Academic literature on the topic 'Verse 1841'
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Journal articles on the topic "Verse 1841"
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Tucker, Herbert F. "Verse Visa." Nineteenth-Century Literature 72, no. 4 (March 1, 2018): 433–51. http://dx.doi.org/10.1525/ncl.2018.72.4.433.
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Herbert F. Tucker, “Verse Visa: Dickens Adapts Poetry in The Old Curiosity Shop” (pp. 433–451) In Charles Dickens’s The Old Curiosity Shop (1841), Dick Swiveller’s hilariously eclectic misquotation of popular verse coexists with Dickens’s own grave proclivity to fall into unlineated yet incantatory blank verse when orchestrating the death of Little Nell. These complementary prose effects freshly showcase the novelist’s joint commitments to humorous and pathetic renditions of the modern condition. They also underscore the coalescence of the novel as such, circa 1840, out of a miscellany of barely compatible ingredients, as the still-burgeoning genre sought to displace, whether by sidelining or by incorporation, poetry’s millennial prestige.
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Farooqi, Mehr Afshan. "“My Selection of Verses Earned Me a (Bad) Reputation!”: A Reflection on Ġhālib’s Published and Unpublished Verses." Journal of Urdu Studies 2, no. 1 (July 12, 2021): 68–89. http://dx.doi.org/10.1163/26659050-12340020.
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Abstract The great nineteenth-century poet Mirzā Asadullāh Ḳhān Ġhālib was a strict editor of his own work. As a result, he excised more than half of the verses when he published his Urdu dīvān in 1841. Most of these so-called rejected verses have been recovered and are available in comprehensive, scholarly editions of Ġhālib’s dīvān. In this paper I have examined the dynamics of selection by comparing and analyzing, verse by verse, Ġhālib’s process of selection. I chose Ġhālib’s published ġhazal that he constructed by cherry-picking verses from two ġhazals. My conclusion is that Ġhālib’s editing was personal. While in some cases it is possible to see the reasons behind making the choice, it seems arbitrary in others.
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Bugorskaia, V. V. "THE IMAGES OF THE ANGELS IN THE LERMONTOV’S WORKS." Bulletin of Udmurt University. Series History and Philology 30, no. 2 (May 7, 2020): 296–302. http://dx.doi.org/10.35634/2412-9534-2020-30-2-296-302.
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In the article the images of the angels in the Lermontov’s works are considered. The author concentrates on 4 types of images: the Angels - God’s Grace incarnations, the Angels of Death, the Fallen Angels, the Angels of Earth. The main attention in the article is paid to the analysis of the images of Angels in the verse "Angel" (1831), poems "Asrail" and "Angel of Death" (1831), "Demon" (1829-1839), unfinished novel "Vadim" (1832-1834) and unfinished povest’ "Shtoss" (1841). The author relies on the works on the scholars in the Lermontov’s studies field, applies germenevtic and historical and literary methods which allow to conduct a meticulous research.
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Karhio, Anne. "‘These shirts I borrow from the Finnish’: the Kanteletar and the fabric of loss in Peter Sirr’s ‘A Journal’." Review of Irish Studies in Europe 2, no. 1 (March 19, 2018): 208–24. http://dx.doi.org/10.32803/rise.v2i1.1726.
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This essay examines the personal, cultural and linguistic exchanges explored through textile metaphors in Peter Sirr’s 1994 poetic sequence “A Journal” (from the collection The Ledger of Fruitful Exchange). In this sequence, Sirr draws on The Kanteletar, a collection of Finnish folk verse originally published 1840-1841 by Elias Lönnrot, who also compiled the more widely known folk epic The Kalevala. Sirr’s adoption of the Finnish poems’ textile imagery allows him to interrogate the complexities of personal and cultural communication, as the sequence charts the end of a relationship between the poem’s speaker and his Finnish lover. Textiles assume multiple functions as metaphors and material objects: they act as personal and cultural references, as formal and structural devices, and as symbolic manifestations of intimate, emotional crisis. Sirr’s engagement with Finnish folk verse is thus thematic as well as formal, and articulates a desire to inhabit the lost lover’s idiom through numerous attempts of linguistic and cultural translation, and the literal and figurative processes of stitching and weaving.
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GEARY, JASON. "Reinventing the Past: Mendelssohn's Antigone and the Creation of an Ancient Greek Musical Language." Journal of Musicology 23, no. 2 (2006): 187–226. http://dx.doi.org/10.1525/jm.2006.23.2.187.
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ABSTRACT In 1841, Sophocles's Antigone was performed at the Prussian court theater with staging by Ludwig Tieck and music by Felix Mendelssohn. Commissioned by King Friedrich Wilhelm IV, this production aimed to re-create aspects of Greek tragedy by, among other things, using J. J. Donner's 1839 metrical translation and having an all-male chorus sing the odes. Mendelssohn initially experimented with imitating the purported sound of ancient music by composing primarily unison choral recitative and limiting the accompaniment to flutes, tubas, and harps; but he quickly abandoned this approach in favor of a more traditional one. Yet despite his overall adherence to modern convention, he did employ several strategies to evoke ancient Greek practice and thus to meet the unique demands of the Prussian court production. Highlighting important distinctions between verse-types in the original poetry, Mendelssohn retained a vestige of his initial approach by composing unison choral recitative to indicate the presence of anapestic verse while turning to melodrama for the lyric verse of the play's two main characters. In addition, he reproduced the poetic meter by shaping the rhythm of the vocal line to reflect both the accentual pattern of Donner's translation and, in some cases, the long and short syllables of Sophocles's Greek verse. Owing largely to the irregular line lengths characteristic of Donner's text, the music is marked by conspicuously asymmetrical phrases, which serve to defamiliarize the otherwise straightforward choral styles being employed to convey the various moods of Sophocles's choruses. In the opening chorus, Mendelssohn alludes to the familiar sound of a Mäännerchor accompanied by a wind band, thereby suggesting the ode's celebratory and martial associations while recalling his own Festgesang written for the 1840 Leipzig festival commemorating the 400th anniversary of Gutenberg's printing press. The listener is thus presented with a thoroughly recognizable musical idiom and yet simultaneously distanced from it in a way that underscores the historical remoteness of ancient Greek tragedy.
