Bibliografie tematiche / Toiles de Jouy

Letteratura scientifica selezionata sul tema "Toiles de Jouy"

Autore: Grafiati
Pubblicato: 25 luglio 2024
Ultima modifica: 26 luglio 2024

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Articoli di riviste sul tema "Toiles de Jouy"

1

Gril-Mariotte, Aziza. "Indiennes, toiles peintes et toiles de Jouy, de nouvelles étoffes d’ameublement au XVIIIe siècle". Histoire de l'art 65, n. 1 (2009): 141–52. http://dx.doi.org/10.3406/hista.2009.3296.

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2

MILLER, L. "Classic Printed Textiles from France 1760 1843: Toiles de Jouy". Journal of Design History 5, n. 2 (1 gennaio 1992): 168–69. http://dx.doi.org/10.1093/jdh/5.2.168.

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3

Miller, L. E. "Toile de Jouy. Printed Textiles in the Classic French Style * Toiles for All Seasons. French and British Printed Textiles". Journal of Design History 20, n. 1 (1 gennaio 2007): 77–80. http://dx.doi.org/10.1093/jdh/epl044.

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4

Choi, Ogsu. ""Zeitgeist appeared in Pattern Designs of ‘Toile de Jouy’ - focused on pattern designs manufactured from 1770 to 1810 -"". Journal of Basic Design & Art 19, n. 4 (31 agosto 2018): 475–89. http://dx.doi.org/10.47294/ksbda.19.4.35.

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5

Fatah, Shajwan. "Fashion, consumer culture, and class struggle". Fashion Highlight, n. 3 (30 giugno 2024): 150–59. http://dx.doi.org/10.36253/fh-2676.

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Abstract (sommario):
Toile de Jouy, a distinctive textile associated with the world of fashion, originated in France during the 18th century. Initially embraced by the aristocratic class, it has since transcended social boundaries to become a prevalent phenomenon in contemporary society. In this paper, I will explore the underlying themes that highlight the social dynamics depicted in the narratives portrayed on this fabric. From a conceptual perspective, this study aims to illustrate the intrinsic relationship between the labor of the proletariat and the consumption patterns of the bourgeoisie as reflected in Toile de Jouy. Drawing upon the theoretical frameworks of Karl Marx and Jean Baudrillard, I will investigate the interrelation between fashion, means of production, consumer conduct, and simulated phenomena.
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6

Yim, Lynn. "Development of New Hanbok Women’s Pants Design Applying Korean Traditional Pants and the Toile de Jouy(Ⅱ)". Journal of Korean Traditional Costume 26, n. 3 (30 settembre 2023): 131–46. http://dx.doi.org/10.16885/jktc.2023.9.26.3.131.

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7

Kim, Eun-Jung, e Lynn Yim. "Development a New Hanbok Coat Design Applying Koh Un’s Excavated Costumes and the toile de Jouy Expression". Journal of Korean Traditional Costume 26, n. 2 (30 giugno 2023): 21–35. http://dx.doi.org/10.16885/jktc.2023.6.26.2.21.

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8

Abdul, Aminullah Zakariyyah, Nazia Karamat, Usman Alhaji Tar, Tahiru Saka, ABDULHALIM MUSA ABUBAKAR e Hafeez-ur-Rahman Memon. "Toilet Soap Formulation and Additives for Its Enhanced Physicochemical and Medicinal Properties". University of Thi-Qar Journal of Science 11, n. 1 (19 giugno 2024): 154–61. http://dx.doi.org/10.32792/utq/utjsci/v11i1.1227.

