Academic literature on the topic 'The Disney Renaissance Era'
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Journal articles on the topic "The Disney Renaissance Era"
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Daulay, Resneri, and Helmatun Fauza Ulfah. "FEMALE REPRESENTATION IN SELECTED DISNEY RENAISSANCE STORIES." JURNAL BASIS 9, no. 1 (April 13, 2022): 197–208. http://dx.doi.org/10.33884/basisupb.v9i1.5489.
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The occurrence of disparities in society with female characters, Disney stories told about the existence of heroine characters in the Disney renaissance era. Disney stories had become part of a show culture that has evolved into the reproduction of gender roles. This study was conducted to find the female representation as a heroine depicted in the Disney renaissance as well as to analyze the reasons how Disney heroines struggle in claiming their equality as a woman in their society. This study was categorized into qualitative and descriptive research methods. Furthermore, this study used the theory of the renowned feminist existentialism by Simone de Beauvoir, one of the Feminist icons and Philosophers of existentialism, with her book; The Second Sex, Beauvoir represented the section of the independent woman; a woman could choose independence, which means continuing to carry out the process toward freedom without having the insight of a predetermined goal. Therefore, this study aimed to elaborate how the female representation as the women to fight their equality to their desire for freedom. Thus, the heroine character was expected to be able to contribute to society in terms of gender awareness, including women.
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Herman, David. "A Renaissance Robot." Mechanical Engineering 120, no. 02 (February 1, 1998): 80–82. http://dx.doi.org/10.1115/1.1998-feb-4.
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This article focuses on a computer in downtown Manhattan that is displaying a robotics designer’s latest creation in action. Fashioned to look like an armored knight, the mechanical man in this three-dimensional simulation sits up, waves its arms, moves its head on a flexible neck, and opens and closes its hands and its jaw, all in smooth, precise motions. The robot could be used in a new motion picture, museum, or amusement park. Its original designer, however, never heard of movies, computers, or Wait Disney: The robot sprang from the mind of Leonardo da Vinci. Most Renaissance-era designers took a practical approach to mechanics, viewing each machine as a universal entity to be applied as a whole. Leonardo, however, used a revolutionary method of analysis that involved dissecting machines into individual components or “organs” and establishing how many essential parts exist; pulleys, chains, pinions, shock absorbers, springs, and friction bearings were just some of the elements he discovered to be common in many different machines. Leonardo’s studies have influenced and inspired Rossheim greatly in his current robotics designs. Leonardo followed the Renaissance ideal of “man as the measure,” the standard for which the world was designed.
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Johnson, Michelle. "She's Beauty and She's Grace(less): The Mercurial Femininity of the Modern Disney Princess." Congress on Research in Dance Conference Proceedings 2016 (2016): 229–34. http://dx.doi.org/10.1017/cor.2016.31.
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Focusing on characters from Disney's three most recent “princess” films, Tangled (2010), Brave (2012), and Frozen (2013), I examine the development and divergence of these figures from “classic” Walt Disney models. Their mercurial character, as illustrated through gesture and movement, presents a firm contrast with and significant departure from their predecessors in films such as Cinderella (1950) and Sleeping Beauty (1959)—protagonists who exhibited a static character reflective of their social roles through the “embodiment” of balletic grace. Expanding on existing research comparing Walt Disney–era princesses with those from the Disney Renaissance of the 1980s and 1990s, I explore the significance of this shift in representation. Viewed as a metaphor for contemporary femininity, how do these modern princesses resolve the incongruity between their official social stations, proscribed behavior, and “real” personalities through their bodies over the course of the films?I believe that the conflict staged on these animated bodies is representative of larger societal issues emerging from contested definitions of both feminism and femininity, and that the Disney princess offers a contemporary site for the expression and resolution of this dissonance. Viewing the body of the Disney princess as representative of a larger female “social body” and conflict that occurs within her as indicative of the larger forces that shape female identity, I integrate my study with historical dance scholarship which regarded movement as indicative of the presence of an Apollonian/Dionysian dialectic working within culture.
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Leon, Carlo Yannick, and Emilia Schmidt. "Women Equity Strive in Society Depicted through Animation Film Characters." NOTION: Journal of Linguistics, Literature, and Culture 3, no. 2 (November 23, 2021): 112–25. http://dx.doi.org/10.12928/notion.v3i2.4818.
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The purpose of this research is to identify the female representation depicted in the Disney Renaissance and to investigate why Disney characters struggle to claim their equity as women in their society. The research methods used in this study are classified as qualitative and descriptive. The documentation method and taking notes techniques are used to collect data. The research also employs two method concepts to analyze the collected data, including a gender equity approach analysis and Simone de Beauvoir's second-wave feminism theory. The data consists of linguistic units from various Disney Renaissance stories. The writer discovered three parts in the description of female representations based on data analysis of the female representations depicted in Disney Renaissance: rebel, wise, and adventurous women; confident, intelligent, and repellent of domestication women; and masculine, loyal, and ambitious women. Furthermore, data analysis of Disney characters' struggles in claiming their equality as women in their society reveals that they outperform patriarchal expectations, reject domestication, and practice emancipation by appropriating masculine attributes and roles.
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Piri, Ali, and Mohammad Piri. "The Quintessential Features of Iranian Art in Saljuq Period." Modern Applied Science 10, no. 6 (May 27, 2016): 219. http://dx.doi.org/10.5539/mas.v10n6p219.
