Literatura científica selecionada sobre o tema "Verse 1841 - 1860"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Consulte a lista de atuais artigos, livros, teses, anais de congressos e outras fontes científicas relevantes para o tema "Verse 1841 - 1860".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Artigos de revistas sobre o assunto "Verse 1841 - 1860"
1
Ferreira, Luiz Otávio. "Negócio, política, ciência e vice-versa: uma história institucional do jornalismo médico brasileiro entre 1827 e 1843". História, Ciências, Saúde-Manguinhos 11, suppl 1 (2004): 93–107. http://dx.doi.org/10.1590/s0104-59702004000400005.
Texto completo da fonteResumo:
Ao analisar o caso dos primeiros jornais médicos brasileiros - Propagador das Ciências Médicas (1827-1828); Semanário de Saúde Pública (1831-1833); Diário de Saúde (1835-1836); Revista Médica Fluminense (1835-1841); Revista Médica Brasileira (1841-1843) -, pretendemos demonstrar como o contexto sociocultural possibilitou o surgimento desse gênero de publicação no dinâmico e conturbado ambiente do Rio de Janeiro dos anos 1820 e 1830. Nosso argumento é o de que a trajetória inicial do jornalismo médico no Brasil teve como traço distintivo a simbiose entre negócio (interesses comerciais das casas editoras instaladas na Corte), política (conflitos relacionados a disputas pela hegemonia política, no contexto de consolidação do Estado imperial) e ciência (movimento de institucionalização e afirmação científica da medicina).
2
Tucker, Herbert F. "Verse Visa". Nineteenth-Century Literature 72, n.º 4 (1 de março de 2018): 433–51. http://dx.doi.org/10.1525/ncl.2018.72.4.433.
Texto completo da fonteResumo:
Herbert F. Tucker, “Verse Visa: Dickens Adapts Poetry in The Old Curiosity Shop” (pp. 433–451) In Charles Dickens’s The Old Curiosity Shop (1841), Dick Swiveller’s hilariously eclectic misquotation of popular verse coexists with Dickens’s own grave proclivity to fall into unlineated yet incantatory blank verse when orchestrating the death of Little Nell. These complementary prose effects freshly showcase the novelist’s joint commitments to humorous and pathetic renditions of the modern condition. They also underscore the coalescence of the novel as such, circa 1840, out of a miscellany of barely compatible ingredients, as the still-burgeoning genre sought to displace, whether by sidelining or by incorporation, poetry’s millennial prestige.
3
Lappo-Danilevskii, Konstantin. "Andrei Aleksandrovich Teils, a Writer Who Nonetheless Existed". Slovene 11, n.º 2 (2022): 125–48. http://dx.doi.org/10.31168/2305-6754.2022.11.2.6.
Texto completo da fonteResumo:
The paper reconstructs the biography of Andrei Aleksandrovich Teil’s (1782–1822), the author of “Hercules and Daianira”, a tragedy in аlexandrine verse (1807). He is attributed various sentimental poems and translations from French that were published in the journals “Ippokrena” (1799), “Litsei” (1806), “Novosti” (1799), “Novosti russkoi literatury” (1803), “Severnyi vestnik” (1805) and “Severnyi Merkurii” (1811). These publications were signed “A. de Teil’s”, “An. Teil’s”, “An: Teil’s”, “A. Teil’s”, “Teil’s” and until now have been erroneously considered to be the work of Anton Antonovich Teil’s (1733 — after 1798), the uncle of Andrei Aleksandrovich. It has not been noticed that at one point the author revealed his identity by putting the name “Andrei Teil’s” under a poetic translation from Voltaire in “Litsei” (1806). References made in “Puteshestvie v Norvegiiu odnogo molodogo cheloveka v 1801 godu” [A Young Man’s Journey to Norway in 1801] (published in “Severnyi Merkurii” [The Northern Mercury] in 1811; signed A. Teil’s) to the anonymous “Puteshestvie v Shvetsiiu” [A Journey to Sweden] (1811; published after the last part of “Puteshestvie v Norvegiiu odnogo molodogo cheloveka v 1801 godu” in the same journal) indicate clearly that both of these travelogues were written by Andrei Aleksandrovich Teil’s. Furthermore, the travel routes described therein coincide with two trips he took in 1800 and 1801, as can be seen in his curriculum vitae in the Russian State Naval Archive. Closely connected with these texts is the “Idilliia na vozvrashchenie iz Norvegii druga moego A. A. T..lsa v 800-m godu oktiabria 29 dnia” [Idyll on the Return from Norway of My Friend A. A. T..ls on 29 October 1800], published in 1810 in the same review and signed with the cryptonym “P - r U - - ov”. In this case, it is highly probable that the author was Petr Aleksandrovich Ushakov (1783 — after 1804), a classmate of Andrei Aleksandrovich Teil’s at the navy cadet school and a close relative of the famous writer Aleksandr Nikolaevich Radishchev (1749–1802).
