Tesis sobre el tema "Naturalism in art"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte los 50 mejores tesis para su investigación sobre el tema "Naturalism in art".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Explore tesis sobre una amplia variedad de disciplinas y organice su bibliografía correctamente.
Taschian, Helen. "Naturalism and Libertinism in Seventeenth-Century Italian Painting". Thesis, University of California, Santa Barbara, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3612041.
Texto completoThe work of Caravaggio, which was recognized as revolutionary in his own time and exerted a profound influence on seventeenth century painting all over Europe, has prompted a wide range of interpretations among modern art historians. Some, emphasizing the controversy generated by his religious pictures, have seen him as a daringly irreverent artist, while others have found his unidealized "naturalistic" style fundamentally well-suited to the spirit of the Catholic Counter-Reformation. Some detect a boldly overt homoeroticism in many of his pictures, while others claim not to see it at all. Some understand him to have worked in an unprecedentedly direct, almost visceral way, while others emphasize his sympathy with new directions in the sciences or the intellectual sophistication with which he played his naturalistic style against the precedents of classical and earlier Renaissance art.
Caravaggio's difficult personality has also lent itself to different readings. Some see him as a sociopath, if not a psychopath, while others see him calculatedly performing the role of social rebel in a manner that looks forward to the self-consciously dissident posturings of modern artists. Some art-historians have been led to conclude that he had highly-developed non-conformist values and tendencies that could be described as "libertine" in at least some of the varied senses in which that word was used during his time.
The aim of this dissertation is to discuss the relation of Caravaggio's work and personal example to his immediate art-historical and cultural context, but also to trace their influence on an ever-more-disparate group of artists active in the seventeenth century in order to see whether his style, sometimes characterized as "Baroque Naturalism," actually implied a set of values beyond its efficacy as an artistic strategy, whether a commitment to it implied or was understood to imply a non-conformist or libertine orientation that might be a matter of deep conviction on the part of the artist or a position felt to be appropriate to certain themes or in certain contexts.
The first chapter examines Caravaggio himself, while the second discusses three artists—Giovanni Baglione, Orazio Gentileschi, and Guido Reni—who knew him personally and responded to his work as it burst so dramatically on the scene in the very first years of the century. The third chapter discussed three artists who were active shortly afterward, whose engagement with Caravaggio testifies to a wider field of influence: Valentin de Boulogne, Domenico Fetti, and Guido Cagnacci. The final chapter sets two very different artists—Salvator Rosa and Nicolas Poussin—side by side in order to expose both the radically different responses to Caravaggio's legacy and the diverse senses in which the word "libertine" must be understood.
While the evidence does seem to suggest that at least some artists utilized Caravaggesque naturalism in order to invoke a well-defined "alternative tradition," one that was understood to imply a certain range of values, very few committed themselves to his approach strictly or for very long. Poussin rejected it emphatically. Yet Poussin, too, deliberately positioned himself on the margins of the Roman art world in order to cultivate a distinctive approach to art, one that seems to have been consciously based on deeply-held philosophical convictions. The lesson seems to be that Caravaggio's example made it possible for later artists to develop strategies with which to express their dissent from the prevailing values and practices of their time, and that even if their work did not look like his, they were indebted to him.
Brewer, Rhett, of Western Sydney Nepean University, of Performance Fine Arts and Design Faculty y School of Design. "Paint, painters and primary perception". THESIS_FPFAD_SD_Brewer_R.xml, 1996. http://handle.uws.edu.au:8081/1959.7/300.
Texto completoMaster of Arts (Hons)
Vacquier, Stéphane. "Rebeyrolle, Paul (1926-2005) : peintre français des IVe et Ve républiques". Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3116.