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Abstract (sommario):
Human skin is an island in constant interaction between diverse microorganisms (Archaea, fungi, bacteria, and protozoa), especially the inner elbow, armpit and buttocks, of which an imminent health danger is possible during injury or their sustained proliferation. Fat-soluble lauric acid-containing palm kernel oil, hardness-giving caustic soda and water solvent were essential ingredients used to produce toilet soap in this study, via a mechanized setup. Free caustic alkali (FCA), pH and moisture content (MC), as determined for additive (honey, clove, black seed) formulations A, B, C, D and E, which are respectively in the range of 0.006-0.02%, 7.10-9.97, and 7.33-15.33%, gave a soap of desired medicinal functionality. Formulation E physicochemical property compares favorably with other soaps, including Septol, Dettol, Premier, Joy, Sunlight, and Premier Cool found in Nigerian markets. It is found that the three additives introduced into the formulation in the ratio of 33, 50 and 17%, respectively, are responsible for its septic, antioxidant, antimicrobial and sanitizing properties. With this fit achieved, improvement, packaging and mass production of the produced toilet soap already having satisfactory foam stability, lathering, cleansing, fragrance, form and quality (according to SNI standard), is encouraged in this part of the world.
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9

Braga, Corin. "La Colombe-Phénix chez Umberto Eco". Hommage à Gilbert Durand, n. 34 (30 giugno 2013): 85–105. http://dx.doi.org/10.35562/iris.1917.

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Abstract (sommario):
Dans ses romans « historiques », Umberto Eco revisite, de manière postmoderne, le grand bassin sémantique des « merveilles » (mirabilia) de la littérature médiévale et de la Renaissance. Plus spécifiquement, dans L’Île du jour d’avant, il travaille sur la toile de fond de l’imaginaire cosmographique de l’âge des grandes « reconnaissances ». Les aventures du protagoniste suivent un trajet initiatique vers un « centre sacré » de la mappemonde, le méridien zéro. En même temps, les péripéties extérieures sont le corrélatif d’une évolution intérieure, que nous analysons avec les instruments de la psychologie analytique jungienne. La colombe orange qui jaillit de l’île au moment culminant du roman, ayant les caractéristiques d’un Phénix — oiseau de la rédemption et la renaissance — est un symbole de l’accomplissement du personnage, de l’atteinte de son soi mystique.
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Chaudoye, Guillemine, e Rafika Zebdi. "Traces et plasticités en psychanalyse, neurosciences et dans l’Intelligence Artificielle". Revue française de psychosomatique 64, n. 2 (2 novembre 2023): 159–69. http://dx.doi.org/10.3917/rfps.064.0159.

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Abstract (sommario):
La notion de traces laissées par l’expérience est à l’interface de la psychanalyse et des neurosciences dans ce qu’elles permettent, en termes de plasticité, tant psychique que neuronale. Alors que Freud, dès 1895, proposait un projet pour une psychologie scientifique, en parallèle, le champ des neurosciences se faisait jour et allait ouvrir à de nouvelles perspectives de pensées et de connaissances. Les traces, preuves de l’expérience acquise, vont être ce qui va permettre de penser un travail de mémoire tant dans sa dimension psychique que neurologique. Mais à ces plasticités psychiques et cérébrales, bientôt va se joindre une nouvelle : celle des neurones artificiels, toile de fond d’un champ de recherche et d’ouverture dont on ne connaît pas encore l’envergure : l’intelligence artificielle, elle aussi sujette à expérience, elle aussi empreinte de traces, laissant présager de sa propre plasticité.
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Tesi sul tema "Toiles de Jouy"

1

Gril-Mariotte, Aziza. "Les toiles imprimées à la manufacture de Jouy-en-Josas (1760-1821) : apparition et développement d'un nouvel art décoratif". Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10113.

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Abstract (sommario):
Cette thèse porte sur la création des motifs dans le textile imprimé qui connaît un développement important dans la seconde moitié du XVIIIe siècle. La Manufacture d’Oberkampf, installée en 1760 à Jouy-en-Josas près de Versailles se distingue par sa qualité, sa diversité et sa créativité jusqu’à sa vente en 1821. Les archives et les documents de la Manufacture permettent de restituer la création des dessins, leur fabrication et la commercialisation de ces produits. Ces créations replacées dans le contexte artistique retracent l’histoire du goût et l’évolution des mentalités durant cette période. L’étude de cette production textile est ensuite étendue à son utilisation dans l’habillement et la décoration intérieure. Cette thèse vise donc à montrer les interférences multiples entre la création artistique, ses références culturelles, l’essor industriel et les évolutions du goût ou l’interaction entre les créateurs d’une forme d’art, ses producteurs et ses consommateurs.
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Libri sul tema "Toiles de Jouy"

1

Brédif, Josette. Printed French fabrics =: Toiles de Jouy. New York: Rizzoli, 1989.