4
Kornilyeva, Liliya. "Дискурси влади у творчості юліуша словацького". Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 57, n.º 4 (3 de abril de 2023): 221–29. http://dx.doi.org/10.36770/bp.750.
Texto completo da fonteResumo:
Juliusz Słowacki, a Polish Romantic poet and dramatist, was born in Krzemieniec,where he spent part of his life. As a result, he was well-versed in Ukrainian, and asa writer, he largely depended on Ukrainian settings, Ukrainian history, and Ukrainian folklore. Ukrainian themes became an inherent part of his literary works. Bestknown for his masterpieces Balladyna (1834), Mazepa (1839), Lilla Weneda (1840),Jan Kazimierz (1839), Bienowski (1841), Sen srebrny Salomei (1843), and Ksiądz Marek(1843), Słowacki is now regarded as an outstanding writer, whose ideas and aestheticvalues influenced generations of other European artists. Underrated during his lifetime, he appears at his most resplendent nowadays. The discourses of power in theworks of Słowacki are given close attention because they are of crucial importance forhis original texts. The multi-faceted personalities of numerous monarchs depicted byhim, give an insight into the author’s understanding of power and its nature.
5
Silliman, Robert. "The Richmond Boulder Trains: Verae Causae in 19th-Century American Geology". Earth Sciences History 10, n.º 1 (1 de janeiro de 1991): 60–72. http://dx.doi.org/10.17704/eshi.10.1.hh085022m7ng8511.
Texto completo da fonteResumo:
In the 1840's and 1850's some of the leading geologists of the day, including Edward Hitchcock, Henry D. and William B. Rogers, Charles Lyell, and Louis Agassiz, investigated long, distinct trains of erratic boulders discovered in 1842 in western Massachusetts. It was hoped that study of the boulder trains would help solve the vexing problem of the origin of the drift. The theories tested by application to the erratics were various in content but remarkably similar in justification. They all appealed to the Newtonian principle of vera causa. This methodological principle appears to have been more fundamental in treating the boulder trains than conceptions drawn from catastrophism and uniformitarianism. Use of the method did not, however, dispel the mystery of the boulders. A clarification of their origins came only with the general adoption of the glacier theory around 1870.
6
Amayo Zevallos, Enrique. "Amazonía y el Pacífico en "La Jangada" de Julio Veme: Una visión eurocéntrica". Amazonía Peruana, n.º 27 (14 de dezembro de 2000): 11–60. http://dx.doi.org/10.52980/revistaamazonaperuana.vi27.88.
Texto completo da fonteResumo:
La novela amazónica de Julio Veme, "La Jangada”, fue publicad a en 1881. En ese libro uno de los personajes centrales es Manuel Valdez; además, entre los numerosos autores que Veme consultó para obtener información n sobre la Amazonía, él cita "o brasileiro Valdez" quien había visitado y escrito sobre esa región en 1840. Coincidentemente, el cuzqueño José Manuel Valdez y Palacios, quien por razones políticas tuvo que huir del Perú, caminó gran parte de la Amazonía entre 1843 y 1844 (estas partes de su trayecto son exactamente las mismas que Verne trata en su libro). Ya en Río de Janeiro publicó, en portugués, entre 1 844 y 1 846, el relato de su extenso viaje junto a otros temas histórico s y literarios. En este trabajo se intentará determinar si el Valdez ficcional se basa en el verdadero y si las ideas de éste sobre la Amazonía de alguna manera influenciaron las del gran escritor francés.