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The reign of Saljuqian in Iran is considered as a flourishing era of Islamic-Iranian culture. In the Saljuq period, Iran art has experienced and underwent some changes as long as the presence of these evolutions as keystone in Iranian traditional arts have played a significant role in arts such as architecture, painting, pottery and etc. Since the effect of the Saljuq art has been so impressive, even it is not considered as a renaissance period, it can be accounted as one of the significant period in Iranian art. The purpose of this study is to point out some features of the Saljuq art through using descriptive-analytical approach, and to examine some aspects of arts including architecture, pottery, and textile in this period. What is more, the outcomes of the present paper reveal that with regard to the Saljuq architecture, mosques have been formed by nave, dome, and four-porch courtyard derived from Khorasan architecture art. The eminent buildings of this period are Jameh Mosque of Isfahan, Jam Minareh, Sanjar monument in Marv city. Successes have been also achieved in pottery art such as making pottery dishes with over glaze, and under glaze painting and red dishes with white cover. In the field of discovered metal works, there is a variety of bowls, vases and golden, silver and bronze cups which have been carved, embossed and inlayed by picture of animals and plants as well as Kufic script. Moreover, the silk textile known as Ordaki has been one of the brilliant samples of textiles art in this period, decorated with blue Kufic script. In overall, Saljuq arts have paved the way for more development of arts in the subsequent years.
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Rybina, Polina Yu. "The Dialogue of Giants: How Broadway and Hollywood “Saved” American Animation (and Were Saved in Return). (Kunze, Peter C. Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance. New Brunswick, NJ: Rutgers University Press, 2023. 224 р.)." Literature of the Americas, no. 15 (2023): 327–36. http://dx.doi.org/10.22455/2541-7894-2023-15-327-336.
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Peter Kunze’s book Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance is a (overwhelmingly) well-researched study of the transmedial migration of popular narratives in the 1980s and the 1990s. Focused on Disney’s appropriation of the Broadway integrated musical (H. Ashman, A. Menken), the study demonstrates how the musical theatre conventions improved the quality of Disney’s main product — the animated film. Kunze engages in close reading of an extended episode from the history of cultural production (the Disney Renaissance), showing the complexity and unpredictability of various media convergences. For instance, the book reconfigures the roles of managerial and creative labourers behind the Disney transformation, wittily (and convincingly) bringing to the forefront 1982 as annus mirabilis, which triggered immense changes in the cultural sector. After discussing Disney's appropriation of the musical Broadway, the book reveals how the updated animated musical comes back to the theatrical stage and transforms ‘respectable’ Broadway by alternative styles and agendas (Julie Taymor’s The Lion King). Apart from other sources, the research uses hardto- access archival materials, the author's interviews with the practitioners and their entourage.
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Skowera, Maciej. "Model baśni filmowej w złotym wieku wytwórni Walta Disneya (wraz z późniejszymi modyfikacjami)." Wielogłos, no. 1 (47) (July 2021): 151–81. http://dx.doi.org/10.4467/2084395xwi.21.007.13582.
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[Model of a Film Fairy Tale in the Disney Golden Age (with Later Modifications)] The article attempts to determine the constitutive elements of a model film fairy tale in the so-called Disney Golden Age and to examine how it was used in later works, both these created by the studio and those by unrelated creators. After preliminary remarks, the author analyses three feature-length animated films: Snow White and the Seven Dwarfs (1937), Cinderella (1950), and Sleeping Beauty (1959). In these works, as he notes, one can notice a set of features that make up the classic Disney model of a film fairy tale. Next, the author discusses modifications applied to the pattern during the Disney Renaissance and Revival. Finally, he cites examples of cultural texts polemical to this paradigm which point to the cultural vitality and heterogeneity of the studio’s films.
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Phillips, Lisa A. W. "Mickey Goes to Haiti and Leaves: Disney's Transnational Quest for Cheap Labor in the post-Cold War Era." International Labor and Working-Class History 101 (2022): 144–63. http://dx.doi.org/10.1017/s0147547922000072.
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After the collapse of the Soviet Union, Disney and other United States-based companies found themselves in the position to create a “new world order.” The National Labor Committee (NLC), Haitian grassroots labor organizers, a multimillion member international labor community, concerned shareholders, members of the U.S. Congress, and activists around the world pressured Disney to lead the way to a new global standard by paying a living wage and investing in local infrastructure wherever it did business. Whatever standards Disney enacted, they argued, the rest would follow. Rather than assume the “corporate mantle of responsibility,” Disney ran from the United States to Haiti, then to China, in search of cheap labor, a bigger profit margin, and the ability to do business without scrutiny. Seeing itself as just one entity in a global garment supply chain, Disney claimed responsibility only for licensing its brand to the contractors (U.S.-based) and subcontractors (in Haiti and later China) who handled the actual production of Disney merchandise.
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Kim, Soyoung, and Christian Gregory. "Indigenously Doing Disney." INContext: Studies in Translation and Interculturalism 3, no. 2 (November 30, 2023): 71–93. http://dx.doi.org/10.54754/incontext.v3i2.68.
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In its hundred-year history, the Walt Disney Company has created multiple projects featuring characters from various minorities and indigenous groups. The purpose of this essay is to examine the later films of Walt Disney Animation Studios, beginning in the often-dubbed “Disney Renaissance” with Pocahontas and concluding with Frozen II, and analyze the portrayal of the native groups being featured within the narrative. Beyond this, the secondary aim of this paper is to determine whether or not any significant development has been made in said depictions in the studio’s projects, both as it pertains to narrative and visual representation, as well as reception from audience members, critics, and community leaders of said ethnic groups. Beyond the analysis of the chosen films and their reception, this essay will touch upon the potential conflicts which may arise when potentially vulnerable or traditionally ignored aboriginal groups see their culture commodified by corporations such as Disney. The findings of this essay are that while Walt Disney Animation Studios still struggles with representation and commercialization of indigenous groups, the company has evidently made efforts to respond to criticism, and increase its cooperation with aboriginal populations when developing featurefilm projects. For the most recent example, while the company’s immensely successful Frozen utilizes multiple facets of Sámi culture, it does not directly feature any characters of Sámi origin. For the sequel, however, the company made efforts to work with indigenous groups to ensure a more favorable representation, resulting in largely positive reception from Sámi audiences. Whilst there are still problematic elements present, and the company’s commitment to fair, accurate representation is likely motivated more by financial incentive than anything else, some progress has undoubtedly been made.