Texto completoThe way they’ve been retained by Art historiography, Paul Rebeyrolle’s work and his carreer (1945-2005) appear to be problematic beyond this strict definition, factual basis for an hypothetical encyclopedia entry : what defines a French painter under the 4th and 5th republics ? Paul Rebeyrolle is well-knowed for being under-estimated, always acknowledged as a great painter, sometimes even praised as one of the most important painters of that period, in France, but still limited to the smallest share of the French history of contemporary art, when this one finds it appropriate to mention it.Yet he benefited of an early success, during the 50’s, in the wake of painters such as Bernard Lorjou and especially Bernard Buffet, before enduring a similar disavowal. An art dealer as important as Aimé Maeght and preface writers as renowned as Jean-Paul Sartre or Michel Foucault didn’t make any difference. Thus, he appears to be paradigmatic of an entire part of French art which, under the 5th republic and its cultural policy, seems to have been downgraded for a certain number of reasons that still needs to be evaluated : aesthetic disagreements, plastic discords, denial inherited from the abstract and figurative painters’ quarrel, unsaid things about the artist’s political commitment, art critics’ vagueness and preconceived opinions, journalistic frivolity fond of clichés... As many misunderstandings that led to interfere with a fair appraisal regarding his work and prevented him from ever getting a real institutional recognition
Rye, Ashley Gail. ""The truth of the life of Christ" spiritualism, naturalism and religious devotion in James Tissot's "The life of our Saviour Jesus Christ" /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 67 p, 2009. http://proquest.umi.com/pqdweb?did=1889099001&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.
Texto completoMorton, Mary G. "Naturalism and nostalgia : Hippolyte Taine's lectures on art history at the Ecole des beaux-arts, 1865-1869 /". View online version; access limited to Brown University users, 1998. http://wwwlib.umi.com/dissertations/fullcit/9830497.
Texto completoFonteneau, Estelle. "Marianne Preindlsberger Stokes : les années de formation". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040193.
Texto completoThis dissertation recreates the evolution of Marianne Stokes’ art within the context of her artistic milieu from 1880 to the turn of the century. These studies concern first her early school years in Munich and Paris, and then her years among artist colonies in France, Denmark and England. Stokes’ paintings are compared to those of her contemporaries within the artist colonies. Contemporary texts, such as travel journals, biographies, letters and press articles, are used to accurately reconstruct the artist’s milieu. This thesis demonstrates that Marianne Stokes’ body of work cannot be reduced to a specific artistic movement; instead, the style of her paintings ranges from naturalist, decorative, and impressionist to symbolist. Nevertheless, the paintings of Marianne Stokes maintain one distinctive trait; they express a certain silence, an articulation of the artist’s personal piety
Morehouse, Dawn M. "Copley's compromise navigating the discourse of beauty and likeness in colonial Boston /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 58 p, 2008. http://proquest.umi.com/pqdweb?did=1597629701&sid=23&Fmt=2&clientId=8331&RQT=309&VName=PQD.
Texto completoPalumbo, Carmen. "A Amazônia como lugar de conflito: o caso do Naturalismo Integral". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-05122018-094311/.
Texto completoIn this dissertation, the voyage-expedition to the Rio Negro, realized by Pierre Restany, Frans Krajcberg e Sepp Baendereck in 1978, and the analysis of the circumstances which led to the writing of the Manifesto of Integral Naturalism, is taken as a starting point for reflecting on the performance of the critic Pierre Restany in the process of internationalization of Latin American art in the 60s and 70s. With a focus on the Brazilian context, concentrated in the São Paulo - Rio de Janeiro axis, the negative reception of the manifesto by the Brazilian intellectual class will be analyzed from original documents preserved in the Pierre Restany Fund dos Archives de la Critique dArt (Rennes-France) and chronicles published in the newspapers of the time. We aim to analyze the different representations of landscape present in the documents examined and the underlying differents views of art: on the one hand, the exotic and \"sublime\" forest evoked by Restany through the concept of \"Amazonian shock\" and its insertion in the theorization of a planetary and internacional art, and, on the other, the Amazon as a territory of struggle and resistance in the process of constructing the Brazilians identity in the writings of those authors who, like Francisco Bittencourt, Mário Pedrosa and mFrederico Morais, undertook to the affirmation of historically subordinate narrations, contributing to the creation of a \"border gnosis\", that is, of a new place of enunciation in the history of art.
Brewer, Rhett. "Paint, painters and primary perception". Thesis, View thesis, 1996. http://handle.uws.edu.au:8081/1959.7/300.
Texto completoVäkevä, L. (Lauri). "Kasvatuksen taide ja taidekasvatus:estetiikan ja taidekasvatuksen merkitys John Deweyn naturalistisessa pragmatismissa". Doctoral thesis, Oulun yliopisto, 2004. http://urn.fi/urn:isbn:9514273109.