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Ferreira, Luiz Otávio. "Negócio, política, ciência e vice-versa: uma história institucional do jornalismo médico brasileiro entre 1827 e 1843." História, Ciências, Saúde-Manguinhos 11, suppl 1 (2004): 93–107. http://dx.doi.org/10.1590/s0104-59702004000400005.
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Ao analisar o caso dos primeiros jornais médicos brasileiros - Propagador das Ciências Médicas (1827-1828); Semanário de Saúde Pública (1831-1833); Diário de Saúde (1835-1836); Revista Médica Fluminense (1835-1841); Revista Médica Brasileira (1841-1843) -, pretendemos demonstrar como o contexto sociocultural possibilitou o surgimento desse gênero de publicação no dinâmico e conturbado ambiente do Rio de Janeiro dos anos 1820 e 1830. Nosso argumento é o de que a trajetória inicial do jornalismo médico no Brasil teve como traço distintivo a simbiose entre negócio (interesses comerciais das casas editoras instaladas na Corte), política (conflitos relacionados a disputas pela hegemonia política, no contexto de consolidação do Estado imperial) e ciência (movimento de institucionalização e afirmação científica da medicina).
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Kornilyeva, Liliya. "Дискурси влади у творчості юліуша словацького." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 57, no. 4 (April 3, 2023): 221–29. http://dx.doi.org/10.36770/bp.750.
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Juliusz Słowacki, a Polish Romantic poet and dramatist, was born in Krzemieniec,where he spent part of his life. As a result, he was well-versed in Ukrainian, and asa writer, he largely depended on Ukrainian settings, Ukrainian history, and Ukrainian folklore. Ukrainian themes became an inherent part of his literary works. Bestknown for his masterpieces Balladyna (1834), Mazepa (1839), Lilla Weneda (1840),Jan Kazimierz (1839), Bienowski (1841), Sen srebrny Salomei (1843), and Ksiądz Marek(1843), Słowacki is now regarded as an outstanding writer, whose ideas and aestheticvalues influenced generations of other European artists. Underrated during his lifetime, he appears at his most resplendent nowadays. The discourses of power in theworks of Słowacki are given close attention because they are of crucial importance forhis original texts. The multi-faceted personalities of numerous monarchs depicted byhim, give an insight into the author’s understanding of power and its nature.
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Gallagher, Mary. "Baudelaire's Creole Gothic : A Postcolonial Afterlife for Les Fleurs du mal." Irish Journal of French Studies 21, no. 1 (October 1, 2021): 10–34. http://dx.doi.org/10.7173/164913321833983033.
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Baudelaire’s verse poetry is informed by a pervasive Creole Gothic resonance. Two separate but related topoi, the Undead and the Living Dead, lie at the heart of the collection’s necrological imaginary of slave and zombie labour. It is this Gothic double-trope of death-in-life/life-in-death that activates the Gothic Creole strain running through Les Fleurs du mal. Ironically, those poems that seem to evoke most directly the Creole world that Baudelaire encountered in 1841, firstly in Mauritius and then in Réunion, avoid all evocation of plantation slavery. Conversely, the city poems associate modern metropolitan life with the idea of slavery, representing it as a living death and death as a merely temporary and reversible escape. The collection’s representation of this ‘living death’ foreshadows the construction (by Orlando Patterson, most notably) of transatlantic chattel slavery as ‘social death’. As for the poetic representation of the ‘Undead’, this centres on the figure of the zombie. The zombie is essentially a slave for whom death has proved no guarantee against an endless ‘living death’ of hard labour. If the Creole inflection of Baudelaire’s imagery relates primarily to the realities of industrialized plantation labour and to the chattel slavery on which it was based, it is further reinforced by indices of tropical localisation and of racial difference, more specifically pigmentation. However subliminal its resonance, this Creole Gothic strain guarantees for Baudelaire’s Fleurs du mal a vivid postcolonial afterlife.
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Volkov, Ivan O. "‘My Idol, My Teacher, My Unattainable Model!’: Ivan Turgenev as a Reader of Alexander Pushkin." Вестник Пермского университета. Российская и зарубежная филология 15, no. 2 (2023): 81–91. http://dx.doi.org/10.17072/2073-6681-2023-2-81-91.
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The article provides a holistic analysis of the reader’s perception by Ivan Turgenev ofAlexander Pushkin’s lyrical works. It focuses on the materials of the writer’s personal library (Ivan Turgenev State Literary Museum in the city of Oryol), namely the book (volume) 3 from the first posthumous collec-tion of the poet’s works (1838–1841) with numerous marks left by Turgenev. This paper is the first to recon-struct the picture of the writer’s thoughtful and responsive attitude to Alexander Pushkin as a poet, which is done through a comprehensive study of all the traces of reading left on the pages of the book by Ivan Turge-nev (underlining, notes). The nature of the marks indicates the writer’s concentrated attention both to the form of Alexander Pushkin’s verse and to the content. The writer’s reading reflection combines poetic texts into mainly three closely related thematic areas: moral and philosophical, love, and biographical. Ivan Tur-genev takes a special interest in Alexander Pushkin’s widely represented pairing of the images of life and death, he significantly deepens the dramatic notes in the author’s reflections on man and his position in the world. The philosophical meanings of Alexander Pushkin’s lyrics, which receive psychological voicing in the course of reading, also become for the writer a necessary tuning fork for the tragic sounding of the theme of love. Approaching the comprehension of the phenomenon of life creation in Alexander Pushkin’s works,Ivan Turgenev, on the one hand, places certain biographical accents in the poems, and, on the other hand, approaches the solution of the problem of the meaning and freedom of poetic creativity. For Ivan Turgenev, the sonnet To the Poetbecame the credo of a talented person in the matter of creativity.