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Elfenbein, Matthew Ari. "Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance, Peter C. Kunze (2023)." International Journal of Disney Studies 1, no. 1 (January 1, 2025): 146–48. https://doi.org/10.1386/ijds_00011_5.
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Review of: Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance, Peter C. Kunze (2023) New Brunswick, NJ: Rutgers University Press, 223 pp., ISBN 978-1-97882-782-0, h/bk, $150.00 ISBN 978-1-97882-781-3, p/bk, $32.95 ISBN 978-1-97882-783-7, e-book, $32.95
Dissertations / Theses on the topic "The Disney Renaissance Era"
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See, Pamela M. "The Agency of Papercutting in the Post-Digital Era." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/398415.
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In 2010, the chief curator of the Museum of Art and Design in New York, David McFadden, posited a ‘renaissance’ in the application of paper as an independent medium. The international instatement of papercutting into contemporary art sectors commenced in North America during the mid-1990s. This movement was associated with the transition from digitalism to post-digitalism. The materiality of paper was considered antithetical to the non-materiality of digital art. A more recent global survey of paper as an independent medium, The First Cut, was organised by Manchester Art Gallery in 2012. It was the same year the term ‘post-digital’ was applied to paper by Alessandro Ludovico in The Post-Digital Print: The Mutilation of Publishing Since 1894.
Using the paper as independent medium movement as a fulcrum, this doctorate employs an arts-based research methodology to explore the applications for this image-making technique in the post-digital era. A selection of the artworks utilise papercutting traditions that are both chronologically and geographically distinct. A primary example is the application of both silhouette portraiture and Foshan papercutting to critique Chinese emigration during the nineteenth century. This culminated in two series, exhibited at the National Portrait Gallery in Canberra and the Chinese Museum in Melbourne respectively.
A key research tangent involves separating the materiality of ‘paper’ from the technique of ‘cutting’. It explores the role of perforating paper in the development of digital technology. The creation of punch cards for the Jacquard weaving loom during the early nineteenth century directly informed the invention of computer data tapes during the mid-twentieth century. The subsequent artworks utilise post-digital technology to translate papercut motifs into a variety of media, including vector-based animation, computer-aided design knitting, laser etched sandstone, laser cut steel, and 3D printed sculpture. These artworks were exhibited in a variety of venues, including the State Library of Queensland, Brisbane, Australia; ADGY Cultural Exchange Center, Beijing, China; Arteriet, Kristiansand, Norway; and the Museo de Gustavo de Maetzu, Navarra, Spain.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Wang, Xiqiao. "The essay in the postmodern era." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000333.
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Ying-Chih, Liao. "The renaissance of Taiwaneseness : Taiwanese alternative cinema and Avant-garde theatre in the post martial law era." Thesis, Lancaster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515014.
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Fernandez, Meghann. "La papauté et le pouvoir politique dans l'Italie de la Renaissance." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0704.
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Italie phare selon les mots de Jacques Le Goff, Italie proie durant les invasions étrangères ou simple « expression géographique » selon le prince de Metternich, l’Italie a depuis son premier souffle offert à l’histoire du monde de nombreux visages. A ce titre, elle fait figure de véritable étrangeté dans le paysage européen actuel. Une Italie politique et religieuse dans une Europe intensément laïque. Une toute jeune nation au milieu de patries millénaires. Un pays où, encore aujourd’hui, politique et religion marchent main dans la main. Où les consciences s’éveillent à la messe comme dans l’isoloir. Un pays où l’humain cherche désespérément à toucher du doigt le divin. Où le divin lui-même devient humain en la personne des successeurs de Saint-Pierre, pendants aussi appréciés que redoutés des dirigeants temporels italiques. Or, si l’Italie occupe une telle place pour notre humanité, c’est avant tout du fait de la dichotomie qui l’a toujours habitée. Âme guerrière et conquérante autant qu’émanation sanctifiée de la religion catholique, elle est la terre qu’humain et divin se sont disputés pendant des décennies. Et c’est à la Renaissance que ce combat atteint son apex. Car temporel et spirituel furent animés d’une même tension créatrice dans leur âpreté à « faire l’Italie » et leurs affrontements incessants allaient façonner l’essence même de l’Italie d’aujourd’hui, lui donnant ce caractère bicéphale qui est probablement l’un des aspects les plus constitutifs de l’identité italienne actuelle. Et lui confère une spécificité sans pareille en EuropeItaly lighthouse according to Jacques Goff’s words, Italy prey during the French and Spanish invasions ou simple « geographic expression » according to the prince of Metternich ; Italy has since her very first breath given the world history many visages. As such, Italy is a true strangeness in our modern European landscape, deeply proud of still exposing today the two side of her personnality. A politic and religious Italy in a very secular Europe. A very young nation among millenial homelands. A country transcended by its stormy story, by its intrinsic fragilities. A country where today, politic and religious are walking together. Where the minds awakes during the mass or in the voting booth. A country where human is begging for divine. Where divine himself becomes human in the sanctified person of St-Peters’s successors, equivalent as appreciated as feared of Italic secular leaders. And whose power exceeds the Vatican confines to radiate in the whole world, making Italy a real beacon illuminating the whole planet. Or, if Italy occupies such a place in our humanity, it is because of the dichotomy who always inhabited it. Warrior soul and hallowed emanation of catholicity, Italy is the place that human and divine have fought about during centuries. And this quarrel reaches its climax during the Renaissance era. Where temporal and spiritual power were also guided by a same creative strenght in their acerbity to do Italy et their ceaseless quarrels were going to shape the very soul of modern Italy, giving her this two-headed dimension which is likely the most constituent aspect of Italian identity. And gives this Nation an unparalleled specificity in Europe
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Marchant, Katrina. "Things 'necessary' and 'unnecessary' : trash and trifles in early modern England, 1519-1614." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/55175/.