7
Karhio, Anne. "‘These shirts I borrow from the Finnish’: the Kanteletar and the fabric of loss in Peter Sirr’s ‘A Journal’". Review of Irish Studies in Europe 2, n.º 1 (19 de março de 2018): 208–24. http://dx.doi.org/10.32803/rise.v2i1.1726.
Texto completo da fonteResumo:
This essay examines the personal, cultural and linguistic exchanges explored through textile metaphors in Peter Sirr’s 1994 poetic sequence “A Journal” (from the collection The Ledger of Fruitful Exchange). In this sequence, Sirr draws on The Kanteletar, a collection of Finnish folk verse originally published 1840-1841 by Elias Lönnrot, who also compiled the more widely known folk epic The Kalevala. Sirr’s adoption of the Finnish poems’ textile imagery allows him to interrogate the complexities of personal and cultural communication, as the sequence charts the end of a relationship between the poem’s speaker and his Finnish lover. Textiles assume multiple functions as metaphors and material objects: they act as personal and cultural references, as formal and structural devices, and as symbolic manifestations of intimate, emotional crisis. Sirr’s engagement with Finnish folk verse is thus thematic as well as formal, and articulates a desire to inhabit the lost lover’s idiom through numerous attempts of linguistic and cultural translation, and the literal and figurative processes of stitching and weaving.
8
Trejo Pinedo, Virginia, e Víctor Manuel Bañuelos Aquino. "El debate intelectual por la muerte de la señora de la vela verde. Nueva España, 1814-1821". Legajos. Boletín del Archivo General de la Nación 8, n.º 12 (1 de janeiro de 2017): 67–93. http://dx.doi.org/10.31911/bagn.2017.8.12.63.
Texto completo da fonteResumo:
El presente artículo muestra la decadencia de la Inquisición en la Nueva España a partir de su abolición, primero en 1813 y posteriormente en 1820. En la primera sección narramos el contexto, origen, evolución y las principales características de dicho tribunal. Luego centramos la atención en la discusión que surgió entre los letrados de la época alrededor de su supresión. Analizamos principalmente panfletos que circularon en Nueva España en 1820 y 1821 y que fueron la respuesta a la obra del carmelita fray José de San Bartolomé, quien en 1814 publicó El duelo de la Inquisición. Los panfletos que atacaron o defendieron este texto, así como otros posteriores, dan pistas del surgimiento de la opinión pública en el México independiente.
9
Costeloe, Michael P. "The Extraordinary Case of Mr. Falconnet and 2,500,000 Silver Dollars: London and Mexico, 1850-1853". Mexican Studies/Estudios Mexicanos 15, n.º 2 (1999): 261–89. http://dx.doi.org/10.2307/1052144.
Texto completo da fonteResumo:
Este artículo versa sobre la deuda externa de México en el siglo dicinueve. Revela la manera en que los acreedores británicos, representados por su Committee of Mexican Bondholders (Comité de Tenedores de Bonos Mexicanos) y su agente, Francis Falconnet, negociaron el pago en efectivo de 2.5 millones de dólares del dinero de indemnización pagada por Estados Unidos después de la guerra México-Estados Unidos de 1846-1848. Las transacciones financieras internacionales; los intereses gubernamentales franceses, estadounidenses y británicos; la política mexicana doméstica y la probable corrupción de la élite política mexicana, son algunos de los temas explorados en este ensayo. This article concerns Mexico's nineteenth-century foreign debt. It reveals how British creditors, represented by their Committee of Mexican Bond holders and its agent, Francis Falconnet, negotiated payment in cash of 2.5 million of the indemnity money paid by the United States after the Mexican-U. S. War of 1846-1848. International financial transactions; French, U.S., and British government interests; and Mexican domestic politics and probably corruption in Mexico's political elite are among several themes in this essay.
