Tesi sul tema "Modernizem"
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1
Molina, Robles José Luis. "Poetics in translation : "make it new" by Ezra Pound and "transcreation" by Haroldo de Campos". Thesis, Perpignan, 2017. http://www.theses.fr/2017PERP0009/document.
Testo completoAbstract (sommario):
Le but de ce travail est de présenter comment la traduction est devenue une poétique pour le poète américain Ezra Pound et le poète brésilien Haroldo de Campos. Les deux poètes ont utilisé la traduction pour élargir leur compréhension de la poésie mais, en même temps, créer une nouvelle approche du phénomène littéraire en rassemblant des œuvres d'auteurs de différentes régions, époques et langues différentes. Pound a commencé à écrire de la poésie au rythme de l'anglo-saxon, puis il a pris une direction différente en produisant des livres avec des commentaires sur ses traductions comme les troubadours provençaux et la poésie chinoise. Il a passé presque 25 ans à traduire l'ensemble du travail de Confucius et, après cette période, il a publié ses dernières traductions de poèmes grecs et égyptiens. Haroldo était un admirateur de Pound et il a partagé sa passion de traduction. Il a fondé le mouvement avant-gardiste de la poésie concrète au Brésil et il a fait des traductions collectives avec les membres du mouvement. Sa spécialisation dans les langues l'a amené à traduire la poésie d'avant-garde de plusieurs langues différentes, puis il s'est déplacé vers les classiques comme Dante, Goethe, Homer et la Bible. De Campos a bénéficié de son poste universitaire pour obtenir des conseils spécialisés pour ses traductions. En outre, il a élaboré une théorie sur la traduction après des textes philosophiques, qu'il appelait «la transcreation». Il était convaincu que la meilleure poésie en tout temps était essentiellement d'avant-gardeThe aim of this work is to present how translation became a poetics for the American poet Ezra Pound and the Brazilian Poet Haroldo de Campos. Both poets employed translation to expand their understandings about poetry but, at the same time, to create a new approach to the literary phenomenon by bringing together works of authors from many different geographies, epochs and languages. Pound started to write poetry following the rhythm of the Anglo-Saxon and then he took a different direction producing books with comments on his translations like Provençal troubadours and Chinese poetry. He spent almost 25 years translating the entire work of Confucius and after that period he published his last translations of Greek and Egyptian poems. Haroldo was an admirer of Pound and he shared his translation passion. He founded the Avant-garde movement of Concrete Poetry in Brazil and he did collective translations with the members of the movement. His specialization in languages prompted him to translate Avant-garde poetry from many different languages and then he moved to the classics like Dante, Goethe, Homer and the Bible. De Campos benefited from his academic position to obtain specialized advising for his translations. Furthermore, he elaborated a theory on translation following philosophical texts, that he called “transcreation.” He was convinced that the best poetry in all times is essentially Avant-garde
2
Zasina, Jakub. "Gdy przypadek staje się regułą. Wariantowanie przekształceń elewacji zabytkowego modernistycznego osiedla ZUS w Łodzi z wykorzystaniem modelowania proceduralnego i badań sondażowych". Thesis, Uniwersytet Łódzki, Wydział Ekonomiczno-Socjologiczny, Instytut Gospodarki Przestrzennej, 2013. http://hdl.handle.net/11089/29149.
Testo completoAbstract (sommario):
Problem, jaki podjęto w niniejszej pracy, dotyczy społecznego przekształcania modernistycznych osiedli mieszkaniowych wybudowanych w dwudziestoleciu międzywojennym. Procesowi dziedziczenia architektury modernizmu przyjrzano się na przykładzie osiedla mieszkaniowego ZUS w Łodzi. Po 80 latach od momentu zaprojektowania i wybudowania osiedla poddano analizie zaistniałe w tym czasie przekształcenia elewacji jego bloków. Analizę tę poszerzono terenowym badaniem sondażowym oraz wywiadami pogłębionymi przeprowadzonymi z mieszkańcami osiedla. Ich przedmiotem była percepcja architektury modernizmu wśród lokalnej społeczności, identyfikacja tożsamości z miejscem oraz preferencji mieszkańców w zakresie dalszych prac remontowych przy elewacjach osiedlowej zabudowy. Aby uchwycić proces przekształcania elewacji zabytkowego osiedla posłużono się nową technologią, jakim jest modelowanie proceduralne. W oparciu o wyniki przeprowadzonych badań i analiz opracowano sześć eksperymentalnych wariantów elewacji jednego z tamtejszych bloków – znajdującego się w Łodzi przy ulicy Bednarskiej 26. Zachowania i preferencje mieszkańców ujęto w komputerowe reguły. Umożliwiły one wygenerowanie wizualizacji cyfrowych bloku, które stały się swoistymi wykresami, obrazującymi dziedziczenie spuścizny modernizmu.
3
Bouchon, François. "GRILLE ET COMPLEXITE. : Analyse de l'entrecroisement régulier de lignes dans l'histoire de l'art". Phd thesis, Université Jean Monnet - Saint-Etienne, 2011. http://tel.archives-ouvertes.fr/tel-00690877.
Testo completoAbstract (sommario):
La grille tient une place problématique dans l'histoire de l'art. Le critique y voit une structure abstraite, un signe pictural, une originalité recouvrant la rupture posée début xxème entre peinture et histoire. Or, le cubisme, sensément initial, se montre pluriel et perclus de résonances classiques. D'où, ressortent l'idée de charnière et la nécessité de définir d'abord la grille comme forme, possibilité de structure et qui peut faire sens. Mondrian retourne le tableau brunelleschien puis, fort de Braque, tente de mettre en phase représentation plane et plan de représentation. Par son œil, l'objet devient ainsi << division du mur" et, poussée l'outrance, la grille se réduit à un modèle architectural. Ceci dit, son ultime période suggère que la forme sait autrement répondre d'un modèle textile (le tressage). Matisse, lui, emprunte au tapis qui privilégiele nœud, le module, non la ligne. La grille textile revêt trois variantes, étrangères en termes d'extension et de processus. Le modèle architectural reconnaît ces versions. Un cas unique favorisant le nœud fait ressurgir un troisième modèle: cartographique. Sa variante nodale (le marteloire) se retrouve chez Mondrian (en écho à l'histoire de la peinture hollandaise) et chez Braque (sans plus de raison que formelle). La relation à l'œuvre d'art, propice au<< fictionnement ", et son anachronisme expliquent la qualité anhistorique de la forme. Psychologie et anthropologie aidant, une stratégie émerge, permettant (selon certains critères dont le marteloire pour schème) de l'étudier à l'œuvre scientifiquement (non seulement pour document), tel un complexe production-réception duquel la rencontre se rejoue indéfiniment.
4
Beynel, Julie. "Jeux de miroirs et dédoublements dans Sodome et Gomorrhe et Le Temps retrouvé de Marcel Proust, et dans Orlando de Virginia Woolf : modernisme et "baroquisme"". Thesis, Lyon, 2018. http://www.theses.fr/2018LYSEN050/document.