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Amayo Zevallos, Enrique. "Amazonía y el Pacífico en "La Jangada" de Julio Veme: Una visión eurocéntrica." Amazonía Peruana, no. 27 (December 14, 2000): 11–60. http://dx.doi.org/10.52980/revistaamazonaperuana.vi27.88.
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La novela amazónica de Julio Veme, "La Jangada”, fue publicad a en 1881. En ese libro uno de los personajes centrales es Manuel Valdez; además, entre los numerosos autores que Veme consultó para obtener información n sobre la Amazonía, él cita "o brasileiro Valdez" quien había visitado y escrito sobre esa región en 1840. Coincidentemente, el cuzqueño José Manuel Valdez y Palacios, quien por razones políticas tuvo que huir del Perú, caminó gran parte de la Amazonía entre 1843 y 1844 (estas partes de su trayecto son exactamente las mismas que Verne trata en su libro). Ya en Río de Janeiro publicó, en portugués, entre 1 844 y 1 846, el relato de su extenso viaje junto a otros temas histórico s y literarios. En este trabajo se intentará determinar si el Valdez ficcional se basa en el verdadero y si las ideas de éste sobre la Amazonía de alguna manera influenciaron las del gran escritor francés.
Dissertations / Theses on the topic "Verse 1841"
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Benini, Romain. "Chansons dites « populaires » imprimées à Paris entre 1848 et 1851,approche stylistique et métrique." Thesis, Lyon, École normale supérieure, 2014. http://www.theses.fr/2014ENSL0966.
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L’objectif du travail est d’aborder la chanson du XIXe siècle à partir de la notion de populaire : au cours de la première moitié du siècle, les deux objets (chanson et populaire) semblent devenir interdépendants, et contribuent chacun à la représentation de l’autre. Le populaire résistant à une définition stable, on a opté pour une contextualisation de sa compréhension, et son association avec le genre chanson, devenue presque évidente de nos jours, a donc été questionnée à partir d’un corpus numérisé de plus de 600 textes réunis en fonction de considérations d’ordre historique, bibliographique, et discursif. Après avoir explicité l’importance du texte dans l’analyse de la chanson et les critères de sélection du corpus, on s’est attaché à questionner le populaire comme notion, dans la synchronie avec les chansons étudiées, pour mieux comprendre les enjeux de cette dénomination, avant d’observer la représentation construite, par la chanson elle-Même, de son interdépendance avec le peuple. L’approche stylistique qui est proposée ensuite amène, avec la question de la singularité, celle de l’auctorialité, de sa validité pour l’analyse des chansons imprimées entre 1848 et 1851, ainsi que de ses représentations et des enjeux qu’elles suppose dans la situation et l’historicité de ces productions. En lien avec ces questions, le traitement des textes par auteur permet d’observer également les divers types de circulations, de reprises, et d’éléments communs dans le corpus constitué, ce qui soulève le problème d’une écriture à l’intérieur de laquelle certains éléments sont disponibles pour tous les acteurs et marquent l’appartenance à un champ discursif conscient et revendiqué (en l’occurrence celui des chansonniers populaires). C’est pour approcher plus précisément cette question des formes qui apparaissent comme collectives ainsi que celle de la complexité sémiologique de l’écriture chansonnière que l’analyse métrique est décisive, parce qu’elle apporte un outil méthodologique propre à dégager des récurrences massives à l’intérieur d’un corpus, récurrences qui peuvent renseigner sur la pratique et la perception de l’écriture versifiée en synchronie, et en regard desquelles d’autres configurations minoritaires sont envisageables dans leur hétérogénéitéThe main goal of this research is to study 19th Century song through the prism of the popular. During the first half of the 19th Century, both objects (song and the popular) seem to become interdependent, with each contributing to the representation of the other. Since no fixed definition can be provided for the popular, a contextualized understanding of this notion is preferred. Its association with the genre of song, which has become almost obvious nowadays, was analysed based on a digitalized corpus of more than 600 texts selected according to historical, bibliographical and discursive criteria. After positing the importance of the text in the study of song and justifying the selection criteria for the corpus, we discuss the notion of the popular at the time period under scrutiny, we assess this denomination in relation with the corpus and we observe how songs construct a representation of their interdependence with the people. Our stylistic approach accounts for the texts’ singularities but it also assesses how valid the notion of auctoriality is for songs printed between 1848 and 1851 and discusses the situated and dynamic representation of authorship. Analyzing texts according to their authors casts light on the issues of circulations, common elements and recurrences in the corpus. In a writing context where some elements are available for all the actors, common elements can be used to mark how a textual production belongs in a specific discursive domain (that of popular song writers in our case). Metrical analysis is a decisive methodology to analyse what appears as the collective character of these forms and the semiological complexity of song writing. It allows us to identify massive recurrences in the corpus, to clarify the practice and perception of verse writing in synchrony and to account for the heterogeneity of less frequent configurations as well
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Perez, Tisserant Emmanuelle. "« Nuestra California » : faire Californie entre deux constructions nationales et impériales (vers 1810-1850)." Paris, EHESS, 2014. https://halshs.archives-ouvertes.fr/tel-01142623.