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This thesis investigates the shifting representation of trash and trifles in the literature and art of sixteenth and early seventeenth century England. It connects previously disparate critical fields – religion, politics, national identity, travel, literary criticism – in order to offer new perspectives on the period. The investigation of the terms ‘trash' and ‘trifles' at the centre of this project reinstates a crucial literary perspective to the historical study of early modern England's crises in spiritual and material value, whilst retaining a keen awareness of the importance of interconnected historical contexts ranging from the mercantile to the spiritual and the cultural. I have traced the connected development of the terms trash and trifles across the period 1519-1614, and closely examined their use in response to various crises in value, whether spiritual or mercantile. How writers of polemic and drama develop a language in which to articulate such crises, and the ways in which that language necessarily combines elements of both the spiritual and the mercantile, is a central theme. Key elements of this development are marked by Queen Katherine Parr's invective about the mercantile corruption of spiritual treasure with material papal ‘tryfles'; Sir Thomas Smith's assertion of the spiritual immorality of material ‘trifles'; Thomas Harriot and John White's presentation of the mercantile and spiritual benefit of exporting trash and trifles to the New World; and in the staging of trash and trifles in a series of late sixteenth and early seventeenth century plays which, I argue, were in part designed to mount a defense against anti-theatrical allegations regarding the effeminate valuelessness of playing. This thesis illustrates how the deployment of the terms trash and trifles in early modern England can be productively used to trace the shaping of the Protestant English commonwealth as a destinct, secure and valuable entity in an unstable and increasingly global post-Reformation world.
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Guérin, Samuel. "Le scribe royal de la Tombe Boutéhamon et l'Ère de la Renaissance." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30072.
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Le scribe royal de la Tombe Boutéhamon est un personnage thébain de première importance dont les témoignages couvrent les dernières années de la XXe dynastie et les premières de la Troisième Période intermédiaire (de Ramsès XI à Smendès Ier). Fils du scribe de la Tombe Djéhoutymès, Boutéhamon est mentionné dans de nombreuses sources épigraphiques (lettres, graffiti et dipinti de la nécropole thébaine, ostraca, phylactère, étiquette de momie) et archéologiques (vestiges architecturaux à Médinet Habou, sarcophages dispersés, mention possible de son inhumation à Deir el-Medineh). L’examen de cette documentation permet, d’une part, de restituer la carrière de ce haut fonctionnaire dans son temps. D’autre part, elle sert à exprimer de nouveau la chronologie incertaine des règnes des pharaons concernés ainsi que la période dite de « la Renaissance »The royal scribe of the Tomb Butehamun is an outstanding Theban character, evidence for whom spans the last years of the 20th dynasty and the first years of the Third Intermediate Period (from Rameses XI to Smendes I). Butehamun was the son of the scribe of the Tomb Djehutymes. He is mentioned in numerous epigraphic (letters, graffiti and dipinti from the Theban necropolis, ostraca, phylactery, mummy label) and archaeological sources (architectural remains at Medinet Habu, dispersed coffins, a possible reference to his burial at Deir el-Medineh). Close examination of this body of documents allows reconstructing the career of this high ranking civil servant within his own time. Furthermore, it serves the reassessment of the uncertain chronology of the relevant pharaohs’ reigns and of the period known as “the Renaissance”
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Titeux, Catherine. "Le mur et ses ornements : tables, encadrements, bossages et autres enrichissements dans l'architecture française à l'âge classique." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040231.
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Le sujet de cette thèse est le mur comme élément du “décor’’, tel que l’âge classique l’entend. Pour les architectes et les théoriciens du XVIe et du XVIIe siècle, le mur contribue à la beauté de l’édifice. Différentes techniques de finition permettent de l’embellir : appareils en pierre de taille dressés et ravalés, bossages, briques polychromes, enduits qui unifient et enluminent les parements. Qu’il soit nu ou orné le mur n’est jamais neutre. Les architectes disposent sur le mur des motifs qui "enrichissent" les ordonnances, mais les surfaces décoratives qui qualifient les intervalles entre les principaux éléments du décor, ouvertures ou éléments de l’ordre, et les encadrements, qui montrent le mur comme un tableau, structurent les ordonnances, avec ou sans ordres. Ces ornements qui jouent un rôle aussi important sur le plan symbolique que syntaxique ont ainsi leur place dans le système classique des ornements dans lequel les ordres tiennent le premier rôle. Les ornements du mur peuvent prendre les caractères de l’ordre mais ont aussi leur propre rhétorique ; d’une part ils ont les qualités du mur même, d’autre part ils n’ont pas la même origine : les premiers ornements classiques imitent les inscriptions des monuments funéraires ou honorifiques de l’Antiquité. Une des particularités de la façade française est l’insistance sur les lignes verticales de la travée de fenêtres qui est en soi une composition ornementale. Les architectes coordonnent deux systèmes opposés : l’horizontalité qu’impose la superposition des ordres et la verticalité de la travée de fenêtres. Ils utilisent alors deux moyens : le renforcement des moulurations horizontales et l’ornement du mur. Cette thèse confirme certaines observations sur la façade française : l’effet a-tectonique des ornements, même si ceux-ci structurent la composition. Au principe classique de l’unité de l’organisme architectural dans lequel rien de peut être ajouté ou retranché, les architectes français apportent leur réponse : tous les éléments sont des ornements ainsi que le mur lui-même, qui se montre ou se voile de légers ornementsThe subject of this thesis is the wall as element of the "decor", such as the classic age understands it. For the architects and the theorists of the XVIth and of the XVIIth century, the wall contributes to the beauty of the building. Various techniques of finish allow to embellish it: dressed stone, perfectly raised, bossages, bricks, coat which unify and illuminate facings. Naked or decorated, the wall is never neutral. The architects put on the wall motives which "enrich" the composition, but the ornamental surfaces which qualify the intervals between the main elements of the decor, openings or elements of the order, and the frames which show the wall as a picture structure the composition, with or without orders. These ornaments which play a role as important on the symbolic plan as on syntactic one have their place in the classic system of the ornaments in which the orders hold the leading part. The ornaments of the wall can take the characters of the order but also have their own rhetoric; on one hand they have the qualities of the wall, on the other hand they don’t have the same origin: the first classic ornaments imitate the inscriptions of funeral or honorary monuments of the Antiquity. One of the peculiarities of the French facades is the insistence on the vertical lines of the bay of windows which is in itself a decorative composition. The architects coordinate two opposite systems: the horizontality which imposes the superimposition of the orders and the verticality of the bay of windows. They use then two means: the intensification of the horizontal moulding and the ornament of the wall. This thesis confirms certain observations on the French facade: the a-tectonic effect of the ornaments, even if this they structure the composition. To the classic principle of unity of the architectural body in which nothing can be added or substracted, the French architects bring their answer: all the elements are ornaments as well as the wall itself, which shows or hides with light ornaments
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Rolland, Tiphaine. "Le « vieux magasin » de Jean de La Fontaine. Les Fables, les Contes et la tradition européenne du récit plaisant (XVe-XVIIe s.)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040132.