Testo completoAbstract (sommario):
Dans des contextes communs de guerres et de révolutions scientifiques, les représentations qui fondent, et parfois hantent, l’imaginaire d’auteurs de l’époque baroque et du début du vingtième siècle présentent des similitudes. Images d’un monde renversé, où les espaces, les êtres et les instants se reflètent, où l’instabilité et la mutabilité sont des lois régissant toute chose, les scènes et décors des trois œuvres du corpus se substituent à l’harmonie du monde, celle du Créateur, telle que la Bible la décrit. Espace, personnages, temps vécu apparaissent à travers un prisme qui renvoie à leurs doubles, diffractés, reflétés d’abord dans la machine de la mémoire involontaire. La réalité se change dès lors en réalités, les lieux en impressions d’un ailleurs, les amis en chimères, tous faisant l’objet d’études et d’interprétations sans cesse réévaluées. Dans une écriture où les vues s’accumulent et se superposent, Marcel Proust et Virginia Woolf n’en finissent pas de prolonger les impressions, circonvolutions, arabesques qui diffèrent sans cesse la conclusion du récit, au profit du spectacle d’événements sensibles et de voyages de héros à travers les strates du temps vécu. Personnages en mouvement, Orlando et le Narrateur courent à la recherche de la chair du temps, qu’ils semblent trouver dans leur ombre et dans le frisson d’un instant, selon des modalités extatiques que Le Bernin ou Le Caravage ont représentées dans leur art respectif. Faits de mondes d’apparences, d’illusions, Sodome et Gomorrhe, Le Temps retrouvé ou Orlando ne sont pourtant pas des textes faisant l’apologie du scepticisme et du renoncement à une certaine forme d’essence : encore faut-il qu’elle soit éclatante et advienne dans la beauté d’une image qui traduise la coïncidence d’une vision éphémère et d’une création poétique offerte aux temps à venirIn common contexts of wars and scientific revolutions, the representations that melt, and sometimes haunt, the imaginary of writers of the Baroque and early twentieth century are similar. Images of an inverted world, where spaces, beings and moments are reflected, where instability and mutability are laws governing everything, the scenes and scenery of the three works of the corpus replace the harmony of the world that of the Creator, as the Bible describes it.Space, characters, lived time appear through a prism that refers to their double, diffracted, reflected first in the machine of involuntary memory. Reality is then changed into realities, places into impressions of an elsewhere, friends in chimeras, all subject to studies and interpretations constantly reevaluated.In a writing where views accumulate and overlap, Marcel Proust and Virginia Woolf endlessly prolong the impressions, convolutions, arabesques that constantly differ the conclusion of the story, in favor of the spectacle of sensitive events and hero journeys through the strata of lived time.Characters in motion, Orlando and the Narrator run in search of the flesh of time, which they seem to find in their shadow and in the thrill of a moment, according to ecstatic modalities that Bernini or Caravaggio represented in their art respective.Facts of worlds of appearances, of illusions, Sodom and Gomorrah, The Time found or Orlando are not however texts making the apology of the skepticism and the renunciation of a certain form of essence: it is still necessary that it be brilliant and come into the beauty of an image that reflects the coincidence of an ephemeral vision and a poetic creation offered to the times to come
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Massu, Claude. "Modernité et post-modernité architecture et urbanisme à Chicago /". Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37607787w.
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Elnerud, Max. ""Mer bio än bibliotek" : Klassifikation och medieuppställning i det senmoderna samhället". Thesis, Uppsala universitet, Institutionen för ABM, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-225610.
Testo completoAbstract (sommario):
This case study examines the new media presentation system in Alby public library. The aim is to explore if the contemporary Zeitgeist, wich according to the sociologist Zygmunt Bauman, could be described as liquid modernity, has affected how the system was formed. The purpose is to find out how that would affect users and staff of public libaries of the contemporary. Interviews were conducted with the library staff, and plans and documents concerning the media presentation system was examined. The empirical part of this thesis starts with a study of the process that resulted in the new presentation system while the second part examines the system as such. I discovered that both the media presentation system, and the process which preceded it, contained aspects that could be traced to liquid modernity. However, I also found lingering signs of solid modernity, wich is the term Bauman uses to denote the modern era. The media presentation system could thus be described as a combination of solid and liquid modernity. I argued that the new media arrangment is a compromise with several disadvantages for both users and the library staff. The interplay between solid and liquid modernity in the contemporary public library results in a divergent situation for users and staff. On the one hand, it gives more freedom to use the library according to their own ideas. However, old structures, such as classification systems, sets limits for this development.
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Legierski, Michał. "Modernizm Witolda Gombrowicza wybrane zagadnienia /". Doctoral thesis, Stockholm, Sweden : Almqvist & Wiksell, 1996. http://catalog.hathitrust.org/api/volumes/oclc/34830473.html.
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Sullivan, Kelly Elissa. "Epistolary Modernism". Thesis, Boston College, 2014. http://hdl.handle.net/2345/bc-ir:104185.
Testo completoAbstract (sommario):
Thesis advisor: Marjorie HowesEpistolary Modernism reads British and Irish writing of the 1920s through the 1950s with a focus on the way authors use fictional letters and verse epistles to communicate a renewed sense of literature as public speech, even as they saw privacy curtailed and surveillance increased. Letters enable late modernist writers to call attention to the way literature straddles the gap between private experience and public declaration. Virginia Woolf, W.H. Auden, Louis MacNeice, Graham Greene and Elizabeth Bowen all use letters to reveal a late modernist belief in literature as an exchange between an author and a reader -- a bridge between times and perspectives -- even as they trouble the possibility of any clear communication or meaning. The implied exchange in letters requires a sense of correspondence: a letter demands both interpretation and a reply. But a letter is always already too late. Epistolary Modernism reads letters as a stand-in for the literary period of late modernism itself, an epoch of writing characterized by a sense of coming too late to history and to literary tradition. The project considers fiction and poetry published in the 1920s through the 1950s in relation to historical and cultural events of the period, arguing that the sense of belatedness and temporal disjuncture letters create fundamentally links the structure and materiality of the text to the social and political concerns of its author. These writers composed literature attuned to historical events and the simultaneously occurring ordinary moment, leading to an increasingly interconnected, and socially-responsible art borne from the historical impasse of the thirties, the Second World War and its political legacy. Letters enable these writers to continue aesthetic experiments while simultaneously addressing politics, society, and the purpose of literature itself
Thesis (PhD) — Boston College, 2014
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
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Derouin, Jason. "Staging Modernism". ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/117.
Testo completoAbstract (sommario):
This thesis, which supports an exhibition of visual art, develops from Jean Baudrillard's philosophy of seduction. I have focused on the representation of the bachelor and his pad in American men's magazines from the mid-twentieth century. During this period, magazines such as Playboy, Escapade and Rogue created features on modern living to reassure an independent and affluent man that a dwelling with style and taste would ensure a happy bachelor life and facilitate intimacy. My photographs and collages add complexity to this portrait by framing this unique space as a stage where an unmarried man encircled by his lusty decor acted to entrance a woman.
10
Angelella, Lisa. "Alimentary modernism". Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/225.
Testo completoAbstract (sommario):
Modernism often reveled in the loss of control, the permeation of personal boundaries, the introduction of ambiguity, that evocation of the senses brings about. It strove to loosen the structures and categories culture inscribes. In this dissertation, I argue that food scenes constitute the crux of many pivotal moments in Modernist fiction and express a philosophy of the human subject. Modernists argue that, in eating, a person takes the outside world into him or herself. The senses that precede, imbue and follow eating threaten and transcend the integrity of the subject. I argue that by foregrounding such moments, Modernists posited a phenomenological view of subjectivity, one which can best be illuminated by the work of Maurice Merleau-Ponty. Guided by his theory of intersubjectivity, I explore the phenomenological presentation of particular sensual encounters with food in the work of Ernest Hemingway, Katherine Mansfield, Virginia Woolf, James Joyce and Willa Cather. I show how characters, in their encounters with sensual otherness, feel themselves overcome in poignant moments of ecstasy, disgust, or revelation of self-constitution through the alimentary. I also argue that Modernist fiction does not only display Merleau-Ponty's phenomenology, but also nuances his timeless and placeless presentation of the encounter between a universal subject and any object, by considering the sensual eating experience within various historical food conditions, such as the explosion of the canned food industry and the gradual dissolution of the formal meal, and from various subject positions, based on gender, ethnicity or relative political empowerment. In engaging phenomenology, my project deviates from the long tradition in scholarship of considering symbolic and structural meanings to the occlusion of sense. In each eating scene I explore I consider how gustatory, haptic, and aromatic properties of food objects--such as liquidness, sweetness, bloodiness and lightness--intervene in more cerebral human relations. Fundamental to the fascinating Modernist depictions of food and eating, is the idea that the senses have an undeniable impact on human affairs in their own right.
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Toupin-Guyot, Claire Fouilloux Étienne. "Modernité et christianisme". [S.l.] : [s.n.], 2000. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2000/toupin_c.
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Pereira, Elaine Aparecida Teixeira. "Modernizar o arcaico". reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/xmlui/handle/123456789/122733.