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Le cas de la Californie met en évidence le caractère impérial de la construction nationale du Mexique et des États-Unis au début du XIXe siècle. Du point de vue du Mexique, l'égalité des Indiens proclamée par l'indépendance s'y avère difficilement réalisable. L'importance des missions conduit le gouvernement à repousser leur fin. Les Indiens ont aussi leurs propres revendications sur leur terre. Les colons et soldats sont d'abord attachés au système tel qu'il est. Mais certains gouverneurs et d'autres agents orientent un certain nombre de jeunes gens vers une carrière publique et la conception de la Californie comme un projet politique fondé sur la souveraineté du peuple et des États. Se forme alors une élite locale prête à se révolter quand elle estime ses droits bafoués. Ces révoltes sont comparables aux révoltes fédéralistes au Mexique mais aussi à celles de colonies de peuplement dans les empires. La culture politique et les liens avec le Mexique évoluent avec l'augmentation des circulations : à l'échelle régionale, le sud se rapproche du Mexique plus que le nord qui connaît une immigration de l'Oregon et des États-Unis. Du point de vue des États-Unis, l'espoir du consul à Monterey d'une demande d'annexion sans guerre est ruiné par l'initiative de migrants des années 1840, nourris des discours sur la « destinée manifeste », de défendre leurs droits à la terre et à une « vraie république » en Californie. Cette confrontation entre colons mexicains-californiens et migrants étatsuniens est celle de deux projets impériaux et nationaux sur un même territoire et illustre l'ambigüité de la revendication de souveraineté, de liberté et d'égalité sur un territoire conquisThe case of California brings to light the imperial character of nation-building in Mexico and the United States in the early 19th century. Concerning Mexico, the equality of Indians proclaimed by Independence proves itself a hard reach. The missions are so important to control the Indians that the government has to delay their end. Moreover, the Indians have their own perception of the meaning of equality and sovereignty on their land. Settlers and soldiers are at first still attached to the colonial System as it is. But Mexican governors and others convince a handful of young people to turn to a public career and the conception of California as a political project. A local elite comes to existence and is ready to revolt when they consider their rights flouted. Those revolts can be compared to other federalist revolts in Mexico as well as with settlers revolt in other settlers colonies. The political culture and the relationship with Mexico also evolves with the increase in circulations from the 1830s. The South becomes more connected to Mexico than the North, that becomes more connected to Oregon and the Western United States. Concerning the United States, the hopes of their consul at Monterey to promote a peaceful annexation is ruined by the attack of a frontier post by recent migrants in order to defend their right ; to the land and to a « true republic ». This confrontation between Mexican-Californians settlers and United States migrants is one of two national and imperial projects on a same territory and illustrates the ambiguity of claiming sovereignty, liberty and equality on a conquered territory
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Burgaud, Stéphanie. "Le rôle de la politique russe de Bismarck dans la voie prussienne vers l’unité allemande 1863-1871 : Die getäuschte Clio ?" Paris 4, 2007. http://www.theses.fr/2007PA040092.
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Depuis les mémoires d’Otto von Bismarck, ancien ministre-président de Prusse (1862-1871) puis chancelier du Reich allemand (1871-1890), l’histoire des relations internationales retient que l’unification allemande s’est faite autour de la Prusse grâce à la « neutralité bienveillante » russe dans ses trois guerres successives (contre le Danemark en 1864, l’Autriche en 1866 et la France en 1870). En soutenant la Russie pendant l’insurrection polonaise de 1863, Bismarck s’attirerait la reconnaissance tsariste et briserait le rapprochement france-russe. Les archives russes, aujourd’hui ouvertes au chercheur, montrent au contraire qu’en juillet 1866 culmine, sur la Neva, une politique conservatrice d’opposition aux menées bismarckiennes. Après son échec, elle tente de réaliser son but depuis la défaite de Crimée : se délier des clauses de la Paix de Paris (1856) concernant la neutralisation de la mer Noire. La démarche unilatérale, voulue par le ministre Gortchakov, avorte en septembre 1866, avant de réussir à l’automne 1870, à la faveur de la guerre franco-allemande. Cette relecture amène à réviser la place, grandement surévaluée jusqu’ici, de la Russie dans la géostratégie prussienne. En 1863, Bismarck cherche surtout un « coup » politique qui fasse entrer son pays dans le jeu européen. Puis il fait de la France la cible de sa diplomatie pour obtenir l’appui de Napoléon III dans la question allemande. Entre 1867 et 1870 enfin, il se garde de tout engagement ferme en faveur de la Russie en Orient pour éviter une guerre européenne ; en menant une politique d’équilibre, voire conciliante, avec l’Autriche, il veut obtenir que le conflit franco-allemand reste localiséSince the memoirs of Otto von Bismarck, Prussia’s former minister president (1862-1871) then chancellor of the German Reich (1871-1890), there has been a consensus among historians of international relations according to which German unity was made around Prussia thanks to the “benevolent neutrality” of Russia throughout its three successive wars (against Denmark in 1864, Austria in 1866 and France in 1870). By supporting Russia during the 1863 Polish uprising (Alvensleben Convention) Bismarck was to win her gratitude and put paid to Franco-Russian reconciliation. The Russian archives, finally open to researchers, show on the contrary that in July 1866 a conservative policy culminated on the Neva to thwart Bismarck’s manoeuvres. After the failure of such a policy, Russia tried to achieve the aim pursued since the Crimean defeat: free herself from the clauses of the Paris Peace Treaty (1856) pertaining to the neutralization of the Black Sea. The unilateral approach deliberately taken by minister Gortchakov as early as September 1866, failed, before it succeeded in the autumn of 1870, thanks to the Franco-German war. This rereading induces us to revise the greatly overestimated place of Russia in Prussia’s geostrategy. In 1863, Bismarck mostly sought to pull a political “stunt” to enable his country to join the European power game. Then he made France the target of his diplomacy to obtain the support of Napoleon III in the German question. Finally from 1867 to 1870, he carefully avoided any firm commitment for Russia in the East to avoid a European war; he preferred a balanced, even conciliatory policy with Austria to manage to keep the Franco-German conflict localized
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Rossiter, Ian. "Poetry and posies : the poetics of the family magazine 1840-1860." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340313.