Texto completoTiivistelmä John Deweyn asema pedagogiikan klassikkona on tunnustettu jo vuosikymmeniä. Myös Deweyn laajempi filosofia on saanut osakseen uutta kiinnostusta. Tämä kiinnostus liittyy sekä vaihtoehtojen hakemiseen analyyttiselle ja mannermaiselle filosofialle että modernin filosofian kartesiolaisten ja transsendentaalisten lähtökohtien naturalistiseen kritiikkiin. Deweyn filosofialle ominainen rekonstruktiivinen lähestymistapa on innoittanut käsillä olevaa tutkimusta. Rekonstruktiivinen lähestymistapa edellyttää filosofisten käsitysten synkronisen ja diakronisen analyysin ohella pragmatistista kritiikkiä, johon liittyy luottamus filosofian voimaan ohjata inhimillisiä käytäntöjä. Pragmatistisen kritiikin mahdollisuus selittää pedagogiikan keskeisen aseman Deweyn filosofiassa. Deweylle kasvatus on laboratorio, joka tarjoaa mahdollisuuden koetella filosofisten käsitysten pragmatistista toimivuutta demokraattisen kulttuurin rakennusaineina. Tämän tutkimuksen temaattisena johtolankana toimii ajatus Deweyn myöhäiskauden naturalistisen pragmatismin soveltuvuudesta oman aikamme taide- ja musiikkikasvatusfilosofiseksi tarkastelutavaksi. Uudemmassa Dewey-tutkimuksessa onkin tuotu esiin Deweyn estetiikkaan ja pedagogiikan välisiä yhtymäkohtia. Tarkasteltaessa Deweyn myöhäiskauden filosofiaa kokonaisuutena, mikä on tämän työn tavoitteena, on lisäksi helppo huomata, että esteettisen kokemuksen käsitteellä on tärkeä asema hänen tiedonfilosofiansa, ontologiansa ja moraalifilosofiansa täydentäjänä. Deweylle inhimillisen eksistenssin ytimessä on kasvuprosessi, jossa kokemuksesta muovataan demokraattista kulttuuria kommunikatiivisessa toiminnassa. Tähän pragmatistiseen merkityksen tuoton prosessiin (ja siihen liittyvään pedagogiseen projektiin) liittyy parhaimmillaan esteettinen ulottuvuus. Kasvu sulkee sisäänsä sekä välineellisiä että välittömästi koettuja momentteja. Taiteen tärkeänä tehtävänä on tuoda esiin kasvuprosessiin liittyviä esteettisiä momentteja osana pragmaattista merkityksen tuottoa. Taide käsittääkin Deweylla kaiken kulttuurisen toiminnan, johon liittyy keinojen ja päämäärien välinen tasapaino. Kasvattavana toimintana taide on means-ends-praksista, keinonsa ja päämääränsä tasapainottavaa yhteiskunnallista käytäntöä, joka pyrkii samanaikaisesti sekä välilliseen että välittömään hyvään. Taidekasvatukselle jäsentyy Deweyn naturalistisessa pragmatismissa kaksi päätehtävää: (1) harjoituttaa esteettisen ilmaisun ja havainnon mahdollisuuksia pragmaattisessa tekemällä oppimisessa ja (2) osoittaa taiteissa kulminoituvia inhimillisen merkityksentuoton paradigmaattisia momentteja. Musiikkikasvatusfilosofeille Deweyn filosofia voi avata uuden kriittisen horisontin, jossa sekä perinteinen esteettinen näkökulma että uudempi praksiaalinen näkökulma voivat kohdata toisensa naturalistisen pragmatismin eksperimentaalisessa viitekehyksessä
Hageman, Carolyn A. "The Unlikely Road to Success: The Life and Career of Watercolorist William Leighton Leitch". Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1386083716.
Texto completoBotchkareva, Anastassiia Alexandra. "Representational Realism in Cross-Cultural Perspective: Changing Visual Cultures in Mughal India and Safavid Iran, 1580-1750". Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13070051.
Texto completoHistory of Art and Architecture
Brewer, Rhett. "Paint, painters and primary perception". View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.175546/index.html.
Texto completoWalsh, Kerry. "Potions and painting". View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040701.155706/index.html.
Texto completo"A thesis presented to the University of Western Sydney in partial fulfillment of the requirements for the degree of Master of Arts (Honours) Creative Arts, December 2003" Includes bibliography.
