Gotowa bibliografia na temat „Années 1896-1930”
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Artykuły w czasopismach na temat "Années 1896-1930"
Duličenko, Aleksandr. "Entre africanistique et cosmoglottique: les conceptions de N.V. Jušmanov sur la langue universelle". Cahiers du Centre de Linguistique et des Sciences du Langage, nr 61 (3.12.2019): 169–88. http://dx.doi.org/10.26034/la.cdclsl.2019.235.
Pełny tekst źródłaAndreev, Alexandr Alexeevich, i Anton Petrovich Ostroushko. "Vasili Ivanovich RAZUMOVSKY (to the 160th anniversary since the birth)". Vestnik of Experimental and Clinical Surgery 10, nr 1 (8.08.2017): 87. http://dx.doi.org/10.18499/2070-478x-2017-10-1-86.
Pełny tekst źródłaRozprawy doktorskie na temat "Années 1896-1930"
Arzatian, Céline G. "Mode et cinéma en france de 1896 à 1930. Comment habille-t-on les actrices et acteurs ?" Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030022.
Pełny tekst źródłaThrough a general study of organisation and evolution of costumes in cinema in France, from the birth of the cinematograph to the end of the silent film era, the ambition of this thesis is to study the created links between fashion and cinema, looking at fashion houses participating in creating the costumes of the main movie star. It is also about highlighting what the impact of the costume designer in the costume conception of a character is. This thesis analyses the creation and the evolution of the costume in cinema, through the historical, human, economical and aesthetical perspectives.The first part tackles the birth of the cinematograph and the Lumiere’s operators capturing their first shots, created with the methods inherited from the theatre. Then, this thesis highlights how Georges Méliès styled his stars and extras at the Star Film. Moreover, it points out to the first movie stars realizing that their costumes begin to create their characters for Max Linder, Charles Chaplin and Pearl White. The second part addresses the way French cinema used fashion to try and compete with the American cinema. Then, in a third and fourth part, the analysis focuses on the work of the fashion house when it is called to create and lend (in response to the director) or to only execute (in response to the costume designer) the clothes of the lead actress, for costume movies or with a contemporary subject.Finally, the fifth part points out the convergence points between these two arts: fashion and cinema at a specific time, the end of WW1 where arts stimulate each other and create together the new style of this era. It’s also Louis Delluc’s project, inspired by a fashion review to create a cinema magazine, it’s the introduction of the Fashion Autumn Salon followed by the cinema one, it’s the realization that L’Inhumaine is the tilted point towards this new style and it’s the Art Deco Exhibition confirming fashion and cinema as arts, in this era called the Années folles
Goégan, Pierre. "L'écriture prolétarienne dans les années 1920-1930". Rennes 2, 1991. http://www.theses.fr/1991REN20013.
Pełny tekst źródłaA flourishing proletarian movement has left its mark on the French literature in the years 1920 - 1930. The purpose of this work is to underline its anti-authoritarian component. Not professional, the writers are men and women coming from the people, who thanks to a self-culture proceeding succeed to bear witness to what they know the best the humble people's life. After getting out the difference and the distance between Marxist and anti-authoritarian conception of literature, we give an account of proletarian real life but above all, we emphasize the moral valour of the proletarian writing. The praise of the daily bread, wine, work, struggle and solidarity runs through the pages of the anti-authoritarian writing, under the seal of the authenticity. It's not astonishing consequently, that a deep bitterness veil the great desire and the tremendous hope of the proletarian people, that get not satisfaction
Bargues, Cécile. "Dada après Dada (années 1930-1940)". Paris 1, 2012. http://www.theses.fr/2012PA010576.
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