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Fortier, Anne-Marie. "Lectures de Rimbaud vers 1930." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56938.
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Rimbaud's life and works have been the subject of numerous readings ever since the poet's first appearance on the literary scene. This thesis is an attempt to reconstitute the multiple layers of interpretations which were grafted onto Rimbaud's life and works between 1883 and 1935 approximately. Successive readings keep a text alive and, in so doing, function also as prefaces. The concept of "preface" is thus expanded here to include the critical text.These strata consist of readings and commentaries influenced both by the historical and intellectual circumstances in which they were formed and by the progressive revelation of the text; added one to another without cancelling each other out, these layers continually enrich and transform the original, making both its meaning and its import denser, investing it with new significance and new values and thereby keeping it alive, in fact making it even more present with the passing of the years. Over the years, the focus of reflexion on Rimbaud has shifted from the study of his particular "case" to a more profound questioning, via Rimbaud, of poetry itself, its nature, its meaning, its scope. In the minds of the commentators, Rimbaud and poetry's destinies are intertwined; thus, they "read" them together as if the value and the meaning of the poetry's destiny were dependent on the destiny of Rimbaud.
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Lhermelier, Cyrille. "Lectures des Premiers vers de Germain Nouveau (1851-1920) : Paul Verlaine, Arthur Rimbaud, intertextualité, intermétricité." Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20004.
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Ce travail est consacré à l'étude quasi exhaustive des Premiers poèmes de Germain Nouveau (1851-1920) qui recouvrent la période 1872-1879. Le fil conducteur en est l'approfondissement de l'analyse des liens poétiques et personnels que le poète entretint avec Paul Verlaine et Arthur Rimbaud. L'objectif est de montrer comment la passion de Nouveau pour les oeuvres de ces deux étoiles a déterminé son esthétique, mais également dansquelle mesure sa poésie est restée très personnelle, lui conférant une place de choix parmi les poètes de la décennie qui suivit la Guerre de 1870. Une première partie étudie les poèmes des années 1872-1873, qui pour laplupart paraissent dans la Renaissance littéraire et artistique. Ces textes sont déjà parsemés de références métriques et intertextuelles aux poèmes de Verlaine et Rimbaud. Un deuxième mouvement est consacré à la rencontre humaine et poétique entre Germain Nouveau et Arthur Rimbaud. Nous tentons d'y préciser la chronologie des événements, à Paris puis à Londres, à travers la correspondance de Nouveau et divers témoignages, dont celui de Jean Richepin. Notre recherche s'intéresse enfin aux poèmes ultérieurs à 1874, ou non datés, parfois en prose, qui, toujours pleins d'inventions et d'originalité, témoignent des centres d'intérêt du poète, parmi lesquels la Commune de Paris et son écrasement semblent tenir bonne placeThis work is devoted to the almost exhaustive study of early poems written by Germain Nouveau (1851-1920) covering the period 1872-1879. The common thread is the deepening of the analysis of poetic and personalrelationships that the poet has with Paul Verlaine and Arthur Rimbaud. The aim is to show how Nouveau’s passion for the works of these two stars has determined its aesthetic, but also how his poetry is still very personal, givinga prominent place among the poets of the decade that followed the war of 1870. The first part examines the poems in 1872-1873, most of which appeared in the literary and artistic renaissance. These texts are dotted with metric and intertextual references to Rimbaud and Verlaine’s poems. The second movement is dedicated to human and poetic meeting between Germain Nouveau and Arthur Rimbaud. We try to clarify the chronology of events, in Paris then in London, through Nouveau’s correspondence and various accounts, including the one of Jean Richepin. Our research is finally interested in subsequent poems to 1874 or undated, sometimes in prose, which, always full of invention and originality, show the Paris Commune and its crushing seem to hold a goodposition
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Carré, Coursaris Anne-Laure. "Construire en verre : de nouveaux matériaux pour l'architecture 1881-1937." Paris 4, 1998. http://www.theses.fr/1998PA040176.