10
Lundgreen-Nielsen, Flemming. "Grundtvigs nordisk-mytologiske billedsprog - et mislykket eksperiment?" Grundtvig-Studier 45, n.º 1 (1 de janeiro de 1994): 142–98. http://dx.doi.org/10.7146/grs.v45i1.16146.
Texto completo da fonteResumo:
Grundtvig ’s Norse Mythological Imagery - An Experiment that Failed?By Flemming Lundgreen-NielsenSince his early youth, Grundtvig worked frequently and diligently with Norse mythology. From 1805 to 1810 he tried in a scholarly way to sort out its original sources and accordingly its ancient meanings, though Grundtvig even as a philologist preferred to give spontaneous enthusiasm aroused by a synthetic vision a priority above linguistic proofs (Norse Mythology, 1808). After a pause of some years, Grundtvig in 1815 returned to Norse mythology, allowing himself a more free and subjective interpretation in lieu of an all-encompassing conception. From now on aiming to turn the Norse myths into an accessible store of modeme national imagery, he adapted a favourable evaluation of Snorri’s Edda, which until then he had been regarding as late, distorted information.Drawing mainly upon previously unprinted material the paper demonstrates, how Grundtvig around 1820, 1832, in the 1840’s and during the Schleswig-Holstein war 1848-50 tried to revive Snorri’s Edda for actual commonday use. To put Grundtvig’s opinions in a historical perspective, other contemporary statements are included, such as a Copenhagen press and pamphlet feud on the potential usefulness of Norse mythology to sculptors and painters (1820-21) and a public lecture in favour of Greek mythology and Christian civilization given by professor Madvig (1844).Grundtvig’s own attempts to mobilize the Norse gods in current affairs are illustrated in selected examples from his poetical works. The conclusion indicates that his project was a failure: none of his ballads and poems popular then and today deal with Norse mythology, and although his Norse Mythology, 1832, became a handbook for teachers of the Folk Highschools, neither later poets nor philosophers employed the Norse mythological imagery he recommended. In the war 1848-50 Grundtvig wanted to take advantage of situations from myths and legends such as Thor battling the giant Hrungnir and prince Uffe the Meek killing two Saxons, but the majority of the Danes cherished heroes of the people such as the brave unknown army soldier celebrated in a 1858-statue and the little homblower from a bestselling verse epic. At the end of his life, Grundtvig continued to write poetry in Norse mythological terms, but apparently made no efforts to get his manuscripts printed - why is not known.Among the reasons to be suggested for the failure of Grundtvig’s Norse mythological imagery, the victorious ideas in Romantic 19. century poetry and arts pertaining to originality and individualism, the prominent place of traditional classical mythology in the minds of the cultured public, and the political emphasis in the mid century period on democratization are probably most decisive.Finally attention is given to the fact that the proverbial phrase about ’freedom to Loki as well as to Thor’, the only surviving popular dictum from Grundtvig’s Norse mythological writings, almost invariably is misunderstood to be a token of boundless tolerance to both parties in the struggle between good and evil. However, several instances can be mentioned to prove that Loki, mythologically half god, half giant, in Grundtvig’s understanding does not represent evil as much as a gifted intellectualism without religious faith, possessing potential to acquire it.An English version of the paper with less regard to quotes from unprinted Grundtvig manuscripts and more attention to introductory paragraphs on Danish literary history is published in Andrew Wawn (ed.): Northern Antiquity. The Post-Medieval Reception of Edda and Saga, Hisarlik Press, 1994, p. 41-67.
Teses / dissertações sobre o assunto "Verse 1841 - 1860"
1
Rossiter, Ian. "Poetry and posies : the poetics of the family magazine 1840-1860". Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340313.