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Bien que La Fontaine ait explicitement placé ses Contes dans la lignée de grands recueils de narrations plaisantes, comme le Décaméron, les Cent Nouvelles Nouvelles ou l’Heptaméron, cette filiation assumée masque deux énigmes. La première concerne la transmission de ces modèles prestigieux jusqu’au poète ; ceux-ci ont en effet connu une diffusion européenne par le biais de compilations anonymes mal connues, agissant comme autant de filtres qu’il faut mieux évaluer. La seconde est celle de l’influence, sous-estimée, de cette production récréative multiforme sur l’autre versant de l’œuvre de La Fontaine, rédigé parallèlement aux Contes : celui des Fables. Il est donc nécessaire de confronter ces deux œuvres du poète, abordées de manière solidaire, à un corpus d’une centaine de recueils de narrations brèves à visée divertissante, écrits entre le XVe et le XVIIe siècle, pour cerner ce que les Contes et les Fables doivent précisément à cette tradition plaisante. L’enquête, fondée sur des investigations archéologiques minutieuses, conduit à mesurer, dans les textes lafontainiens, les reprises (directes ou médiatisées) de canevas facétieux, les modalités d’adaptation stylistique de cet héritage ancien, et les nouveaux mécanismes de différenciation générique entre vis comica et vis gnomica. La relation entretenue par La Fontaine avec ce patrimoine pluriséculaire, associé à une Renaissance gaillarde, permet, plus largement, de mieux comprendre les rapports ambivalents de l’âge classique avec un passé perçu comme plus rieur. Sont ainsi posés les fondements d’une esthétique de l’influence, articulant les recherches génétiques, les micro-analyses littéraires et l’histoire des représentationsAlthough La Fontaine claimed that his Tales were deliberately imitating some famous collections of amusing stories, such as The Decameron or French Cent Nouvelles Nouvelles and Heptaméron, two questions remain unresolved. The first one deals with how those prestigious models were passed on to the poet; little-known, anonymous compilations that both spread those narratives throughout Europe and influenced the way they were read, are to be taken into consideration in this process. The second one is about the undervalued influence of these protean entertaining texts on the other part of La Fontaine’s works, written at the same time as his Tales: the Fables. Those two works, tackled as a coherent whole, must therefore be collated to a corpus of about one hundred books collecting short, funny narratives, mainly written between the XVth and the XVIIth century – in order to define the precise debt of the Tales and Fables to this merry literary tradition. Thorough archeological investigations are the basis of this survey that determines, within La Fontaine’s texts, how the poet rewrote some jokes he knew directly or indirectly ; which stylistic devices he invented to adapt this ancient legacy ; how he renewed the way the didactic genres are differentiated from the comic ones. The view La Fontaine had of this long-aged heritage, seen as the product of a saucy Renaissance, entails a broader and better understanding of the ambiguous relations between the classic era and a past supposed to have been more cheerful. This lays the foundations of an aesthetics of influence, which links together genetic research, close-reading of literary texts and history of cultural representations
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Tilly, Georges. "Un manifeste posthume de l'humanisme aragonais : le De hortis Hesperidum de Giovanni Pontano De hortis Hesperidum." Thesis, Normandie, 2020. http://www.theses.fr/2020NORMR084.