Testo completoAbstract (sommario):
Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências da Educação, Programa de Pós-Graduação em Educação, Florianópolis, 2013.Made available in DSpace on 2014-08-06T17:18:03Z (GMT). No. of bitstreams: 1 325948.pdf: 3870075 bytes, checksum: 68c6ea5eae98bc6596409f4649548194 (MD5) Previous issue date: 2013
O presente trabalho objetiva compreender aspectos relacionados à formação de professores no Brasil, entre os anos de 1942 e 1959, por meio do mapeamento e da análise de discursos produzidos nesse momento histórico. Tendo como foco a realidade do Estado de Santa Catarina, ao mesmo tempo em que se relaciona esta realidade a contextos e debates mais amplos, buscou-se mapear as questões presentes nos discursos sobre a formação docente no período demarcado, em especial, os que se referem à preparação dos professores para o meio rural, devido à constatação da importância que este tema adquiriu nos debates educacionais de então. Circunscrito na abordagem da história intelectual, a análise apoia-se em autores como Quentin Skinner e Pierre Bourdieu, além de Carlos Eduardo Vieira, que sugerem uma atenção especial ao lugar de onde falam os agentes sociais, a suas intenções ao escrever, bem como aos embates relacionados aos discursos produzidos. No âmbito desta pesquisa, os discursos intelectuais são caracterizados como sociais e políticos, produto das formulações de agentes ligados ao campo educacional, em situações de interlocução e na atuação na esfera pública. Gestados devido ao arcabouço teórico, ideológico e linguístico disponível em seu contexto de produção, são transversalizados por questões, debates, embates aí postos, e estão ligados a projetos e a programas de ação. O corpus documental que embasou a análise é formado por livros e periódicos educacionais, assim como por publicações oficiais, relatórios, leis e decretos, circulares, regulamentos e programas de ensino, nos quais foram compilados dados que contribuíssem para a reflexão acerca de algumas questões de pesquisa, tais como: o que dizem os discursos sobre a formação de professores, em especial, os que abordam a preparação dos docentes a atuarem/atuantes no meio rural, produzidos entre 1942 e 1959? Quais questões explicitam, quais intenções possuem, quais ações e projetos estão a eles relacionados? Qual o modelo da formação oferecida nos Cursos Normais Regionais, implantados em Santa Catarina após 1946, com o fim de preparar professores para as escolas primárias rurais? Como um dos focos do debate, adquire tom acusador a constatação da má qualidade da educação rural, com destaque para as escolas primárias e os cursos de formação de professores. Estes agentes, aclamados como ímpares na modernização do meio rural, tinham a função de contribuir para a permanência da população em seu próprio ambiente, onde seria educada de acordo com padrões "universais" de comportamento, num processo em que o "moderno" deveria suplantar o "rústico" e o "arcaico" que ainda se fizesse presente. Os docentes dos meios rurais, portanto, tendo acesso a uma formação de qualidade e estando verdadeiramente integrados à escola e ao seu meio social, poderiam exercer a função de partícipes na construção de uma nova educação para um novo Brasil. Mas tais condições de formação e atuação estariam longe de serem alcançadas.
Abstract : The purpose of this study is to understand factors related to teacher education in Brazil from 1942-1959 by conducting a mapping and analysis of discourses produced in this period. Focusing on Santa Catarina, the paper relates the discourses to broader contents and debates and maps the issues present in the discourses about teacher education at that time, particularly those that refer to preparing teachers for rural regions, due to the importance of this theme in the educational debates. Using an intellectual history approach, the analysis is supported by authors such as Quentin Skinner and Pierre Bourdieu, as well as Carlos Eduardo Vieira, who suggest special attention be paid to the place where social agents speak, their intentions and to conflicts related to the discourses produced. In the realm of this study, the intellectual discourses are characterized as social and political, a product of the formulations of the agents linked to the educational field, in situations of interlocution and in the action in the public sphere. Developed within the theoretical, ideological and linguistic framework available in their context of production, they are transversalized by questions, debates and conflicts and are linked to projects and action programs. The documental corpus on which the analysis is based is formed by educational books and periodicals, and by official publications, reports, laws and decrees, communications, regulations and educational programs, from which were compiled data that contribute to the reflection on some research questions: What do the discourses produced from 1942 - 1959 say about teacher education, in particular those that address the preparation of teachers to work in rural regions? What issues do they explain, what intentions do they have, what actions and projects are related to them? What is the model of teacher education offered in the Regional Normal Courses established in Santa Catarina after 1946 to prepare teachers for rural elementary schools? One of the focuses of the debate is criticisms of the poor quality of rural education, particularly of the primary schools and teacher education courses. These agents, acclaimed as unequaled in the modernization of the rural region, had the function of contributing to the permanence of the population in its native environment, where it would be educated according to "universal" standards of behavior, in a process in which the "modern" would supplant the "rustic" and "archaic." Therefore, by providing teachers in rural areas access to quality education and seeing that they are truly integrated to the school and to their social environment, they could become participants in the construction of a new education for a new Brazil. But these conditions of education and action were far from being achieved.
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Quataert, Anne. "Sérgio Milliet: intermédiaire entre avant-garde française et modernisme brésilien (1922-1930) :contribution aux études de réception". Doctoral thesis, Universite Libre de Bruxelles, 1993. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212764.
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Dudek, Debra Lynn. "Creative displacement and corporeal defiance, feminist Canadian modernism in Margaret Laurence's Manawaka novels". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ63861.pdf.
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Timmer, Cornelis, University of Western Sydney, of Performance Fine Arts and Design Faculty e School of Design. "Modernism and fragmentation". THESIS_FPFAD_SD_Timmer_C.xml, 1998. http://handle.uws.edu.au:8081/1959.7/547.
Testo completoAbstract (sommario):
The aim of my dissertation, as the title indicates, is to determine the relationship between modernism and fragmentation. The objective, however, is twofold. In addition to the argument through which I explicate the neglected discussion of the connection between modernism and fragmentation, this paper reveals the thought processes and artistic influences crucial to my own development as a painter. The majority of artists I discuss have informed my practice stylistically as well as aesthetically. The thesis therefore serves not only as a theoretical discussion but also as a partial justification of my personal conceptions regarding my work, on which I will elaborate in appendix. This paper demonstrates that the resolution of all things depends upon the collection, selection, arrangement and rearrangement of fragments, including my painting and this paper itselfMaster of Arts
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Medalie, David. "E.M.Forster and modernism". Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316896.
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Costello, Diarmuid. "Aesthetics after modernism". Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395872.
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Kelly, Theresa. "Pilgrimage and modernism". Thesis, University of York, 1987. http://etheses.whiterose.ac.uk/9834/.
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Wayland, Ted. "High risk modernism /". Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/9343.
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Timmer, Cornelis. "Modernism and fragmentation". Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/547.
Testo completoAbstract (sommario):
The aim of my dissertation, as the title indicates, is to determine the relationship between modernism and fragmentation. The objective, however, is twofold. In addition to the argument through which I explicate the neglected discussion of the connection between modernism and fragmentation, this paper reveals the thought processes and artistic influences crucial to my own development as a painter. The majority of artists I discuss have informed my practice stylistically as well as aesthetically. The thesis therefore serves not only as a theoretical discussion but also as a partial justification of my personal conceptions regarding my work, on which I will elaborate in appendix. This paper demonstrates that the resolution of all things depends upon the collection, selection, arrangement and rearrangement of fragments, including my painting and this paper itself
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Timmer, Cornelis. "Modernism and fragmentation /". View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030908.132615/index.html.
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Salvati, Gerardo. "Modernism on Air". Doctoral thesis, Universita degli studi di Salerno, 2016. http://hdl.handle.net/10556/2460.