Texto completo da fonte
2
Perez, Tisserant Emmanuelle. "« Nuestra California » : faire Californie entre deux constructions nationales et impériales (vers 1810-1850)". Paris, EHESS, 2014. https://halshs.archives-ouvertes.fr/tel-01142623.
Texto completo da fonteResumo:
Le cas de la Californie met en évidence le caractère impérial de la construction nationale du Mexique et des États-Unis au début du XIXe siècle. Du point de vue du Mexique, l'égalité des Indiens proclamée par l'indépendance s'y avère difficilement réalisable. L'importance des missions conduit le gouvernement à repousser leur fin. Les Indiens ont aussi leurs propres revendications sur leur terre. Les colons et soldats sont d'abord attachés au système tel qu'il est. Mais certains gouverneurs et d'autres agents orientent un certain nombre de jeunes gens vers une carrière publique et la conception de la Californie comme un projet politique fondé sur la souveraineté du peuple et des États. Se forme alors une élite locale prête à se révolter quand elle estime ses droits bafoués. Ces révoltes sont comparables aux révoltes fédéralistes au Mexique mais aussi à celles de colonies de peuplement dans les empires. La culture politique et les liens avec le Mexique évoluent avec l'augmentation des circulations : à l'échelle régionale, le sud se rapproche du Mexique plus que le nord qui connaît une immigration de l'Oregon et des États-Unis. Du point de vue des États-Unis, l'espoir du consul à Monterey d'une demande d'annexion sans guerre est ruiné par l'initiative de migrants des années 1840, nourris des discours sur la « destinée manifeste », de défendre leurs droits à la terre et à une « vraie république » en Californie. Cette confrontation entre colons mexicains-californiens et migrants étatsuniens est celle de deux projets impériaux et nationaux sur un même territoire et illustre l'ambigüité de la revendication de souveraineté, de liberté et d'égalité sur un territoire conquisThe case of California brings to light the imperial character of nation-building in Mexico and the United States in the early 19th century. Concerning Mexico, the equality of Indians proclaimed by Independence proves itself a hard reach. The missions are so important to control the Indians that the government has to delay their end. Moreover, the Indians have their own perception of the meaning of equality and sovereignty on their land. Settlers and soldiers are at first still attached to the colonial System as it is. But Mexican governors and others convince a handful of young people to turn to a public career and the conception of California as a political project. A local elite comes to existence and is ready to revolt when they consider their rights flouted. Those revolts can be compared to other federalist revolts in Mexico as well as with settlers revolt in other settlers colonies. The political culture and the relationship with Mexico also evolves with the increase in circulations from the 1830s. The South becomes more connected to Mexico than the North, that becomes more connected to Oregon and the Western United States. Concerning the United States, the hopes of their consul at Monterey to promote a peaceful annexation is ruined by the attack of a frontier post by recent migrants in order to defend their right ; to the land and to a « true republic ». This confrontation between Mexican-Californians settlers and United States migrants is one of two national and imperial projects on a same territory and illustrates the ambiguity of claiming sovereignty, liberty and equality on a conquered territory
3
Burgaud, Stéphanie. "Le rôle de la politique russe de Bismarck dans la voie prussienne vers l’unité allemande 1863-1871 : Die getäuschte Clio ?" Paris 4, 2007. http://www.theses.fr/2007PA040092.