Thomas, Christopher. "The place of art in Spinoza's naturalist philosophy". Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237177.
Texto completoCastelló, Palacios Amparo. "De la tabla al lienzo. Evolución técnica del soporte pictórico en la Escuela Valenciana del Renacimiento pleno al naturalismo barroco". Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/162071.
Texto completo[EN] For being considered a crucial period inside the painting of the Valencian school, the study of the transition between pictorial supports in the step of the wooden panel to the canvas is worthy of a rigorous research. The contribution of a range of painters to this technical evolution in the Valencian artistic panorama will mark the production of later centuries, perpetuating a new way of painting on canvas that will not finish completely replacing the traditional painting on panel. A series of technical and material particularities will accompany this change, since in their eagerness to embrace the new pictorial resources, the masters of Valencian painting of the 16th century and two first thirds of the 17th will introduce new procedures and materials in their masterpieces. At the same time, the artistic sensibility of the moment will veer from the fully Renaissance Juanes'deep-rooted tradition, towards naturalism and the search for the immediate reality that arose in València with the arrival of Juan Sariñena and Francisco Ribalta. Deepen the knowledge of the magnitude of this technical and stylistic change from several approaches but mainly from the scientific one, thanks to access to a set of paintings that include the production from Juan de Juanes to that of Jerónimo Jacinto de Espinosa, has allowed to reconstruct the way of working of the main painting workshops of this period. Indeed, the scope of this study would not have been possible without extensive work review of the artistic literature, being the traditional treatises, manuals and recipe books of painting key references in the interpretation of the data that scientific method offers. The contributions that provide this research not only confirm the grandeur of this stage of Valencian painting, but at once they constitute themselves as a solid support on which to base new authorships and attributions and make the enhancement for the conservation of our pictorial heritage.
[CA] Per considerar-se un període crucial dins la pintura de l'escola valenciana, és digne d'una rigorosa investigació l'estudi de la transició entre suports pictòrics en el pas de la taula al llenç. La contribució d'un ventall de pintors a aquesta evolució tècnica en el panorama artístic valencià marcarà la producció dels segles posteriors, i perpetuarà una nova forma de pintar sobre llenç que no terminarà de reemplaçar per complet la tradicional pintura sobre taula. Una sèrie de particularitats tècniques i matèriques acompanyaran aquest canvi, ja que en el seu afany per abraçar els nous recursos pictòrics, els mestres de la pintura valenciana del segle XVI i dos primers terços del XVII introduiran nous procediments i materials en les seues obres. Alhora, la sensibilitat artística del moment virarà des de l'arrelada tradició joanesca plenament renaixentista, cap al naturalisme i la cerca de la realitat immediata que sorgirà a València amb l'arribada de Joan Sarinyena i Francesc Ribalta. Profunditzar en el coneixement de la magnitud d'aquest canvi tècnic i estilístic des de diversos enfocaments però principalment des del científic, gràcies a l'accés a un conjunt de pintures que comprenen la producció des de Joan de Joanes fins a la de Jeroni Jacint d'Espinosa, ha permés reconstruir la manera de treballar dels principals tallers de pintura d'aquest període. En efecte, l'abast d'aquest estudi no hauria sigut possible sense una extensa labor de revisió de la literatura artística, sent els tradicionals tractats, manuals i receptaris de pintura referències clau en la interpretació de les dades que el mètode científic ofereix. Les aportacions que brinda aquesta investigació no sols confirmen l'esplendor d'aquesta etapa de la pintura valenciana, sinó que alhora es constitueixen com un suport sòlid sobre el que fonamentar noves autories i atribucions i la posada en valor per la conservació del nostre patrimoni pictòric.
La tesis doctoral que aquí se presenta fue llevada a término gracias a una serie de ayudas que han sido indispensables para esta investigación. En primer lugar, la concesión de una beca de carácter predoctoral con una duración máxima de tres años (01/07/2014 - 30/06/2017) integrada dentro de las Ayudas para la contratación de personal investigador de carácter predoctoral, programa VALi+d (DOCV núm. 7081/02.08.2013) financiadas por la Consellería de Educación, Cultura y Deporte de la Generalitat Valenciana. Por otra parte, los estudios analíticos derivados de este trabajo se incluyen en el marco del proyecto de investigación del Ministerio de Economía, Industria y Competitividad (MINECO) CTQ2014-53736-C3-01-P sobre la Aplicación de las técnicas nanoelectroquímicas y biotecnologías en el estudio y conservación del patrimonio en metal, cofinanciado con fondos FEDER y adscrito al Programa Estatal de Fomento de la Investigación Científica y Técnica de Excelencia, Subprograma Estatal de Generación del Conocimiento.