Testo completoAbstract (sommario):
2014 - 2015La tesi di dottorato, intitolata “Modernism on Air” si articola in quattro capitoli, preceduti da un’introduzione in cui si dà conto di quello che gli studiosi hanno definito il Great Divide nei rapporti tra Modernismo e cultura di massa. Nel primo capitolo, vengono presentate le principali teorie che sostengono l’impossibilità di trovare un punto di raccordo tra Modernismo e cultura di massa. Nello specifico vengono analizzate le teorie di Huyssen che afferma l’esistenza di un ‘unbridgeable’ gap tra i suddetti movimenti culturali. Viene dato spazio anche all’analisi del pensiero di quei pensatori, Walter Benjamin e Theodor Adorno su tutti, che sono alla base della teorizzazione della divisione dicotomica tra Modernismo e cultura di massa. Vengono poi presi in esame gli studi sul Modernismo dell’ultimo decennio che, invece, danno di quest’ultimo una lettura più democratica e collaborazionista con la cultura di massa. La seconda parte del presente lavoro descrive, invece, i punti di contatto che importanti esponenti del Modernismo hanno avuto con la cultura di massa attraverso la collaborazione con riviste di moda ed emittenti radiofoniche. Sono stati oggetto di analisi gli articoli che Virginia Woolf scrisse per Vogue e le trasmissioni radiofoniche che tenne per conto della BBC. La terza parte della ricerca ha invece preso in analisi i possibili effetti della radio sulla parola scritta. Partendo dal concetto di crisi della tradizione oculocentrica, che basava sul senso della vista il metodo principale di conoscenza, vengono presi in esame una serie di estratti dei romanzi di James Joyce e Virginia Woolf per dimostrare come gli artisti modernisti depotenziano la vista in favore dell’udito nella narrazione della realtà. In tal modo la percezione come modalità conoscitiva non viene più solo affidata all’occhio ma anche e soprattutto all’udito. L’ultima parte si concentra sull’inglobamento volontario della radio nell’opera d’arte attraverso l’analisi dei testi di Samuel Beckett e Dylan Thomas. A differenza del passato, il testo non viene più pensato prima per la pagina scritta e poi ‘adattato’ per la radio ma quest’ultima diventa da subito la matrice principale che da forma e sostanza al testo. Ne emerge, in tal modo, un nuovo tipo di testo i cui personaggi hanno una forte valenza ‘radiofonica’ per come sono creati e per come agiscono. [a cura dell'autore]
The thesis is entitled “Modernism on Air” and is structured into four chapters, preceded by an introduction, which focuses on the notion of The Great Divide between Modernism and mass culture. The first chapter analyses the main theories which claim there is no connection between Modernism and mass culture. Specifically, it is taken into account Huyssen’s thought that affirms the existence of an ‘unbridgeable gap’ between the above-mentioned movements. Moreover, Walter Benjamin’s and Theodor Adorno’s theories, that form the basis of the dichotomy between Modernism and mass culture, have been object of investigation. In addition, the Modernist studies of the last decade, that claim Modernism was not an elitist movement, have been investigated. The second chapter of the present work describes the intersections between Modernism and mass culture by fashion magazines and radio stations. Virginia Woolf’s contributions to Vogue and the BBC have been analysed. The third part of the research pays attention to the effects of radio and sound on the written word. Starting from the notion of ocularcentrism, that considered the eye the main tool to know the world, and its subsequent crisis, several excerpts from Joyce’s and Woolf’s novels have been examined in detail in order to demonstrate that Modernists disempowered vision in favour of hearing. In this way perception, as a knowing mode of the world, is not provided exclusively by the eye but also by the ear. The last chapter is devoted to the intentional incorporation of radio into the work of art. Samuel Beckett’s and Dylan Thomas’ radio texts have been studied. Unlike in the past, a text is no more thought for the page and then adapted to radio but the latter becomes the matrix that gives form and substance to the text. In this way a new kind of artistic work is created in which its characters have a strong ‘radiophonic’ valence because of the way they are brought into existence and act. [edited by author]
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23
Binderup, Thomas. "Globalisering, modernitet og historie /". København : Danmarks Pædagogiske Universitetsskole, 2008. http://www.dpb.dpu.dk/Dokumentarkiv/Publications//intern_dpb/opgaver%20fra%20dpu/20090216163319/currentversion/globalisering_modernitet_og_his.pdf.
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Korbage, Aiham. "Mobilité et [post-]modernité". Diss., Connect to the thesis, 2004. http://hdl.handle.net/10066/650.
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Petrescu, Raluca Ioana. "« L’Attention aux choses » : la Révélation de l'objet chez Gerard Manley Hopkins, Fernando Pessoa, William Carlos Williams, Francis Ponge et Lucian Blaga". Electronic Thesis or Diss., Strasbourg, 2020. http://www.theses.fr/2020STRAC025.
Testo completoAbstract (sommario):
La poésie occidentale de la première moitié du XXe siècle se caractérise globalement par sa rupture avec la subjectivité romantique, mettant en œuvre une dé-subjectivation de l'énoncé et faisant émerger l'idée que le poème se construit comme un objet textuel. Ce travail s’inscrit dans le cadre de ces évolutions, mais leur ajoute une dimension particulière : les oeuvres du corpus présentent, chacune à sa manière, une attitude d'« attention aux choses », selon la formulation d'Alberto Caeiro, « maître » entre les hétéronymes de Fernando Pessoa ; elles développent comme thématique une fascination pour les fragments du réel, qui ont une existence en soi, extérieure au point focal de la voix du poème : un imaginaire de l'objet. Cette permutation mène à des constructions complexes de l'imaginaire poétique, qui s'ingénie à exprimer dans le langage l'expérience de la chose et ses caractéristiques, parmi lesquelles la particularité. Des bulles de savon au chien de Pompéi, de l’alouette lulu au centre du désert, ce travail se propose de cerner la révélation de l’objetWestern poetry in the first half of the XXth century can generally be said to go against romantic subjectvity, bringing about a de-subjectification of the utterance and the idea that the poem is a textual object. The present work concerns itself with one particular branch of this phenomenon : the authors it focuses on all have in common a certain posture, that Alberto Caeiro, « master » of Fernando Pessoa, calls “attention to things”. Namely, they develop a thematic fascination with the fragment of reality, the independently existent parcel of being, exterior to the voice inhabiting the poem : object-oriented imagery. This permutation is at the source of complex poetical constructions, as language struggles to express the experience that links us to the particular thing. From soap bubbles to a dog in Pompeii, from the woodlark to the middle of the desert, we aim to better grasp the revelation of the object
26
Yeung, Choi Kit. "Réception de Paul Morand au sein des mouvements modernistes japonais et chinois pendant les années 1920 et 1930". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL050.
Testo completoAbstract (sommario):
Quels étaient les modernismes existant en Asie de l’Est pendant les années 1920 et 1930 où la première vague des mouvements modernistes a eu lieu ? À travers les études du transfert littéraire de Paul Morand à partir de la France vers la Chine, en passant par le Japon, on s’interroge sur la façon dont les acteurs du monde littéraire japonais et chinois impliqués dans la réception littéraire de Morand ont pensé le modernisme et la modernité. On compare les réflexions des communautés littéraires des deux pays vis-à-vis du modernisme au sein de cette réception morandienne en trois grandes parties : tout d’abord, les traducteurs principaux japonais et chinois des œuvres morandiennes, Horiguchi Daigaku et Dai Wangshu ; ensuite, les critiques qui ont introduit Morand dans le débat du modernisme des années 1920 et 1930, allant jusqu’à créer un champ littéraire dédié à la réception de Morand. Dans le cas japonais, ce sont Chiba Kameo, la communauté littéraire établie, l’École des sensations nouvelles japonaise et sa revue de cercle L’Époque littéraire. Tandis que dans le cas chinois, ce sont l’École des sensations nouvelles chinoise et sa revue littéraire affilée Trains sans rail ; enfin, les deux écrivains représentatifs des Écoles des sensations nouvelles japonaise et chinoise, Yokomitsu Riichi et Liu Na’ou, dont les styles littéraires ont souvent été comparés avec celui de Morand. Par les analyses de ces trois parties, nous voudrions présenter les configurations particulières du modernisme en Asie de l’Est de l’époqueWhat were the modernisms of East Asia during the 1920s and the 1930s? By studying the literary journey of Paul Morand from France to China via Japan, we question how the intellectuals of Japanese and Chinese literary world who were involved in this literary reception during the 1920s and the 1930s, considered modernism through French ideas. The Japanese and the Chinese reflections on modernism are compared in three main aspects: first, the translation of Morand’s works done by Horiguchi Daigaku and Dai Wangshu. Second, the criticisms which involved Morand into the debate concerning modernism in this period, created a literary field for the reception of Morand in these two countries. For the Japanese case, the parties that were concerned the most were Chiba Kameo, the established literary community, the Japanese Neo-Perception School and her coterie magazine Age of Literature. Whereas for the Chinese case, the Chinese Neo-Perception School and her affiliated magazine Trains without Railway were the most relevant. Third, two representative writers of the Neo-Perception Schools, Yokomitsu Riichi and Liu Na’ou, whose literary styles were often compared to those of Morand’s. Through the analysis of these three aspects, we seek to show the configurations of modernism in East Asia
27
Rolland, Jean-Luc. "Genèse et filiations du fondamentalisme protestant (1910-1925)". Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30003.