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La thèse étudie le dernier poème écrit par l’humaniste Giovanni Pontano (1429-1503) au tournant du XVIe siècle, le De hortis Hesperidum, une géorgique sur les jardins d’agrumes. Plusieurs chapitres de description de l’œuvre puis une étude historique et pluridisciplinaire s’attachent à jeter de la lumière sur ce testament méconnu de l'humanisme napolitain. Le poème est tout d’abord considéré au regard des diverses lectures qui en furent faites depuis son origine jusqu’à nos jours et, en particulier, de son influence sur la littérature de l’âge classique en Europe. Puis on mène un examen de la versification du poème, de l’histoire du texte et dans l’étude de ses différents témoins, on établit les principes de l’édition qui figure en fin d’ouvrage. Comme le De hortis Hesperidum est le premier texte moderne à suivre la leçon de Virgile en matière de poème didactique, l’étude s’emploie ensuite à dévoiler les ficelles de la recréation du genre géorgique à l’aube de l’époque moderne, en y examinant les formes de narration, le rôle des digressions dans le texte, la présentation du dédicataire et du dédicant. Mais le De hortis Hesperidum est aussi un poème scientifique d’un intérêt précoce pour les agrumes dont il établit les variétés et dont il décrit précisément la culture, avec un tropisme certain pour les jardins d’apparat dont il présage la vogue au XVIe siècle à Naples comme dans toute l’Italie : on y découvre les prémices du jardin maniériste. Ce poème est enfin la peinture d’une vie académique et aristocratique élevée en un idéal que le poète cherche à préserver du tumulte des guerres d’Italie. En complément de l’étude, cette thèse présente la première traduction française intégrale du texte ainsi qu’une nouvelle édition à l’orthographe restituée d’après l’unique manuscrit connuThe present thesis studies the last poem written by the humanist Giovanni Pontano (1429-1503) in the latefifteenth century/beginning of the sixteenth century : De hortis Hesperidum, a georgic on citrus gardens.Some descriptive chapters, followed by a more analytical and multidisciplinary study, cast light on thisoverlooked testament of Napolitan humanism. The poem is at first considered through its various readingsover time and in particular through its influence on the literature of European classical age. Then, theversification and the textual history of the poem are assessed and the principles of the current edition areestablished, thanks to a careful examination of its testimonies. Since De hortis Hesperidum is the first moderntext to imitate Vergil’s way of composing didactic poetry, the study deciphers the recreation of the georgicgenre at the begining of the modern period, by considering narrations patterns, digression’s role, the way ofpresenting the dedicatee or the poet himself. De hortis Hesperidum is also a scientific poem that demonstratesan early interest for citrus trees, by establishing their varieties and describing their culture, with an obviousattraction for ornemental gardens that foreteils their popularity in sixteenth century Naples and Italy,foreshadowing the beginnings of manierist gardens. Finally the poem pictures the aristocratical life of thePontanian academy. It gives the aspect of an ideal time, kept safe from the commotion of the Italian wars,thanks to the poet. In addition to this study, the thesis countains the first complete French translation of thetext and a new edition in which spelling has been corrected on the only known manuscript of the poem
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Gonzalez, Shelly S. "Anti-Romance: How William Shakespeare’s “King Lear” Informed John Keats’s “Lamia”." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1169.
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The purpose of this thesis is to analyze John Keats’s “Lamia” and his style of Anti-Romance as informed by William Shakespeare’s own experimentation with Romance and Anti-Romance in “King Lear.”
In order to fulfill the purpose of my thesis, I explore both the Romance and the Anti-Romance genres and develop a definition of the latter that is more particular to “King Lear” and “Lamia.” I also look at the source material for both “King Lear” and “Lamia” to see how Shakespeare and Keats were handling the originally Romantic material. Both Shakespeare and Keats altered the original material by subverting the traditional elements of Romance.
In conclusion, the thesis suggests that Shakespeare’s Anti-Romance, “King Lear,” and his general reworking of the Romance genre within that play informed Keats’s own experimentation with and deviation from the traditional Romance genre, particularly in “Lamia.”
Books on the topic "The Disney Renaissance Era"
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Bruce, Kellner, ed. The Harlem Renaissance: A historical dictionary for the era. New York: Methuen, 1987.
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Kallen, Stuart A. Harlem jazz era. San Diego, Calif: Lucent Books, 2004.
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Museum, Smithsonian American Art. African American art: Harlem Renaissance, civil rights era, and beyond. Washington, DC: Smithsonian American Art Museum, 2012.
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1967-, Gable Craig, ed. Ebony rising: Short fiction of the greater Harlem Renaissance era. Bloomington: Indiana University Press, 2004.
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Chambers, Mortimer. The Western experience: From the Renaissance to the modern era. 6th ed. New York: McGraw-Hill, 1995.
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1953-, Powell Richard J., and Mecklenburg, Virginia M. (Virginia McCord), 1946-, eds. African American art: Harlem Renaissance, civil rights era, and beyond. Washington, DC: Smithsonian American Art Museum, 2012.
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Lindheim, Nancy. The Virgilian pastoral tradition: From the Renaissance to the modern era. Pittsburgh, PA: Duquesne University Press, 2004.
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Paul, Sparks, ed. The guitar and its music: From the Renaissance to the Classical era. Oxford: Oxford University Press, 2002.
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Tyler, James. The guitar and its music: From the Renaissance to the classical era. Oxford: Oxford University Press, 2007.
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Women Art Patrons and Collectors Conference Organization, ed. Vanishing boundaries: Scientific knowledge and art production in the Early Modern era. Ramsey, New Jersey: The WAPACC Organization, 2015.
Find full textBook chapters on the topic "The Disney Renaissance Era"
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L. Mollet, Tracey. "The Renaissance Era (1989–1991)." In A Cultural History of the Disney Fairy Tale, 47–74. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-50149-5_3.
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Brookey, Robert Alan, Jason Phillips, and Timothy Pollard. "We're Going to Disney+!" In Reasserting the Disney Brand in the Streaming Era, 116–35. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003364658-6.
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L. Mollet, Tracey. "The Classic Era (1937–1959)." In A Cultural History of the Disney Fairy Tale, 19–46. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-50149-5_2.
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L. Mollet, Tracey. "The Revisionist Era (2007–2018)." In A Cultural History of the Disney Fairy Tale, 75–103. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-50149-5_4.
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L. Mollet, Tracey. "The Renewal Era (2009–2013)." In A Cultural History of the Disney Fairy Tale, 105–34. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-50149-5_5.
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L. Mollet, Tracey. "The Reboot Era (2014–2017)." In A Cultural History of the Disney Fairy Tale, 135–63. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-50149-5_6.
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Weber, Cynthia. "Imagineering Value: Good Neighbourliness in an Era of Disney." In Political Economy, Power and the Body, 94–111. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780333983904_6.
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Brookey, Robert Alan, Jason Phillips, and Timothy Pollard. "Marvel Heroes at Mouseketeer Prices." In Reasserting the Disney Brand in the Streaming Era, 52–71. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003364658-3.