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2

Grant, Sarah. Toiles de jouy: French printed cottons, 1760-1830. London: V&A Pub., 2010.

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3

Dantzig, Charles. Ce qui se passe vraiment dans les toiles de Jouy. Paris: Les Belles lettres, 1999.

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4

Gril-Mariotte, Aziza. L'étoffe de ma garde-robe: Indiennes, toiles peintes, toiles de Jouy dans la mode du XVIIIe siècle à nos jours. Cinisello Balsamo, Milano: Silvana editoriale, 2019.

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5

Philippe, Colombet, a cura di. Entreprises en Révolution. [Paris]: J.-C. Lattès, 1990.

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6

Riffel, Mélanie. Toile de Jouy: Printed textiles in the classic French style. London: Thames & Hudson, 2003.

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7

Turvey, Helena. Blue & white cross stitch: Inspired by the classic designs of Willow Pattern, Delftware, and Toile de Jouy. London: Hamlyn, 2001.

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8

Toiles de Jouy. Paris: A. Biro, 1989.

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9

Inhouse. Toiles de Jouy Notecards. Gibbs Smith, Publisher, 2002.

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10

Grant, Sarah, e ANNE DE THOISY-DALLEM. Toiles de Jouy - Les toiles imprimées en France de 1760 à 1830. BIB DES ARTS, 2010.

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Capitoli di libri sul tema "Toiles de Jouy"

1

"toile de jouy". In The Fairchild Books Dictionary of Textiles. Fairchild Books, 2021. http://dx.doi.org/10.5040/9781501365072.16676.

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2

"toile de Jouy". In The Fairchild Books Dictionary of Interior Design. Fairchild Books, 2021. http://dx.doi.org/10.5040/9781501365171.3929.

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3

"Toile de Jouy". In The Visual Dictionary of Fashion Design, 245. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: English Language Support Office, 2007. http://dx.doi.org/10.5040/9781474218573.0231.

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4

"toile de Jouy, n. & adj." In Oxford English Dictionary. 3a ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/9991634432.

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5

Brontë, Anne. "Chapter L: Ðoubts and Ðisappointments". In The Tenant of Wildfell Hall. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199207558.003.0052.

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On reading this, I had no reason to disguise my joy and hope from Frederick Lawrence, for I had none to be ashamed of. I felt no joy but that his sister was at length released from her afflictive, overwhelming toil—no hope but that...
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6

Ezell, Margaret J. M. "The Happy Man". In The Poems and Prose of Mary, Lady Chudleigh, 79. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195083606.003.0018.

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Abstract He is the happy Man whose constant Mind Is to th’ Enjoyment of himself confin’d: Who has within laid up a plenteous Store, And is so rich that he desires no more: Whose Soul is always easie, firm, and brave, And much too great to be Ambition’s Slave: Who Fortune’s Frowns without Concern can bear, And thinks it less to suffer, than to fear: Who, still the same, keeps up his native State, Unmov’d at all the Menaces of Fate: Who all his Passions absolutely sways, And to his Reason cheerful Homage pays, Who’s with a HalcyonCalmness ever blest, With inward Joy, untroubl’d Peace, and Rest: Who while the Most with Toil, with Guilt, and Heat, Lose their dear Quiet to be Rich and Great, Both Business, and disturbing Crouds does shun, Pleas’d that his Work is with less Trouble done: To whom a Grove, a Garden, or a Field, Much greater, much sublimer Pleasures yield, Than they can find in all the Charms of Pow’r, Those splendid Ills which so much Time devour: Who more than Life, his Friends and Books can prize, And for those Joys the noisie world despise: Who when Death calls, no Weakness does betray, Nor to an unbecoming Fear give way; But to himself, and to his Maxims true, Lies smiling down, and bids Mankind adieu.
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