Testo completoAbstract (sommario):
De la fin des années 1860 au milieu des années 1920, un courant théologique d'opposition à la modernité s'organise à l'intérieur du protestantisme états-unien. C'est au terme de cette période que ses partisans choisissent de se désigner sous le qualificatif de fondamentalistes. Cette réaction n'est pas totalement originale, elle renoue avec les courants les plus conservateurs, non seulement des États-Unis mais aussi d'Europe. Dans cet environnement idéologique, notre enquête vise à retracer les origines de ce courant et réfléchit sur le statut de ses énoncés doctrinaux. Ce fondamentalisme primitif a été l'objet de nombreuses études, principalement anglophones, dont la plupart se sont focalisées sur le contenu des doctrines. Nous souhaitons dépasser cette dimension descriptive-normative et centrer notre recherche sur l'histoire du mouvement, le contexte de son émergence et sa problématique. Le fondamentalisme n'obéit pas seulement à une volonté d'orthodoxie. En conséquence, notre analyse a essentiellement pour objet d'interroger le rapport qu'il entretient avec ses propres croyances et le regard qu'il porte sur les opposants à sa tradition. Notre première partie correspond à la phase d'émergence du fondamentalisme au cours des années 1910 et 1920, prenant en compte les principales controverses et les publications de cette période. Notre deuxième partie s'intéresse aux racines, spécialement religieuses et philosophiques, qui ont favorisé son avènement. Les analyses de la troisième partie portent sur le modernisme protestant, mouvement d'une profonde diversité qui sera la cible du fondamentalisme. Au terme de ce travail, nous conduirons une étude comparative du fondamentalisme protestant et d'un mouvement catholique d'opposition au modernisme qui lui est contemporain. En épilogue, sur la base des sources primaires étudiées, nous proposons une définition du phénomène fondamentaliste en nous inspirant de l'histoire de ces deux dogmatismes chrétiens au début du XXe siècleFrom the late 1860s to the mid-1920s, American Protestantism saw the rise of an anti-Modern theological trend. At the end of this period, its adherents chose to call themselves Fundamentalists. This reaction was not totally unprecedented : it was a resurgence of the most conservative tendencies, not only from the United States, but also from Europe. Our research into this ideological environment attempts to trace the origins of this trend and reflect on the nature and status of its doctrinal statements. This early Fundamentalism has been the subject of many studies ; mostly in the English language, the majority of which focus on the content of its doctrines. We propose to go beyond this normative-descriptive dimension and concentrate our research on the history of the movement, the context of its genesis and related issues. Fundamentalism does not merely revolve around orthodoxy. Our analysis therefore aims to scrutinise its relationship to its own beliefs as well as the way it views those who oppose its tradition. The first part of our study relates to the initial phase of Fundamentalism from the 1910s to the 1920s, taking into account the main controversies and publications of this period. The second part looks at the roots - religious and philosophical in particular - which have favoured its emergence. The third part analyses Protestant Modernism ; an extremely diverse movement which was to be the target of fundamentalist attacks. To conclude we shall carry out a comparative study of Protestant Fundamentalism and a Catholic anti-Modernist movement of the same period. Based on original documents studied, we propose a definition of the fundamentalist phenomenon, drawing from the history of these two Christian dogmatisms of the early twentieth-century
28
Arbelius, Sofi. "Skandinavisk modernism i USA". Thesis, Södertörn University College, School of Business Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1173.
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Rozmovits, Linda 1959. "A.M. Klein and modernism". Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64004.
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30
Keane, Stephen. "Modernism and body politics". Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239051.
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31
Black, Tim. "The ideology of modernism". Thesis, University of Sussex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421505.
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Higgott, Andrew. "Architectural modernism in Britain". Thesis, University of East London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536638.
Testo completoAbstract (sommario):
These published texts deal with the historical analysis of the making and remaking of modernism in British architecture. The book, Mediating Modernism: Architectural Cultures in Britain takes a chronological series of case-studies which reflect different phases of this history from modernism's introduction, its application and its modification, to its ongoing reappraisal. It is not, however, intended as a positivist history that outlines historical progress, and neither does it aim for completeness: each of the seven chapters after the introductory section aims to develop a discrete narrative of architectural thought within a specific discourse, and thus can be read as a separate study. The focus in each case is on the expression of architectural ideologies through publications and other cultural outputs that are deemed to have been crucial to the shifts in architectural thought and practice of their time. Having said that, the discourses chosen for study are arguably the most historically significant and the most influential, even though much architectural work and very many other architectural publications make no appearance in its pages. The three other published texts submitted here subtend directly from the concerns of Mediating Modernism and were published earlier. Travels in Modem Architecture 1925-1930: Howard Robertson and FR Yerbury extends the account of the early British publication and influence of European modern architecture to be found in the latter part of Chapter 1 of Mediating Modernism. Birmingham: Building the Modem city forms a case study of the application *of modernist ideas of rebuilding and, while a separate and specific study, expands on the concerns outlined in Chapter 3 on the Abercrombie plan for London. Eric de Mare and the Functional Tradition makes a more extensive case for De Mare's contribution to the post-war discourse of material and place which is the subject of Chapter 4.
33
Long-Innes, Francis. "Freud : moments of modernism". Master's thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/22126.
Testo completoAbstract (sommario):
The word "moment" - from the Latin movere (to move) - can be understood in various senses. It is a point of time, an instant; it connotes importance, or weight; in 1666, according to the OED, it could be used to suggest a "definite stage or turning point in a course of events"; in 1691 it came to mean a "cause or motive of action, a determining influence or consideration" ... This dissertation stems from the conviction that the importance and weight of Sigmund Freud's "discovery" and elaboration of psychoanalysis - its impact as a turning point for western modes of intellectual activity, and as a determining consideration for western culture as a whole - has been so profound that it would be impossible to seek from within it the precise measure of its influence. Across modern philosophy, the human sciences, and the arts - from surrealism to pop art, from advertising to social welfare policies - Freud's psychoanalysis permeates the ways in which we live, and is one of the key elements of that experience of modernity we can loosely call "modernism". The dissertation locates a number of moments ·of modernism in and around Freud's work - with attention to Freud's relation to the reading and interpretive practices of the twentieth century: Chapter One examines some of the ways in which psychoanalysis and literary studies have met, intersected and, at times, bypassed one another over the past few decades, in a flurry of encounters which have yet to settle into any definitive shape. Chapter Two responds to Stanley Fish's recent attack on Freud's scientific integrity in the "Wolf-man". The chapter focuses, in other words, on one particular strand of the critical tradition defined in the second section of Chapter One. Chapter Three - which concerns the famous case of "Dora" - attempts, first, to restore some sense of the theoretical moment in Freud's work represented by the case, and second, to re-introduce the question of history into what has become the critics' story of Freud's failure to get to the bottom of Dora's hysteria. The aim of this chapter is to suggest a way beyond the contradiction in which Freud is persistently invoked, in feminist criticism, as both liberator and oppressor, hero and villain. Chapter Four turns back to the interface between psychoanalysis and literature. Its focal point is a different permutation from that manifested in the "Dora" case history of Freud's life-long quest to solve the "riddle" of femininity. The chapter examines some of the problems Defoe's novel Moll Flanders has posed to a tradition of patriarchal literary criticism. These problems, it argues, are inseparable from questions of representation, female identity and the notion of ''femininity" itself - the same questions which proved so intrusive in Freud's narrative of the case of Dora. This dissertation is concerned not only with the apparent "logic" of the arguments it confronts, but also with the· deeper constitution of that logic in and through the complex textures of writing. It aims to demonstrate that one of the most powerful moments of modernism in Freud's work lies in the stimulus it provides to an art of interpretation constantly attentive to the complexity of these textures.
34
Harty, John Francis. "Oscillation in literary modernism". Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/994987064/04.
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Paul, Mumme. "The Absurd beyond Modernism". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16599.