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Brookey, Robert Alan, Jason Phillips, and Timothy Pollard. "The Wonderful World of Jeff Goldblum." In Reasserting the Disney Brand in the Streaming Era, 95–115. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003364658-5.
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Brookey, Robert Alan, Jason Phillips, and Timothy Pollard. "Him Too." In Reasserting the Disney Brand in the Streaming Era, 33–51. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003364658-2.
Full textConference papers on the topic "The Disney Renaissance Era"
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DJORGOVSKI, S. G. "THE COSMIC RENAISSANCE: REIONIZATION ERA AS THE NEW COSMOLOGICAL FRONTIER." In Proceedings of the International Conference. WORLD SCIENTIFIC, 2004. http://dx.doi.org/10.1142/9789812702999_0015.
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Tebelak, R., and K. Kaufman. "Revolution or revival - Out of the paper age into the digital era." In IPCC 98. Contemporary Renaissance: Changing the Way we Communicate. Proceedings 1998 IEEE International Communication Conference. IEEE, 1998. http://dx.doi.org/10.1109/ipcc.1998.726955.
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GAID, Salima. "THE CONTRIBUTIONS OF PHYSICS TO THE RISE AND DEVELOPMENT OF PHILOSOPHY AT THE OPENING OF THE MODERN ERA." In 2. IJHER-International Congress of Humanities and Educational Research. Rimar Academy, 2021. http://dx.doi.org/10.47832/ijhercongress2-4.
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Modern Western philosophy is the third stage in the history of philosophy, and it begins at the beginning of the seventeenth century with Descartes. The reason why historians of philosophy have classified this philosophy in a third stage is that it represented a new type of philosophizing completely different from the philosophical pattern that prevailed in the middle Ages. The truth is that the rise of this new style of philosophizing did not come out of nothing, but it rather emerged from a set of objective reasons, including the religious reform and scientific advance or renaissance, that various sciences have witnessed; mainly physics in the forefront. Physics has known amazing developments thanks to great scientists; the most famous of them is Galileo, who is credited with establishing modern physics. The rise of modern physics led directly to the emergence of modern philosophy, and the developments that physics will know after the Renaissance will also be directly reflected in the development of philosophy. This point in particular is what we would like to study in this research paper, we will seek to demonstrate the close relations between philosophy and physics at the beginning of the modern era, to show through them the contributions of physics to the rise of modern philosophy, and its aftermath developments. These contributions appear in the fact that physics determines the subject of philosophy, its method in particular, and its identification of the various issues that it will raise, as well as the various theories and doctrines that it will construct to answer them. Key words: Mechanics, Materialism, Mechanism, Atomism, Expérimental Method, Empiricism.
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Eldridge, Bryan. "DEVELOPING RENAISSANCE MEN AND WOMEN: WORKFORCE AND BATTLEFIELD READINESS WITH THE CREARTE." In eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-006.
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The Renaissance period left a lasting impression not just on the art world, but in the arenas of education, business, and military science as well. In this unprecedented era of innovation, individuals leveraged the resources, human capital, and technology of the day to transform human culture forever. In the present Digital Age, we are struggling to leverage the embarrassment of riches we possess through the ubiquitousness of digital tools and rapidly emerging technology in our classrooms, workplaces, and military theatres. This remiss is diminishing our collective ability to capture and harness the unique skills and capabilities of the Millennial generation who depend on and thrive with such technology. The result is an uncomfortable partnership between a workforce and military who need qualified human resources and a selection pool that is not in an adequate state of readiness or engagement. The accompanying impact to the economy and military preparedness is not trivial. The CreArtThe Renaissance period left a lasting impression not just on the art world, but in the arenas of education, business, and military science as well. In this unprecedented era of innovation, individuals leveraged the resources, human capital, and technology of the day to transform human culture forever. In the present Digital Age, we are struggling to leverage the embarrassment of riches we possess through the ubiquitousness of digital tools and rapidly emerging technology in our classrooms, workplaces, and military theatres. This remiss is diminishing our collective ability to capture and harness the unique skills and capabilities of the Millennial generation who depend on and thrive with such technology. The result is an uncomfortable partnership between a workforce and military who need qualified human resources and a selection pool that is not in an adequate state of readiness or engagement. The accompanying impact to the economy and military preparedness is not trivial. The CreArt? philosophy and its implementation framework, the CreArt? Method, are derived from principles, heuristics, and ecosystems of interdependent roles and hierarchies successfully established during the Renaissance period. This approach is designed to enable educators, trainers, and military leaders to maximize the potential of their students, employees, and soldiers via their personalized participation in cross-functional, interdisciplinary, and innovation-nurturing applied projects and exercises. Participants are differentiated, assigned, and evaluated based on inbound readiness, capabilities, leadership potential, and when appropriate, personal interests. Although appropriate for any age group, specific emphasis is placed on applying this approach to engage, develop, and prepare Millennials for the workplace and the battlefield. philosophy and its implementation framework, the CreArt? Method, are derived from principles, heuristics, and ecosystems of interdependent roles and hierarchies successfully established during the Renaissance period. This approach is designed to enable educators, trainers, and military leaders to maximize the potential of their students, employees, and soldiers via their personalized participation in cross-functional, interdisciplinary, and innovation-nurturing applied projects and exercises. Although appropriate for any age group, specific emphasis is placed on applying this approach to engage, develop, and prepare Millennials for the workplace and the battlefield.
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Vakalou, M. "The Cretan Theatre at the Renaissance era. Approach of the women figures at the dramaturgy of Chortatsis: tragedy, comedy, pastoral drama." In VI Международная научная конференция по эллинистике памяти И.И. Ковалевой. Москва: Московский государственный университет им. М.В. Ломоносова, 2021. http://dx.doi.org/10.52607/9785190116113_117.