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A la fin du XIXe siècle, la verrerie est restée une industrie traditionnelle. Les transformations commencent par l'élément pivot de la fabrication verrière : le four. Le verre utilisé dans la construction est de trois types. Le verre à vitres, soufflé à la bouche est le plus répandu. La glace, coulée et poue est le vitrage le plus luxueux. Enfin, le verre coule est un produit hybride, empruntant à la glace son mode de fabrication et au verre à vitre ses emplois. Ce troisième produit est à l'origine d'une "gamme" de produits verriers, développée à partir des années 1890. A la faveur des prescriptions hygiénistes, ils vont être recommandés partout où l'on recherche l'éclairage sans la vue. Les propriétés du verre, transparence, translucidité, réflexion, et ses qualités de matériau lisse. Lavable et sans joint en font un matériau particulièrement apprécié. Les moulages en verre, tuiles, dalles, pavés ou briques sont utilisés insérés dans des cadres métalliques. Mais le développement de la construction en béton armé leur offre des emplois plus structurels. L'image du verre dans l'architecture se transforme grâce à des réalisations où le verre n'est plus seulement vitrage, mais dallage translucide ou mur éclairant. La maison de verre devient possible. La période de l'entre-deux-guerres est un temps d'adaptations difficiles pour les verreries et les glaceries. Le soufflage à la bouche est enfin abandonné, mais malgré l'étirage mécanique, le verre à vitre ne rivalise pas pour autant avec la glace. Les surfaces de vitrage énormes, le pan de verre, sont une des caractéristiques de l'architecture des années 20,30. Mais les propriétés thermiques mal étudiées sont la cause de quelques déboires. Les produits moulés sont améliorés grâce au procédé de trempe mis au point par Saint-Gobain en 1928. Le pavillon construit par la compagnie en 1937 est l'illustration des nouvelles possibilités architecturales offertes par le verreAt the end of the 19th century glass making is still a traditional industry. The transformations begin with innovations in the pivotal element of glass production: the furnace. Three types of glass are used in construction. Window glass, blown by mouth is the most common type. High quality plate glass, cast and polished is the most expensive. Finally, rolled glass is a hybrid product which combines the fabrication techniques of the latter and the end use of the former this third type is at the base of a "range" of glazing products, developed from the 1890's onwards. Recommended by the hygienist movement, this last type will be specified in areas requiring indirect light. The properties of glass, transparent, translucid, reflective and its qualities as a smooth, jointless and washable material make it a very attractive product. Glass cast in the forms of roof tiles, paviours, blocks or bricks used with steel frames and the development of reinforced concrete techniques create opportunities for more structural uses. New uses beyond simple glazing such as in translucid floors or lighting walls transform the image of glass. The all glass house becomes possible. The period between the two world wars is a difficult time as manufacturers struggle to implement changes. Mouth blowing is finally abandoned but despite advances in mechanically drawn glass, rolled glass remains inferior in quality to plate glass. In the 20's and 30's larger glazing areas and glass walls form the new vocabulary of architects who neglect however the thermal properties of glass resulting in serious problems. Pressed glass products are improved in quality with the use of toughening techniques developed by Saint-Gobain in 1928. The pavilion built by the company in 1937 is a demonstration of the new possibilities for glass in architecture
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Kim, Gi-gook. "L'approche sémiostylistique des poèmes en vers chez Rimbaud." Paris 4, 1996. http://www.theses.fr/1996PA040030.
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L'analyse sémiostylistique que nous proposons dans le présent travail se situe dans le cadre d'un échange dialectique entre le texte et le lecteur, pour lire le texte de Rimbaud qui a été l'objet d'interprétations nombreuses et diverses, tenant à la nature des contenus de son œuvre. Nous avons divisé notre analyse en deux parties. Dans la première partie, consacrée à l'étude de la lecture sémantique, la perception de la lecture est fondée sur l'ensemble des signes dans le texte. Le travail de lecture comprend le point de vue critique qui consiste à décomposer chaque poème du début à la fin et à former des tableaux divisés en deux valeurs opposées, positive et négative, pour les deux actants, le "moi" et le "non-moi". La deuxième partie, dans laquelle nous procédons à une analyse fondée sur une lecture sémiotique, est divisée en deux chapitres. Le premier chapitre étudie les liens établissant entre les tableaux analysant l'ensemble des poèmes. Dans le second chapitre nous exposons de quelle manière la lecture sémiotique révèle une structure dialectique au sein des poèmes en vers par référence à la notion d'intertextualité : elle présente la permanence des caractéristiques éparpillées dans les poèmes. Notre travail sur les poèmes en vers chez Rimbaud est un travail de production dans la mesure ou une lecture productive permet de lire une structure dialectique, circulaire et progressive en déplaçant la question "que dit ce texte ?" en "comment ce texte dit ce qu'il dit ?"The semio-stylistics analysis, which is developed in this work, stands within a dialectical relation between the text and its reader. It aims at a new reading of Rimbaud’s text which formed the subject of many and various interpretations, because of the nature of his work. Our analysis is divided in two parts. In the first one, the semantics reading is dealth with. This reading is grounded on all the signs in the text. The reading contains a critical approach which, from the start until the end, splits each poem and built charts divided in two opposite values, positive and negative, for the two actants the "self" and the "non self". In the second part, we present an analysis grounded on a semiotics reading. It contains two chapters. The first chapter points out the existing links between the charts which analyses all the poems. In the second chapter, we show how the semiotics reading points out the dialectical structure within the poems in verse, referring to the notion of the intertextuality. It brings up the permanent features scattered in all the poems. Our work on Rimbaud’s poems in verse, is a productive reading, because the semio-stylistics reading allows the reader to understand the dialectical, circular and progressive structure. It moves the issue from "what does the text say" to "how the text says what it says"
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Kim, Byung-Ook. "Poésie et modernité : du "vers" au "non vers" chez Rimbaud et sa postérité." Paris 10, 1991. http://www.theses.fr/1991PA100099.
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Pereira, Eduardo Adilson Camilo. "Politica e cultura: as Revoltas dos Engenhos (1822), de Achada Falcão (1841) e de Ribeirão Manuel (1910)." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-04022011-093931/.