Testo completoAbstract (sommario):
While the absurd is usually associated with the modern subject, it is the purpose of this project to show how it is still relevant today. The concepts of end times, ecological disaster, and post-democracy are pressing concerns of the new millennium that emphasise the futility of being and a lack of political agency. Absurdity describes a similar condition, the feeling of purposelessness that results from the observation that life has no inherent meaning. A fundamentally modern condition of religious dispossession, this feeling is predominantly frustration, since it is impossible to determine the meaning of life through reason. In these cases, crisis seems unavoidable, insurmountable, and permanent, and these attitudes can be observed in works of art since modernism. The thesis aims to define the absurd by the special examination of works closely associated with the concept, which will allow the identification of a specific literary and artistic tradition originating in the nineteenth century and continuing to the present. This is achieved through the rigorous examination of works by Søren Kierkegaard, Albert Camus, Michel Houellebecq, and Bruce Nauman. Despite the fact that works reflecting the absurd respond to distinct historical conditions, they all express frustration at the limitations of human agency, and the incomprehensibility of life.
36
Yoshizawa, Hideki. "Vers la narration transcendante dans Le Jeune Européen : Genèse de la "voix" littéraire de Pierre Drieu la Rochelle [1918-1927]". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030092.
Testo completoAbstract (sommario):
Le Jeune Européen publié originalement en 1927 est une œuvre dont le genre est difficile à saisir pour les lecteurs. Ce fait offrirait une des raisons de la rareté des études sur elle. Cependant, lorsqu’il a publié Écrits de jeunesse en 1941, ce n’est pas autres œuvres en prose écrites pendant des années 20 avec la première personne du singulier comme État civil ou Mesure de la France, mais c’est ce Jeune Européen que Drieu a choisit pour ce recueil. De ce fait, nous avons bâti une hypothèse : Drieu y a procuré une sorte de perfectionnement pour son style narratif de la première personne du singulier au bout de son tâtonnement pendant les années 20, période de sa formation comme écrivain. Ce perspective nous permet d’étudier ses autres écrits publiés avant 1927 comme itinéraire de l’auteur vers la création du style narratif : « transcendant » dans Le Jeune Européen. Effectivement, Drieu s’est procuré ce style comme un des achèvements de ses études qu’il avait fait dans ses écrits des années 20 sur la littérature contemporaine. Cette lecture nous amène à conclure que cette instance narrative et l’ambigüité générique sont inséparables. Non seulement cette étude met en relief l’esthétique à laquelle Drieu visait à cette époque, mais montre aussi un prototype de son style narratif des années 30 et 40Le Jeune Européen originally published in 1927 is a work whose genre is difficult to identify for readers. This fact explains a reason for the paucity of research on it. However, when Pierre Drieu la Rochelle published Écrits de jeunesse in 1941, it is not other prose works written while 1920’s using the first person singular like État civil or Mesure de la France, but it was this Jeune Européen that Drieu chose for this collection. Therefore, our hypothesis is : Drieu obtained a kind of perfection for his narrative style using the first person singular after his trials and errors while the 20’s, a period of training as a writer. This perspective allows us to study his other works published before 1927 as a process of the creation of narrative style of this author: "transcendent" in Le Jeune Européen. Indeed, Drieu had obtained this style as a result from his studies he had done in his writings of the 20s on the contemporary literature. This reading leads us to conclude that this narrative style and generic ambiguity of his work are indivisible. Not only our study illuminate the aesthetic that Drieu pursuit at that time, but also shows a prototype of his narrative style of the 30s and 40s
37
Friberg, Leif. "Från sonett till drömtext : Gunnar Björlings väg mot modernismen /". Stockholm : Almqvist & Wiksell International, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-310.
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Vishwanathan, Kedar Shrinivas. "Re-thinking Indian Modernism: the endogenous aspects of Indian modernism c. 1890-1947". Thesis, The University of Sydney, 2012. https://hdl.handle.net/2123/28759.
Testo completoAbstract (sommario):
Indian modernism is an endogenous structural causality that has used and continues to use
exogenous discourses for its development. Linked to the Independence movement, it became
a part of the project for national self-determination, and the artists and art historians asserted
the endogenous cultural system over the Raj’s imposed cultural system on philosophical,
historiographical, aesthetic, religious, and social grounds. The artists reached into India’s
society, traditions, past, and folk and tribal practices to find their endogenous subject matter
and to define their way of seeing. The tools and arguments contained in the exogenous
discourses supplied by the Raj’s cultural systems and European modernism provided the
discourses that combined with endogenous discourses and created Indian modem art. The
study considers in detail the ways in which endogenous and exogenous discourses have been
combined and translated (relativised) over half a century.
The study’s focus is c.1890 to c.1947, though to provide a framing context it
considers the breakdown of the arts under the autonomous Mughal courts after Aurangzeb
(c.1700 onwards), and also considers Indian modem art of the 1960s. The study demonstrates
that the course of Indian modernism was such that a period of domination by an art school
was followed by a rupture, the rupture leading to a period of domination by another, which in
turn was ruptured and re-ordered, the process repeating and bifurcating in time, and across
the geographical regions of India. A ruptured school did not mean its elimination, often it
continued. It is important to see the periods of domination, the nodes of rupture, and
subsequent bifurcations and domination as occurring in parallel in space and time. The
rupture and subsequent domination was due to a combination of endogenous and exogenous
discourses. This discourse relativisation was an invariant aspect of the process. The manner
in which the discourses relativised each other along the multiple dimensions (philosophical,
social, political, cultural, aesthetic, historiographical) was different at different times and
locations leading to differences, but the process of relativisation was a constant.
39
Foucras, Myriam. "Performance Analysis of the Modernized GNSS Signal Acquisition". Phd thesis, Toulouse, INPT, 2015. http://oatao.univ-toulouse.fr/14248/1/FOUCRAS.pdf.
Testo completoAbstract (sommario):
Since the development of the GPS, the global navigation satellite systems (GNSS) have been widely diversified: maintenance, modernization and deployment of new systems such as the European Galileo. In addition, the number of GNSS signals applications, based on the use of GNSS signals, is increasing. To meet these new challenges and requirements, GNSS receivers are constantly evolving. A new trend is the development of software receiver which processes the GNSS signal in a software way unlike hardware receiver, equipping our vehicles, smartphones, for example. This thesis is part of a common project between a laboratory and a company, consisting of the development of a software receiver tracking GPS L1 C/A and Galileo E1 OS. The more specific aim of the thesis is to study the acquisition, first signal processing which provides a rough estimation of the incoming signal parameters. This work focuses particularly the low power signals, an acquisition threshold is set at 27 dB-Hz considered as a representative of urban or degraded environments. It is important to note that the success of the acquisition of such signals should be at least 9 times out of 10, without any aid or knowledge of almanac or ephemeris. Initially, a solid theoretical study of the acquisition performance and sources of degradation is conducted. One of them is the bit transitions due to the presence of the navigation message and the secondary code on pilot component of the new signals. It is thus highlighted the need to use a Transition-Insensitive acquisition method. Secondly, an innovative method, the Double-Block Zero-Padding Transition-Insensitive (DBZPTI) is developed to permit efficiently the acquisition of Galileo E1 OS signal. It takes part in the development of the global acquisition strategy, which should provide an estimate of the Doppler frequency and code delay, fine and reliable, for a satisfactory signal tracking.
40
Griggs, Erin R. "Analyses for a Modernized GNSS Radio Occultation Receiver". Thesis, University of Colorado at Boulder, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3704709.
Testo completoAbstract (sommario):
Global Navigation Satellite System (GNSS) radio occultation (RO) is a remote sensing technique that exploits existing navigation signals to make global, real-time observations of the Earth's atmosphere. A specialized RO receiver makes measurements of signals originating from a transmitter onboard a GNSS spacecraft near the Earth's horizon. The radio wave is altered during passage through the Earth's atmosphere. The changes in the received signals are translated to the refractivity characteristics of the intervening medium, which enable the calculation of atmospheric pressure, temperature, and humidity. Current satellite missions employing GNSS RO have provided invaluable and timely information for weather and climate applications. Existing constellations of occultation satellites, however, are aging and producing fewer quality measurements. Replacement fleets of RO satellites are imperative to sustain and improve the global coverage and operational impact achieved by the current generation of RO satellites. This dissertation describes studies that facilitate the development of next generation RO receivers and satellite constellations. Multiple research efforts were conducted that aim to improve the quantity and quality of measurements made by a future satellite-based RO collection system. These studies range in magnitude and impact, and begin with a receiver development study using ground-based occultation data. Future RO constellations and collection opportunities were simulated and autonomous occultation prediction and scheduling capabilities were implemented. Finally, a comprehensive study was conducted to characterize the stability of the GNSS atomic frequency standards. Oscillator stability for a subset of satellites in the GNSS was found to be of insufficient quality at timescales relevant to RO collections and would degrade the atmospheric profiling capabilities of an RO system utilizing these signals. Recommendations for a high-rate clock correction network are proposed, which provides significant improvement to the fractional errors in the derived refractivity, pressure, and temperature values caused by the oscillator instabilities.