Castelló Palacios, A. (2021). De la tabla al lienzo. Evolución técnica del soporte pictórico en la Escuela Valenciana del Renacimiento pleno al naturalismo barroco [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/162071
TESIS
Jeannerod, Aude. "La critique d'art de Joris-Karl Huysmans. Esthétique, poétique, idéologie". Thesis, Lyon 3, 2013. http://www.theses.fr/2013LYO30064.
Texto completoIn Joris-Karl Huysmans’s art criticism, aesthetics, poetics and ideology are at stake. Though art criticism is a genre in its own right, which the author used as such, it maintains close relations with his other works: they complete one each other as well as they interfere together. In his art criticism, Huysmans develops aesthetics, which define in its turn poetics: because the critic is also a writer, his thinking about visual arts – painting, sculpture, architecture – runs parallel with his writing process/practice. His critical assessments rest upon a comparison between the arts and therefore form part of a tradition which roots in Horace’s maxim ut pictura poesis, crosses the Renaissance period with the paragone and leads to Baudelaire’s correspondances. When watching a painting, Huysmans remains a writer: he’s looking for a confirmation of his ideas about literature or a model for his writing. But because art criticism puts values and beliefs at stake, it echoes the ideological choices of its author, on socio-economic, political and epistemic levels. Huysmans sees the arts through an ideology which comes in various values (et contre-valeurs): heir of a century deeply marked by romanticism, he maintains painful relationships with his time, in trouble with modern ideas. His ideology – against capitalism, bourgeoisie and modernity – filters the way he considers the arts; it partly determines and influences, in various but often opposing ways, his aesthetic judgement
Harvell, Elizabeth A. "The Naturalist". Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4610/.
Texto completoLooren, de Jong Huibert. "Naturalism and psychology : a theoretical study /". Kampen : J. H. Kok, 1992. http://catalogue.bnf.fr/ark:/12148/cb356148950.
Texto completoCruz, Rodríguez Manuel. "Por un naturalismo dialéctico /". Barcelona : Anthropos, 1989. http://catalogue.bnf.fr/ark:/12148/cb355139935.
Texto completoDubourg, Christine. "Les expressions du naturalisme dans les arts graphiques du Paléolithique supérieur : une vision du monde des chasseurs préhistoriques". Bordeaux 1, 1997. http://www.theses.fr/1997BOR10635.
Texto completoTolle, Andrew. "Charlotte Perkins Gilman: Naturalist Playwright". Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115172/.
Texto completoKim, Byoung-Ho. "La Redécouverte des formes traditionnelles coréennes : formes du naturalisme transcendant (réflexions sur l'origine de ces formes dans l'assemblage et l'installation)". Strasbourg 2, 2003. http://www.theses.fr/2003STR20026.
Texto completoThis thesis deals with the questions as the following : what is the essence of the Beauty proper to Korean Art ? What is the traditional form in Korean Art ? And under which configuration this traditional form is presented and rediscovered today ? The conclusion is, in short, that the essence of the Korean tratitional art is "Transcendent Naturalism" which looks for the "Transcendent Naturalness" beyond all forms of artificiality. And the major features of this "Transcendant Naturalism" are the beauty of Non-intentionality [mu-wi], the beauty of the empty space [yeo-baek] or of the white [baek-saek], the beauty of humor [hae-hak] and the beauty of Unrestricted [ja-yu-bun-bang]
Dawes, Gregory W. y n/a. "Theism and explanation : a defence of scientific naturalism". University of Otago. Department of Philosophy, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070815.134617.
Texto completoKeil, Geert. "Kritik des Naturalismus /". Berlin : W. de Gruyter, 1993. http://catalogue.bnf.fr/ark:/12148/cb35577339x.
Texto completoSánchez, Filomeno Blanco Monteverde Laura. "Naturalia-artificialia, l'art baroque mis en oeuvre dans une pratique artistique contemporaine". Paris 1, 2011. http://www.theses.fr/2011PA010636.