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Walczynski, Maciej, and Patryk Grzybala. "Selected methods of parametrization in problem of automatic classification classical music from the Renaissance era against the classical works from other eras." In 2020 Signal Processing: Algorithms, Architectures, Arrangements, and Applications (SPA). IEEE, 2020. http://dx.doi.org/10.23919/spa50552.2020.9241302.
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Schumerth, Dennis J. "The Nuclear Renaissance: Materials of Choice for Surface Condensers and BOP Heat Exchangers." In ASME 2008 Power Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/power2008-60004.
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Amidst the clamor and increasing world demand for energy, the continued use of fossil fuels for electric power generation has recently emerged as the bane of the industry. Green power is being championed as the new fuel de jour kid on the block. Environmentalists and other global warming advocates are successfully lobbying their political agendas for emission caps, carbon sequestration, NOx and SOx and other greenhouse gas limits. In many cases, these efforts have resulted in the outright cancellation, delay or unit reductions of new coal-fired plants. Similarly, simple and combined cycle gas turbine (CCGT) units, popularized during the Enron “gas bubble” era are at the mercy of unstable fuel prices which have, in large part, relegated this generation type from base load to load follow. Wind, biomass, hydro, photovoltaic and other renewables continue to produce an increased percentage of the power base but total contribution remains costly, inefficient and pitifully low. Enter the nuclear renaissance. A dramatic paradigm shift, even by the green power advocates, has allowed the nuclear phoenix to rise with the promise of emission-free power, generation efficiencies, increasing ROI revenues and demonstrating an enviable safety record since TMI and Chernobyl. Assuming this energy source conceives and bears the gestated fruit of a renaissance, the next decade will be telling in terms of the challenges brought forward by licensing, design, financing, construction and operation of a new generation of nuclear power reactors. Paramount among these is a new, time-tested generation of construction materials that will be evaluated to insure a 40 to 60 or even 80 year operational life of these new plants. Consider the problematic copper materials that were chosen during the early 70’s for their high thermal conductivity, competitive cost and ease of fabrication. Contrast these past lessons-learned to current-day, state-of-the-art generation fleet construction standards where demonstrated long-term sustainability coupled with state-of-the-art designs & materials must emerge as the prominent industry players of choice. The paper will examine these and other relevant aspects of the technical and commercial supply chain that is predicted to both challenge and reward designers and material suppliers well into the next decade.
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Jayasinghe, Manouri K. "Overreaching Ambition, the Harbinger of Tragedy: Observing the English Literary Periods." In SLIIT International Conference on Advancements in Sciences and Humanities 2023. Faculty of Humanities and Sciences, SLIIT, 2023. http://dx.doi.org/10.54389/nrym5114.
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Ambition, innocently defined as ‘something one ardently desires to achieve,’ by the Oxford Learners Dictionary, harbors a paradoxical trait - its capacity for peril when taken to excess. This enigma finds early expression in the myth of Icarus, whose disregard for moderation led to his tragic demise. Across the annals of English literature, from the Renaissance to the Modern era, this theme of ambition’s double-edged sword echoes prominently. Works like Christopher Marlowe’s The Tragedy of Dr. Faustus, the Shakespearean tragedies both Macbeth and Julius Caeser straddling the Elizabethan and Jacobean periods, Mary Shelley’s Romantic masterpiece Frankenstein, Emily Bronte’s enduring classic Wuthering Heights from the Victorian era, and Arthur Miller’s Modern American drama Death of a Salesman all serve as vivid canvases depicting the havoc wrought by unchecked ambition. This paper examines the motivations and consequences of unrestrained ambition, highlighting the importance of moderation in pursuing one’s goals. Applying a qualitative methodology rooted in textual analysis, this research aims to provide a comprehensive understanding of the impact of overreaching ambition on literary characters and its reflection on society.
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Devgun, Jas S. "DfD: An Approach to New Reactor Designs." In ASME 2011 14th International Conference on Environmental Remediation and Radioactive Waste Management. ASMEDC, 2011. http://dx.doi.org/10.1115/icem2011-59197.
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Features relevant to decommissioning are now becoming a part of the design process for the new nuclear power reactors. This is a significant contrast to when the currently operating reactors were designed several decades ago and when decommissioning was not given much thought during the design process. At a time of nuclear renaissance (even with a slowdown in the post-Fukushima accident era), when many reactors are in various construction stages and many more planned, design considerations for decommissioning will have a significant impact on these projects. The goals are to have fewer components, provide modular designs for construction and eventual deconstruction, address major component removal issues, minimize the generation of radioactive waste, and provide for better radiological safety. This paper lays out a framework of the Designing for Decommissioning (DfD) approach.
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Herzen, A. "DNIESTER FORTIFICATIONS ON THE OLD MAPS." In Man and Nature: Priorities of Modern Research in the Area of Interaction of Nature and Society. LCC MAKS Press, 2021. http://dx.doi.org/10.29003/m2605.s-n_history_2021_44/198-207.
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Old maps of the North-Western Black Sea region of the era of antiquity (reconstructions and reproductions of works of ancient Greek and Roman authors), the Middle Ages (Arabic, Italian, etc.), the Renaissance period (A. Bianco, F. Mauro, B. Wapowski, M. Beneventano, N. de Cusa, S. Münster, I. Honter, I. Stumpf, G. Reichersdorff, M. Bronovius and others) and modern times (G. Gastaldi, A. Ortelius, V. Godreccio, A. Pograbius, G. L. Boplan , V. Hondius, J.A.B. Rizzi-Zannoni, F.V. Bawr and others) contain information about numerous fortifications on the banks of the Dniester, in the immediate vicinity of the river and within the basin. The analyzed cartographic works are key for identifying fortifications in the study area, determining the stages of the historic-geographical evolution of the region and the development of cartography in general.