41
Ziółkowski, Wojciech. "Figura twierdzy w literaturze modernizmu". Doctoral thesis, Katowice : Uniwersytet Śląski, 2011. http://hdl.handle.net/20.500.12128/5735.
Testo completoAbstract (sommario):
Poszukując uzasadnienia dla tytułowej tezy mojej dysertacji można by chyba zapytać: co takiego powodowało artystami, że figura twierdzy wydawała się im atrakcyjna na tyle, by poprzez nią prowadzić dyskurs z nowoczesnością? Czy to poprzez wielość proponowanych przez nią formuł pojmowania aktualnego stanu rzeczy? Możliwe. Narzucająca się rzeczywistość potęgowała z jednej strony wrażenie „zamknięcia w systemach” materialnych, społecznych, ideologicznych lub znaczeniowych, z drugiej strony przywoływała poczucie zagrożenia wobec „otwartej flanki inności”: tak zewnętrznej, od strony świata, jak i tej w nas. Modernizm artystyczny podsycał wrażenie nieokreśloności w świecie zewnętrznym, jak i w podmiocie, jednocześnie oferując moc uniwersalizującą rozumu jako synonim rozwoju i modernizacji. Symbolika twierdzy denotując siły owego „zamknięcia” przywoływała echa obietnicy uwolnienia się od zagrażającej płynności podmiotu. Stąd figura twierdzy w literaturze modernizmu pojawia się jako oddźwięk dyskursów zarówno wolnościowych, jak i „naturalizujących”, poszukujących pierwotniejszych form życia kulturowego poprzez krytykę kryzysu kultury, braku zakorzenienia całych społeczności, uprzedmiotowienia jednostki. Jednocześnie buduje swoje znaczenia jako nakaz utrzymywania w ryzach kulturowych fundamentów. W tych i innych momentach znaczeniowych figura twierdzy staje się użytecznym symbolem w dyskursie kultury modernizmu. A jej znaczenia niczym kłącze oplatają stany rzeczy i emocje wzywające do ekspresji w tym niespokojnym okresie. Pojawią się ona niczym ów „gen fabuły” – symbol przywołujący zarówno twórczą moc indywidualności artysty jak i symbolikę wrośnięta w pamięć kultury i aktywowaną przez artystę.
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Farddehkordi, Darush. "Modernisme dans la miniature iranienne". Université Marc Bloch (Strasbourg) (1971-2008), 2008. http://www.theses.fr/2008STR20074.
Testo completoAbstract (sommario):
Cette recherche propose les façons variées pour renouveler la miniature iranienne d'aujourd'hui. J'ai présenté une connaissance artistique sur le caractère de la miniature, le définissant comme une règle scientifique. J'ai déceloppé cette étude sous divers aspects de la miniature, afin de montrer les règles communes qui associent le caractère de cette tradition. Puis ma recherche définit les raisons des changements dans les miniatures anciennes. Ensuite j'ai analysé la situation de la miniature contemporaine en Iran et son influence sur l'art d'aujourd'hui de ce pays. Dans la partie suivante, j'ai présenté mes propositions pour la modernisation de la miniature. Enfin j'ai analysé mes tableaux personnels après les avoir classés en trois catégories : la nature, l'expression lyrique et l'abstraction décorative.
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Bernié-Boissard, Catherine. "Nîmes, images de la modernité /". Montpellier : Groupe de recherches en géographie, aménagement, urbanisme, 1991. http://catalogue.bnf.fr/ark:/12148/cb36181277d.
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Ryzova, Lucie. "L'effendiyya ou La modernité contestée /". Le Caire : CEDEJ, 2004. http://catalogue.bnf.fr/ark:/12148/cb40145282d.
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Clark, Ryan S. "Vietnam’s drive to modernize militarily—causes and implications". Thesis, Monterey, California: Naval Postgraduate School, 2014. http://hdl.handle.net/10945/44539.
Testo completoAbstract (sommario):
Approved for public release; distribution is unlimitedSince the initiation of economic reforms in the late 1980s, the Communist Party of Vietnam (CPV) has increasingly focused on updating its sea and air capabilities while also enhancing its foreign defense relations. Since then, military capabilities outside of Vietnam’s ground forces have increased with the addition of more modern equipment. After the Soviet Union’s collapse, Vietnam expanded its military procurement network and general defense policy beyond Russia. What are the specific details of these modernization efforts? As Vietnam’s economy has developed, its relationship with the People’s Republic of China (PRC) has varied due to conflicting territorial claims in the South China Sea (SCS). The PRC took the Paracel Islands from Vietnam in 1974 and portions of the Spratly Islands in 1988 and the mid-1990s; its assertive SCS behavior toward Vietnam has continued. Since 1986, Vietnam’s dramatic economic growth and development focus has led to military updates but also to a growing defense industry as it pursues industrialized status by 2020. Through historical analysis, this thesis seeks to answer the following question: What are the causes and implications of military modernization initiated by the CPV after the Doi Moi reforms of 1986?
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Terradillos, Tina. "Le Sale comme ressort d'une éthique de l'altérité dans les romans de Radclyffe Hall". Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30035/document.
Testo completoAbstract (sommario):
Montrer comment Radclyffe Hall construit la notion de Sale dans ses romans et comment cette notion affecte la relation aux autres et à soi des personnages. Proposer une réhabilitation de Radclyffe Hall et de son oeuvre. Voir comment Radclyffe Hall propose une éthique de l'altérité qui s'appuie sur le SaleShow how Radclyffe Hall expresses the notion of Filth in her novels and how this notion affects her characters' relationships to their selves and to the others. Offer a new vision of Radclyffe Hall and her novels. See how Radclyffe Hall suggests an ethics of alterity based on the notion of Filth
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Redkozubova, Žana. "Femme fatale w literaturze polskiego modernizmu. Wybrane aspekty". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120807_123434-16048.