Texto completoHemingway, Andrew. "Landscape imagery and urban culture in early nineteenth-century Britain /". Cambridge (GB) : Cambridge university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35573738q.
Texto completoMan-Estier, Elena. "Les Ursidés au naturel et au figuré pendant la Préhistoire". Phd thesis, Museum national d'histoire naturelle - MNHN PARIS, 2009. http://tel.archives-ouvertes.fr/tel-00425034.
Texto completoIsager, Jacob Pliny. "Pliny on art and society : the Elder Plinyʼs chapters on the history of art /". London ; New York : Routledge, 1991. http://www.loc.gov/catdir/enhancements/fy0648/92194763-d.html.
Texto completoSund, Judy. "True to temperament : Van Gogh and French naturalist literature /". Cambridge : Cambridge university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb37667623m.
Texto completoHobland, Wolfgang. "Der Naturalismus in der tschechischen Literatur /". München : O. Sagner, 1991. http://catalogue.bnf.fr/ark:/12148/cb35688926v.
Texto completoBartalesi, Lorenzo. "Histoire naturelle de l'esthétique : remarques philosophiques pour une esthétique naturaliste". Paris, EHESS, 2011. http://www.theses.fr/2011EHES0043.
Texto completoThe thesis has for objective to question the possibility of establishing a naturalist program in the field of the aesthetics and to present a phylogenetic hypotheses of the aesthetic relation. Ln the first part we succeed in locating an epistemological model of the traditional philosophic aesthetics which makes problematic any headway of a naturalist program. From the analysis of this model we propose an ethological definition of the aesthetic relation as a cognitive relation between man and world which regulates by means of an intrinsic emotional reaction. The second chapter verifies the efficiency of this description by presenting the aesthetic relation as a common anthropological fact, which is an integral part of cultural and social practices. A model of the cognitive functioning of the aesthetic relation is thus proposed in the third chapter where, by the adoption of a minimal notion of intentionality, we place the naturalist program of aesthetic facts in the debate on the strategies of naturalization of the mental. Ln the last chapter we finally succeed in implementing a genealogical-evolutionist perspective on the aesthetic facts, and in supposing the evolutionary ancestors, as well as the causalities and the selective pressures, which led to the appearance of the aesthetic activity. In this direction the Darwinian notion of “sense of beauty” offers coordinates in order to study the native forms of the cognitive relation with aesthetic function and the way they evolved since their appearance on earth
Kelkel, Manfred. "Naturalisme, vérisme et réalisme dans l'opéra de 1890 à 1930". Lille 3 : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb37593937m.
Texto completoSheffield, Suzanne. "Revealing new worlds : three Victorian women naturalists /". London : Routledge, 2001. http://catalogue.bnf.fr/ark:/12148/cb391176699.
Texto completoTeixeira, Ivana Lopes. "Romanidade em Plinio, o Antigo, e a Naturalis História como um \'projeto\' político-pedagógico". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-06062013-125312/.
Texto completoThe aim of this research, Romanness in Pliny the Elder and the Natural History as a political-pedagogical project, is to analyze the Natural History (44-77 AD) as a discourse produced in a specific socio-historical context, in which Pliny the Elder (23-79 AD), based on Latin and Greek tradition, introduced a new ideal of Romanness. The research also proposes to read this Romanness vis-à-vis the issue of identity in the ancient Greco-Roman world. In the 1st century, in an increasingly multicultural and multiethnic empire, the Pax provided by the government of Vespasian (69-79 AD), of the Flavian dynasty, expanded a process of romanization in which Pliny participated as intellectual and government official. Pliny presented his Natural History as a thesaurus or memoryItalian-Roman and Greekof the Roman Empires grandeur. Our hypothesis proposes the complete reading of the Natural History (with an emphasis on the analysis of the preface and books 2 and 33 through 37) as Plinys political-pedagogical or ideological project, in which the idea of Romanness can be read as a kind of supra-ethnic identity or as an ideal model of imperial conduct: political, economic, social, cultural, and moral. We propose to look at Romanness as a notion of Roman identity that reordered and recreated hierarchies for the imperial world, starting from the city of Rome, the customs, Greek art, and the court of Vespasian, the new Augustus. For this, we take into consideration Plinys discourse, his sources, reading and writing rhetoric, and the perspectives afforded by his text, by the ideal of Latin romanitas and humanitas, the historical context of his work, and modern theories about social identities in the ancient world. The Natural History as Enkyklios Paideia was the bearer of a thesaurus that reintroduced the importance of traditional Roman values as it described the historical conjuncture of Plinys time, the principality from the Julio-Claudian to the Vespasian dynasties, crises, Pax, and the increasing integration of several peoples.