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Este trabalho tem como principal objetivo fazer uma reflexão sobre três revoltas dos rendeiros na ilha de Santiago em Cabo Verde, entre os anos de 1822 a 1910. Propõe mostrar a especificidade das revoltas dos Engenhos (1822), de Achada Falcão (1841) e de Ribeirão Manuel (1910), compreendendo além do panorama cultural, a importância das confrontações políticas, como elementos condicionadores dessas revoltas. Por outro lado, propõe demonstrar que além das causas econômicas e culturais apontadas pela historiografia, as revoltas foram buscar sua inspiração nas disputas políticas. Propõe ainda demonstrar como as elites políticas locais apropriaram das festas religiosas para mobilizar os rendeiros do interior da ilha de Santiago. Além disso, analisa como as revoltas dos rendeiros devem ser compreendidas a partir das reivindicações pelo livre acesso às terras cultivadas.This work has as objective principal to do a reflection on three tenant farmers revolts in Santiago\'s island in Cape Verde, among the years from 1822 to 1910. He/she/you intends to show the specificity of the revolts of Engenhos (1822), of Achada Falcão (1841) and of Ribeirão Manuel (1910), understanding besides the cultural panorama, the importance of the political confrontations, as conditioning elements of those riots. On the other hand, he intends to demonstrate that, besides the economical and cultural causes pointed for the historiography, the revolts went to look for your inspiration in the political disputes, for occasion of the elections for positions inside of the clienteles. He intends to demonstrate as the politics local elites they still adapted of the religious parties to mobilize the tenant farmers of the interior of Santiago\'s island. Besides, it analyzes as the revolts of the tenant farmers understood starting from starting the revindications for the free access to the cultivated lands.
Books on the topic "Verse 1841"
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Hunt, Leigh. The feast of the poets, 1814. Oxford: Woodstock Books, 1989.
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Gachal, János. Versek: 1881-1944. [Debelyacsa: E. Tatár, 2008.
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Varjola, Pirjo. Gustaf Nordenskiöld: Mesa Verde 1891. Helsinki: Museovirasto, 1992.
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S, Horan R., ed. Fort Street in verse, 1849-1999: A Fortian anthology : celebrating the school in verse. Westgate, NSW: Honeysett Press, 1999.
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John, Strachan, ed. British satire, 1785-1840. London: Pickering & Chatto, 2003.
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C, Alston R. A checklist of women writers, 1801-1900: Fiction, verse, drama. Boston, Mass: G.K. Hall, 1990.
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Lowell, Chamberlain, and Sherinian Mary Chamberlain, eds. Prairie memories: An 1891 Iowa album in painting and verse. Iowa City, Iowa: Rudi Pub., 1991.
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David, Harker, ed. Songs and verse of the North-East pitmen, c. 1780-1844. Gateshead: Surtees Society, 1999.
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1946-, Harker David, and Surtees Society, eds. Songs and verse of the north-east pitmen: C.1780-1844. Gateshead: Athenaeum Press printed for the Surtees Society, 1999.
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Jean-Loup, Champion, Musée d'art et d'industrie de Roubaix, Musée des beaux-arts de La Rochelle, and Musée Despiau-Wlérick, eds. Henry de Waroquier, sculpteur, 1881-1970: Oedipe & Le verbe. [Paris]: Gallimard, 2009.
Find full textBook chapters on the topic "Verse 1841"
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Orel, Harold. "Aubrey Thomas de Vere (1814–1902)." In William Wordsworth, 133–38. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230501904_14.
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Whiteford, Andrew Hunter, and Marion Salmon Whiteford. "Reciprocal Relations: Family Contributions to Anthropological Field Research--and Vice Versa." In Children and Anthropological Research, 115–36. Boston, MA: Springer US, 1987. http://dx.doi.org/10.1007/978-1-4613-1843-9_6.
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Innerhofer, Roland. "„Julius" Verne in Österreich. Produktion und Rezeption eines Erfolgsautors." In Literarisches Leben in Österreich 1848–1890, 805–27. Wien: Böhlau Verlag, 2000. http://dx.doi.org/10.7767/9783205126232-029.
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Dobbs-Allsopp, F. W. "3. Whitman’s Line." In Divine Style, 111–222. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0357.04.
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The question of the origin of Whitman’s signature long line remains shrouded in mystery. The renewed attention paid to the early notebooks and poetry manuscripts has enabled scholars to see much more clearly the emergence of that line and to have a better idea of its rough chronology. But what of this line’s inspiration? Its animating impulse? Where does it come from? And why? The evidence at hand does not permit conclusive answers to these and related questions. Still, in this chapter, the possibility that the KJB played a role in shaping Whitman’s ideas about his emerging line is probed. In particular, the central argument if the chapter builds on an insight of George Saintsbury who, in a review of the 1871(-72) edition of Leaves, calls attention to the likeness of Whitman’s line to “the verse divisions of the English Bible, especially in the poetical books.” A number of aspects of Whitman’s mature line (e.g., its variability, range of lengths, typical shapes and character, and content) become more clearly comparable to the Bible when thought through in light of Saintsbury’s appreciation of the significance of the actual “verse divisions of the English Bible.” Along the way the chronological development of Whitman’s line is sketched, emphasizing the poet’s break with meter as key to opening the possibility for a longer line. Other possible means by which knowledge about the Bible beyond direct readerly encounters may have been mediated to Whitman (such as the poetry of James Macpherson and Martin Farquhar Tupper) are also considered.
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"Written in a Thunder Storm July 15th 1841." In English Verse 1830 - 1890, 46. Routledge, 2014. http://dx.doi.org/10.4324/9781315837147-20.
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Quinn, James. "The Nation." In The Edinburgh History of the British and Irish Press, Volume 2, 554–57. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474424882.003.0037.
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The Nation newspaper was founded in 1842 by a group of Irish nationalists (later known as Young Ireland) to assist the campaign for greater political independence. Allying itself with Daniel O’Connell’s campaign for the repeal of the Act of Union, it strongly advocated the re-establishment of an independent Irish parliament. It also devoted considerable space to cultural matters to recreate an authentic nationality rooted in Ireland’s past. Arguing that pre-conquest Ireland was a land of sophisticated culture and learning, it stressed Ireland’s proud record of resistance to conquest in prose and verse. Accusations that they excessively glorified violence contributed to the secession of the Nation group from O’Connell’s Repeal Association in July 1846. By this time the country was gripped by famine and the Nation began to adopt ever more extreme positions, which led to the paper’s suppression in the summer of 1848. Revived in 1849, it continued until 1891, its influence helping to establish the newspaper as an integral part of all subsequent nationalist movements.