Texto completo da fonteResumo:
Depuis les mémoires d’Otto von Bismarck, ancien ministre-président de Prusse (1862-1871) puis chancelier du Reich allemand (1871-1890), l’histoire des relations internationales retient que l’unification allemande s’est faite autour de la Prusse grâce à la « neutralité bienveillante » russe dans ses trois guerres successives (contre le Danemark en 1864, l’Autriche en 1866 et la France en 1870). En soutenant la Russie pendant l’insurrection polonaise de 1863, Bismarck s’attirerait la reconnaissance tsariste et briserait le rapprochement france-russe. Les archives russes, aujourd’hui ouvertes au chercheur, montrent au contraire qu’en juillet 1866 culmine, sur la Neva, une politique conservatrice d’opposition aux menées bismarckiennes. Après son échec, elle tente de réaliser son but depuis la défaite de Crimée : se délier des clauses de la Paix de Paris (1856) concernant la neutralisation de la mer Noire. La démarche unilatérale, voulue par le ministre Gortchakov, avorte en septembre 1866, avant de réussir à l’automne 1870, à la faveur de la guerre franco-allemande. Cette relecture amène à réviser la place, grandement surévaluée jusqu’ici, de la Russie dans la géostratégie prussienne. En 1863, Bismarck cherche surtout un « coup » politique qui fasse entrer son pays dans le jeu européen. Puis il fait de la France la cible de sa diplomatie pour obtenir l’appui de Napoléon III dans la question allemande. Entre 1867 et 1870 enfin, il se garde de tout engagement ferme en faveur de la Russie en Orient pour éviter une guerre européenne ; en menant une politique d’équilibre, voire conciliante, avec l’Autriche, il veut obtenir que le conflit franco-allemand reste localiséSince the memoirs of Otto von Bismarck, Prussia’s former minister president (1862-1871) then chancellor of the German Reich (1871-1890), there has been a consensus among historians of international relations according to which German unity was made around Prussia thanks to the “benevolent neutrality” of Russia throughout its three successive wars (against Denmark in 1864, Austria in 1866 and France in 1870). By supporting Russia during the 1863 Polish uprising (Alvensleben Convention) Bismarck was to win her gratitude and put paid to Franco-Russian reconciliation. The Russian archives, finally open to researchers, show on the contrary that in July 1866 a conservative policy culminated on the Neva to thwart Bismarck’s manoeuvres. After the failure of such a policy, Russia tried to achieve the aim pursued since the Crimean defeat: free herself from the clauses of the Paris Peace Treaty (1856) pertaining to the neutralization of the Black Sea. The unilateral approach deliberately taken by minister Gortchakov as early as September 1866, failed, before it succeeded in the autumn of 1870, thanks to the Franco-German war. This rereading induces us to revise the greatly overestimated place of Russia in Prussia’s geostrategy. In 1863, Bismarck mostly sought to pull a political “stunt” to enable his country to join the European power game. Then he made France the target of his diplomacy to obtain the support of Napoleon III in the German question. Finally from 1867 to 1870, he carefully avoided any firm commitment for Russia in the East to avoid a European war; he preferred a balanced, even conciliatory policy with Austria to manage to keep the Franco-German conflict localized
4
Scheinhardt, Philippe. "Jules Verne : génétique et poïétique (1867-1877)". Paris 3, 2005. http://www.theses.fr/2005PA030011.
Texto completo da fonteResumo:
Les manuscrits de Jules Verne constituent un champ d'investigation encore inexploré par la critique génétique. Cette thèse mobilise l'appareil méthodologique de la génétique qu'elle articule avec une interprétation poïétique selon deux axes d'approche. D'une part, elle interroge le contrat encyclopédique qui contraint la création littéraire des Voyages extraordinaires. La stratégie éditoriale de P. -J. Hetzel influe sur l'écriture des préfaces programmatiques qui fondent l'ambition du cycle romanesque. D'autre part, sur un corpus restreint à trois romans de la période comprise entre 1867 et 1877, elle examine quelles solutions poïétiques Jules Verne apporte au problème des limites du genre du " roman scientifique " : d'abord, au plan de la genèse scénarique, les choix en matière de configurations narratives ; ensuite, au plan de la genèse manuscriptique, les processus d'écriture qui instaurent les macrostructures de chaque œuvre, sous la tutelle de P. -J. HetzelJules Verne's manuscripts remain a field of investigation yet unexplored by genetic criticism, which combines the genetic methodological tool to poietic interpretation and follows two approaches. On the one hand, genetic criticism questions the encyclopaedic contract by which the literary creation of the Voyages Extraordinaires abides. PJ Hetzel's editorial strategy influences the writing of the programmatic prefaces which define the ultimate aim of the novelistic cycle. On the other hand, focusing on three novels written beetween 1867 and 1877, genetic criticism identifies which poietic solutions Jules Verne used to solve the limitations of the “scientific novel” genre : the choices in terms of narrative configuration on the scripting genesis level, and on the manuscriptic genesis level, the writing processes which define the macrostructures of each novel, under the supervision of PJ Hetzel
5
Cahen, Antoine. "Paul Huet et l'estampe : la période Romantique, vers 1825-1840 /". Paris : A. Cahen, 1996. http://catalogue.bnf.fr/ark:/12148/cb37022864p.