Testo completoAbstract (sommario):
Celem mojej rozprawy magisterskiej jest wyeksponowanie obrazu femme fatale w kategoriach modernistycznych na podstawie inspirujących utworów literatury polskiej. Główne zadania niniejszej pracy sformułowałabym następująco: 1. Scharakteryzowanie „wampiryzmu” jako punktu „wyjściowego” badań obrazu kobiety fatalnej w literaturze europejskiej. 2. Wprowadzenie kategorii femme fatale w pole semantyczne polskiej literatury modernistycznej. Napisana przeze mnie rozprawa magisterska składa się ze wstępu, trzech rozdziałów i zakończenia. W pierwszym rozdziale niniejszej pracy pt. Zagadnienia teoretyczne są przedstawione główne kategorie literaturoznawcze, wykorzystane w rozprawie. W części drugiej, zatytułowanej Kobieta fatalna w kontekście europejskiego wampiryzmu, jest przybliżona historia pojawienia się wampiryzmu w kulturze i literaturze europejskiej, ze szczególnym uwzględnieniem aspektów polskich. Analizowane są także utwory o tematyce wampirycznej, które weszły do historii literatury. Są to Narzeczona z Koryntu Johanna Wolfganga Goethe, Wampiryzm Ernsta Theodora Amadeusza Hoffmanna, Rodzina wilkołaka Aleksego K. Tołstoja oraz Dracula Brama Stokera. Wyeksponowane są zmiany w kobiecej tematyce w literaturze wieku XIX. Rozdział trzeci został bezpośrednio poświęcony tematyce femme fatale w literaturze Młodej Polski, analizie wybranych przeze mnie utworów literackich. W zakończeniu podaję wnioski niniejszej rozprawy.Magistrinio darbo Femme fatale lenkiškojo modernizmo literatūroje. Parinkti aspektai tikslas atvaizduoti femme fatale modernistiniuose kategorijuose remiantis inspiraciniais lenkiškos literatūros kūriniais. Pasiekti šį tikslą yra įmanoma išsprendus šias užduotis: apibudinti “vampirizmą” kaip “ išeinamąjį” fatališkosios moters vaizdo europos literatūroje tyrimų punktą bei įvesti kategoriją femme fatale į lenkiškos modernistinės literatūros semantikos rėmus. Darbas susideda iš įvado, trijų skyrių ir išvadų. Įvade yra pateikta bendroji informacija apie Jaunosios Lenkijos epochą, šio laikotarpio naują požiūrį į moterį ir jos situacija socijalinėje ir literatūrinėje sferoje. Pimame skyriuje Teorijos pagrindai yra pateikta pagrindinė informacija apie hermeneutikos ir gender literatūros disciplinas. Antrajame skyriuje, pavadintame Fatališkoji moteris europietiško vampirizmo kontekste, priartinama vampirizmo atsiradimo istorija europos kulturoje ir literatūroje, atsižvelgiant į lenkiškus aspektus. Parodomi moteriškos tematikos pokyčiai XIX amžiaus litaratūroje. Trečioji dalys Modernistiniai atvaizdavimai femme fatale lenkiškoje literatūroje yra paskirta tematikai femme fatale Jaunosios Lenkijos literatūroje, išrinktu kūrinių analizei. Išvadose yra apibendrinti tyrimo rezultatai.
The purpose of this research, which is called Femme fatale in polish literature of modernism was to exhibit the image of femme fatale on the basis of inspiring works in polish literature. This task can be resolved by completing the following assignments: describing “vampirism” as “initial” point of inquiry of fatal woman in European literature, introduction of category of femme fatale into semantic field of polish modernism. This dissertation consists of introduction, three chapters and conclusion. In introduction is given the main information about Young Poland époque, its look upon new situation of woman in social and literary ranges. In first chapter called Theoretical basis is represented the main information about hermeneutics and gender literature. Second chapter Fatal woman in context of European vampirism is approached the appearance of vampirism in European culture and literature with taking into consideration polish aspects. Into prominence are brought feminine subjects in literature of 19th century. Chapter three was concentrated on subjects of femme fatale of Young Poland and analysis of chosen literary works. The results of analysis are summarized in conclusion.
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Wahlqvist, Mats. "Traditionell modernism eller modern traditionalism?" Thesis, Stockholm University, Department of Cinema Studies, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-811.
Testo completoAbstract (sommario):
Denna uppsats fokuserar på King Hus actionestetik och den montagekonstruerade rörelsen, enligt en konkret syftesformulering som lyder: Att öka förståelsen för King Hus estetiska val genom att belysa vissa rytmiska rörelsetendenser, såsom en konstruktion av filmens montage, och dess relation till två vitt skilda konstyttringar, med dessa avses Pekingoperan och cinéma pur. Ledande tes genom uppsatsen är att Hus visuella stil visserligen är starkt präglad av ett personligt intresse och en djup förståelse för estetiska normer i Pekingoperan, men att han samtidigt genom ett skickligt utnyttjande av cinematiska tekniker skapar en alldeles unik version av kinesisk estetik, som måste förstås som specifik för filmmediet. Sammantaget är förhoppningen att resultatet skall bidra till avmarginaliseringen av Hu som förvaltare till en förment essens av traditionell kinesisk kultur. Metoden består i en jämförande analys av rörligt bildmaterial i två steg, som illustrativ modell och teoretisk ingång till rörelsebegreppet tillämpas Heinrich von Kleists marionett och i dess förlängning även Sergei Eisensteins biomekaniska rakurs.
Min analys leder mig till slutsatsen att den rytmiska rörelsen i Hus actionscener har starka likheter med såväl Pekingoperan som cinéma pur, och jag vill på grundval av detta föreslå att Hu snarare bör förstås som en nyskapare av kinesisk estetik, då han positionerar sig någonstans mellan traditionalism och modernism genom att skapa en estetisk jämvikt mellan teater och film där ingenderas legat går förlorad.
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Romedahl, Stjernquist Johanna. "Skärholmen centrum - modernism as found". Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-222140.
Testo completoAbstract (sommario):
I detta examensarbete undersöks stadsplanen och de byggda strukturerna i Skärholmen centrum. Med utgångspunkt i planens och platsens karaktärsdrag, syftar detta förslag till att skapa nya rörelser genom stadslandskapet och att utveckla platsens program med bostäder, arbetsplatser och rekreationsytor. Skärholmen är ett modernistiskt köpcentrum i sydvästra Stockholm, ett område som nu är föremål för bostadsförtätning och storskaliga infrastrukturella projekt. Sedan centrumet invigdes i slutet av 1960-talet har få förändringar gjorts i planen, med undantag från att två av huvudgatorna överglasats och omvandlats till en inomhusgalleria. Bortsett från det mycket välbesökta Skärholmstorget vid tunnelbanan, finns få fungerande offentliga utomhusrum. I öster domineras centrumet av ett stort parkeringshus. Mitt förslag går ut på att öppna upp delar av gallerian och skapa kopplingar mellan parkeringen, centrumet och det omgivande landskapet. Genom att lägga till nya bostadskvarter och ge befintliga byggnader nya funktioner, kan Skärholmens centrum bli en stadskärna som lever även efter att butikerna har stängt kl. 20.This thesis investigates the urban fabric and built structures of Skärholmen Centrum. By preserving the existing characteristics of the plan, this proposal aims to create new movements through the city landscape and to develop its program with housing, workplaces and recreational spaces. Skärholmen is a modernist commercial center in south west Stockholm, an area now subject to large scale infrastructure projects and housing densification. Since the center was built in the late 1960s, the city plan has undergone few changes, with exception from the transformation of two of the main streets into an indoor galleria. Apart from the lively main square by the subway entrance, there are few well functioning public outdoor spaces. A multi-storey car park dominates the east part of the center. My proposal is to open up parts of the shopping mall and to create new connections between the car park, the center and the surrounding landscape. By adding new housing blocks and new functions to existing buildings, the city center of Skärholmen could become a living place, also after the shops closed at 20.00.
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Latour, Philippe. "Charles Mingus, Jazz and Modernism". Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=117176.
Testo completoAbstract (sommario):
The purpose of this thesis is to explore the diverse discourses of modernism in jazz at mid-century in relation to the work of Charles Mingus. What was meant by modern jazz in Mingus' time? How was his music, as well as his life as a jazz musician and composer, affected by discourses of modernism? Modernism was used in the jazz field as a discourse to elevate jazz from its role as entertainment music into a legitimate art form. In its transfer from European art music to African-American jazz, the concept of aesthetic modernism retained most of its signification: it was associated with the notions of progress, of avant-gardism, and, eventually, of political militancy; and all these notions can be found in multiple forms in Mingus' work. This thesis defines the concept of modern jazz as it was used in the jazz press in the 1950s and 1960s in relation to the critical discourse around Afro-modernism as well as in relation with Mingus' conception of himself as a composer.L'objectif de ce mémoire est d'explorer les différents discours sur le modernisme et le jazz des années 1950 et 1960 en relation avec l'œuvre de Charles Mingus. Que signifiait le terme modern jazz à l'époque de Mingus? Comment la musique de ce dernier, ainsi que sa carrière comme musicien de jazz et compositeur, furent affectées par les discours sur le modernisme? Ces discours furent utilisés dans le monde du jazz pour légitimer celui-ci en tant que forme artistique. Dans son passage de la musique « sérieuse » européenne au jazz afro-américain, la notion de modernisme artistique a conservé la majeure partie de sa signification : association avec les idées de progrès, d'avant-gardisme, et aussi de militantisme politique. Toutes ces idées se retrouvent sous différentes formes dans l'œuvre de Mingus. Ce mémoire définit le concept de modern jazz tel qu'il était utilisé dans le discours journalistique des années 1950 et 1960, et y relie le discours académique sur le modernisme afro-américain, afin d'évaluer comment Mingus interagit avec ceux-ci.