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Hamlin, Christopher. "Choler a Finds Itself." In Cholera, 52–96. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199546244.003.0003.
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Abstract In the thirty-three quatrains of execrable verse of The Chaunt of the Cholera (1831) the Irish poet-playwright-novelist John Banim (1792–1842) treats the coming cholera as a vindica-tor of liberalism. Cholera is a matter as much of culture as of culture plates. It was no mere disease, but a signifier. Poetry is a key medium of meaning-making (especially in the Romantic age); cholera generated scads of the stuff. Banim’s, in which personified cholera “smites,” is one of the better known.
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Parker, L. P. E. "The Metres of Aristophanes." In The Songs of Aristophanes, 18–93. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198149446.003.0002.
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Abstract Since Boeckh observed the significance of verse-end in lyric (Pindari carmina quae supersunt (Leipzig, 1811-21), texts of Pindar have been laid out in verses. In texts of dramatic lyric, however, editors, while often (and necessarily) correcting and rearranging the colometries inherited from medieval MSS, still, for the most part, divide into cola of dimeter- or trimeter-length. A major reason for this is the comparative difficulty of finding verse-end in dramatic lyric, where the metrical pattern is generally repeated only once, instead of eight or ten times, as often in Pindar. It is also arguable that presentation in short cola makes it easier for the metrically-conscious reader to distinguish the rhythm. Not infrequently, however, division into short cola makes metrical nonsense.
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Gratzer, Walter. "The hounding of J. J. Sylvester." In Eurekas and euphorias, 112–13. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780192804037.003.0069.
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Abstract James Joseph Sylvester was a polymath, with a place in the history of his discipline as a mathematician of exceptional brilliance and versatility. He was also a qualified lawyer, a linguist, and man of letters, who wrote poetry and published a treatise on The Laws of Verse. He was born in humble circumstances in the Jewish East End of London and spoke with a marked cockney accent. It was probably anti-Semitism that denied him an academic position in England, although he was elected Fellow of the Royal Society while still in his twenties; and so in 1841, at the age of 27, he sailed for America to take up a professorial appointment at the University of Virginia. The lucidity and sparkle of Sylvester’s lectures on pure and applied mathematics earned him instant popularity with the more discerning students, but soon anti-Semitism reared its head: the local church newspaper deplored the influence that a Jew and, to boot, an Englishman, who could be assumed to deprecate slavery, might exert over Christian youth. Sylvester was exposed to insults from a few loutish students, especially two brothers, whom he had taken to task for their ignorance. The faculty cravenly refused to censure the brothers, for fear that student riots might result. Matters came to a head after Sylvester had received threats of violence:
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"Frances Anne Kemble (1809-93)." In A Century of Sonnets, edited by Paula R. Feldman and Daniel Robinson, 208. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0078.
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Abstract Frances Anne Kemble published a verse melodrama, Frances I, in 1827. Two years later, she made her debut as an actress at Covent Garden, playing the role of Juliet. As a stage star, she toured the United States, where she met Pierce Butler, a Georgia plantation owner whom she married in 1834. She left him in 1845 and returned to England, shortly after publishing Poems (1844). She returned to the stage and gave Shakespearean readings for two decades, often returning to America. Her Journal of a Residence on a Georgia Plantation (1863) details the everyday workings of slavery, an institution she abhorred. At the age of eighty, Kemble published her first novel, Far Away and Long Ago.
Conference papers on the topic "Verse 1841"
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Araújo, Leandro. "O uso ético e sustentável da tecnologia da informação verde." In 12th CONTECSI International Conference on Information Systems and Technology Management. TECSI, 2015. http://dx.doi.org/10.5748/9788599693117-12contecsi/rf-1831.
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Cuevas-Cancino, M., M. Peña-Becerril, and C. Camacho-Zuñiga. "A VERTICALLY INTEGRATED UNDERGRADUATE PROJECT WITH REAL LIFE IMPACT: MONARCH ROUTE." In The 7th International Conference on Education 2021. The International Institute of Knowledge Management, 2021. http://dx.doi.org/10.17501/24246700.2021.7104.
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Monarch Route was a university award-winning project, having won the Premios Latinoamerica Verde in 2018. The project followed a research-based methodology and implemented a vertically integrated collaboration which included 181 undergraduate students; the entire student body enrolled in the Sustainable Development Engineering course of the Tec de Monterrey, Campus Santa Fe, in 2017. It was conducted in conjunction with the Fundación Nacional para la Conservación del Hábitat Boscoso de la Mariposa Monarca A.C. (FUNACOMM) so as to stop and revert the extinction of the monarch butterfly and at the same time promote benefits for the rural communities found throughout the migratory route of this species. The purpose of this work is to inspire the academic community to design successful projects which develop transverse and disciplinary competences. The project answered the following research question: What are the learning outcomes from participating in a project with real life impacts, working in a vertical and horizontal collaboration system? Using a mixed methodology, we describe the details of the implementation and learning outcomes. The Monarch Route project intrinsically motivated the students since it allowed them to collaborate, vertically and horizontally, in a socially relevant project, as well as having the choice and control over their education. By means of a text analysis of 22 final remarks of participating students, it was evident that they were able to recognize environmental, conservation and sustainable development problems and analyze their impact, in addition to being aware of the social aspects associated to them, and above all, recognize the link of these type of projects with their professional life and their social commitment to Mexico. Keywords: vertically integrated project, self-regulated learning, Research-based methodology, text analysis, sustainability, higher education, educational innovation