Cullen, Charles David. "C.S. Lewis, Christian apologist his struggle against the secularizing effects of materialism and naturalism /". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376042466.
Texto completoGaughan, Evan M. "NATURALISTS, CONNOISSUERS AND CLASSICISTS: COLLECTING AND PATRONAGE AS FEMALE PRACTICE IN BRITAIN, 1715-1825". Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2228.
Texto completoTitle from screen (viewed on July 28, 2010). Department of History, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Jason M. Kelly, Melissa Bingmann, Eric L. Lindseth. Includes vitae. Includes bibliographical references (leaves 79-91).
Imhoff, Joshua L. "W. H. Hudson between art and science /". Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1260651357.
Texto completoLukoschus, Joachim. "Gesetz und Glück : Untersuchungen zum Naturalismus der stoischen Ethik : een wetenschappelijke proeve op het gebied van de Wijsbegeerte : proefschrift ter verkrijging van de graad van doctor aan de Katholieke Universiteit Nijmegen, volgens besluit van het College van Decanem in het openbaar te verdedigen op maandag 20 januari 1997 des namiddags om 3.30 uur precies /". Nijmegen : Katholieke Universiteit, 1997. http://catalogue.bnf.fr/ark:/12148/cb358695932.
Texto completoLukoschus, Joachim. "Gesetz und Glück : Untersuchungen zum Naturalismus der stoischen Ethik /". Frankfurt am Main : P. Lang, Europäischer Verl. der Wissenschaften, 1999. http://catalogue.bnf.fr/ark:/12148/cb37711150t.
Texto completoKinne, Michael. "Naturalismus und Bewußtsein : John Searles Leib-Seele-Theorie /". Berlin : H.-J. Köster, 1997. http://catalogue.bnf.fr/ark:/12148/cb37085981h.
Texto completoBoone, Chantal. "Léon Dufour (1780-1865) : savant naturaliste et médecin /". Anglet : Atlantica, 2003. http://catalogue.bnf.fr/ark:/12148/cb39099231g.
Texto completoBridenne, Jean. "Berck à travers les peintres, 1860-1914 ou l'Ecole du naturalisme marin". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37603455g.
Texto completoPagès, Alain. "Figures du discours critique la réception du naturalisme à l'époque de Germinal /". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37608693s.
Texto completoNouzeilles, Gabriela. "Ficciones somáticas : naturalismo, nacionalismo y políticas médicas del cuerpo (Argentina 1880-1910) /". Rosario (Argentina) : B. Viterbo ed, 2000. http://catalogue.bnf.fr/ark:/12148/cb39041105p.
Texto completoGauly, Bardo Maria. "Senecas "Naturales quaestiones" : Naturphilosophie für die römische Kaiserzeit /". München : C.H. Beck, 2004. http://catalogue.bnf.fr/ark:/12148/cb39233611m.
Texto completoBruistens, Joannes. "Dissertatio juris naturalis inauguralis, de libertate commerciorum ex statu communionis primaevae derivanda". Leiden : IDC, 1985. http://catalogue.bnf.fr/ark:/12148/cb37256984h.
Texto completoGross, Nikolaus. "Senecas Naturales quaestiones : Komposition, naturphilosophische Aussagen und ihre Quellen /". Stuttgart : F. Steiner, 1989. http://catalogue.bnf.fr/ark:/12148/cb36654347q.
Texto completoSong, Tong-Jun. "Rezeption der ausländischen naturalistischen Dramen in Deutschland, in Japan und in Korea von den Anfängen bis 1940 /". Sinzheim : Pro Universitate Verl, 1995. http://catalogue.bnf.fr/ark:/12148/cb37316746r.
Texto completoBest, Janice. "Expérimentation et adaptation : essai sur la méthode naturaliste d'Émile Zola /". Paris : J. Corti, 1986. http://catalogue.bnf.fr/ark:/12148/cb361467922.
Texto completo