró, siempre movido por una responsabilidad ética. Las conclusiones de esta lectura interpretativa son expuestas en la IV Parte del estudio.
Esta lectura conjuga conocimientos sobre la teoría del arte y el poder creativo del espíritu humano y su capacidad simbólica. El estudio procesa un continuo diálogo entre el arte y la filosofía/psicología, de modo que el saber filosófico fenomenológico o existencial ayuda a entender la obra de Miró,y ésta, a su vez., ilumina la verdad del conocimiento filosófico-existencial.
An hermenéutic study about Miro's work. The mironian artistic work contains" a secret intentionality and is inscribed in a cabalistic sphere". Therefore, it allows some relations with the esoteric work of El Bosco and with the mistic work of Kandinsky.
This study dedicates special attention to the meaning of those pictorial works: 1a) The Cortège des obsessions (collection of twenty signs)always recurrent in his work, whose symbolism will reveal the mironian semitic-catalanian Weltanschauung (Part I) ; 2a) "La Masia", "as the main metaphor of his poétic and mythic/mystic dwuelt"(exist, in heideggerian sense).(Part II) ; 3a) The Self-autorretrats, whose poetic oration translates "the real and concrete happening of his human and artistic becoming, (Part III) Thus, the study tries to discover the mystic- semitic sources from which truths Miro dealt his life and his artistic work, always moved by ethical responsability. The conclusions of this interpretative reading are exposed in Part IV.
This reading conjugates knowledges about art's theory and creative power of the human mind and its simbolic capacity. This study processes a continuous dialogue between art and philosophy/psychogy in a way that phenomenological or existential philosophy helps to undesrtand Miró's work, which, by it's turn,enlightens the truth of philosophic-existential knowledge.
Serror, Maéva. "Etude du vieillissement thermique d’un jonc pultrudé en matériau composite." Thesis, Paris, ENSAM, 2013. http://www.theses.fr/2013ENAM0042.
Full textThis thesis is devoted to the study of thermal ageing and lifetime prediction of a composite rod used to stiffen electrical overhead power lines. The operating temperature of the wire is usually ranged between 80 and 90°C and, during maintenance, temperature can rise up to 220°C for short durations. Microstructural analysis of radial composite cross-sections after ageing between 160 and 220°C in air evidences its damage. When the epoxy matrix is under-crosslinked, the damage consists in a spontaneous cracking (due to stresses induced by the chemical shrinkage of the matrix) followed by the thermal oxidation of the rod core. However, when the matrix is better crosslinked, this damage is replaced by the formation and accumulation of microcavities of gases in the rod core, resulting from the matrix thermolysis. Eventually, these microcavities get connected to form wide apparent cracks. This degradation leads to the progressive decrease of the elastic modulus and, beyond a critical damage (porosities, cracks) fraction, a catastrophic fall of fracture properties. Based on these results, microstructure/properties relationships are established. Complementary tests by thermogravimetry coupled with high resolution mass spectrometry are carried on neat matrix films between 160 and 240°C under inert atmosphere to elucidate the thermolysis mechanism and the origin of the cavitation. The decomposition of unstable linkages in the epoxy network leads to the formation of three major volatile organic compounds including water. When the concentration of this later exceeds its solubility threshold in the matrix, the first microcavities appear. Based on these results, a mechanistic scheme and a kinetic model of thermolysis are proposed and successfully checked by gravimetry
Cournoyer, Céline. "Un noeud dans un jonc, fonctionnement de l'enigme chez Balzac." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ44394.pdf.
Full textCournoyer, Céline. "Un noeud dans un jonc : fonctionnement de l'énigme chez Balzac." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34711.
Full textA better grasp of the plot's central role leads the reader to discover legal criminality, since the narrative structure restores order between fable (intricacy of the crime story) and discourse (invention of crime as an enigma). To relate circumstances leading to the solution of wealth enigmas, Balzac exploits enigma games as an essence of orality, thus giving his fiction the style of a conversational game. Furthermore, he uses a diversity of characters and narrative processes to create uncertainties, suggest clues, denounce inconsistencies.
The balzacian literary universe exploits the classical poetics of enigma, developing the enigma from a well-known fact: enrichment by criminal means is an open secret. The point of distinction between Balzac's enigmas and other novels is that they do not really aim at elucidating a mystifying crime, such as in Edgar Allan Poe's novels, but rather at revealing the subtle art of deception. Balzacian "intellectuals", criminals of a new kind, know how to evade the law and take advantage of its loopholes. The narrators, wishing to satisfy the readers' wish to know "the chemical process for oil burning in Aladdin's lamp", must not only specialize their narrative structure to achieve this goal, but also trick the readers into keeping interested in stories which must seem ever more captivating as they become more meaningless.
Set between Vidocq's loitering and Dupin's readings, between a spy's memory tracking and a detective's syllogistic intelligence, the dramaturgy of "Faits divers", in the world of Balzac, does not condone nor condemn any of these manifestations of enigma, as it is first and foremost a narrative adventure.
Plummer, Sharbreon. "The Joan Mitchell Center: Retreat, Reflection, and Reciprocity (Internship Report)." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/168.
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