Texto completo da fonte
6
Joulin-Martineau, Monique. "Henry Cros : 1840-1907 : une vision de la sculpture". Paris 1, 2008. http://www.theses.fr/2008PA010525.
Texto completo da fonteResumo:
Cette thèse est consacrée a Henry Cros. II fit partie des artistes à l'origine du décloisonnement des catégories entre les arts. Sa double formation lui permettait de maîtriser les technIques de la sculpture et de la peinture, mais, c'est en rompant avec la tradition, qu'il imposa sa vision de la sculpture. Ses recherches personnelles sur les matériaux utilisés dans l'antiquité l'amenèrent à explorer les possibilités de la cire en créant des sculptures inspirées du Moyen Age, qu'il moula et colora dans la masse, puis en peinture, en peignant à l'encaustique, souvent des portraits contemporains. Ensuite, il se tourna vers le verre antique et arriva à mettre au point la pâte de verre. Aussi ductile que la cire, cette matière qu'il moula et colora, toujours dans la masse, lui permit de faire la synthèse de la sculpture et de la. Peinture, comme le montrent ses oeuvres d'inspiration virgilienne : bas-reliefs aux couleurs tendres, masques, vases où la femme a souvent la première place.
7
Vabre, Sylvie. "Roquefort Société : une industrie agro-alimentaire en Aveyron (vers 1840-1914)". Toulouse 2, 2010. http://www.theses.fr/2010TOU20042.
Texto completo da fonteResumo:
De 1820 à 1914, la production de fromage dans le village de Roquefort passe de 300 à 9 250 tonnes. Cette croissance puise ses origines dans le nouvel engouement pour les fromages qui se développe au sein de la tranche aisée de la population des grandes capitales européennes. Dans l'ensemble des fromages affinés, le roquefort se distingue par son aspect et son goût : sa pâte est parsemée de bleu-vert et sa saveur due à l'utilisation majoritaire du lait de brebis transformé par le travail de l’affinage. Les succès commerciaux sont à l'origine de transformations radicales dans le village de Roquefort mais aussi dans le rayon d'approvisionnement. La Société civile des caves naît en 1851 de l'association de petits et grands propriétaires de caves du village et a pour objectif de regrouper les caves les plus froides qui affinent des fromages plus aptes aux longs voyages. Cette association devient une société anonyme en 1882 et figure parmi les grandes entreprises alimentaires françaises en 1914. Pour y parvenir, elle a transformé radicalement la fabrication et la commercialisation du fromage. De 1851 à 1914, elle s'emploie à capter et dynamiser la demande en deux étapes successives. De 1850 à 1880, la politique commerciale développée par la direction est entièrement tournée vers la distinction de son produit affiné dans les "meilleures caves". Puis, face à l'expansion des marchés et la grande dépression, elle s'emploie à transformer radicalement l'outil de production ainsi que le fromage pour obtenir un roquefort plus accessible aux nouveaux consommateurs. En 1914, la production est industrielle, le fromage mondialement connu est devenu un symbole françaisBetween 1820 and 1914, cheese manufacturing in the village of Roquefort grew from 300 to 9,250 tons. This large scale increase resulted from the new appetite for cheese within the upper middle classes of large European cities. Among all the ripened cheeses, Roquefort stands out by both its look and taste: its paste is speckled with blue and green veins; its taste is unique due to the use of sheep's milk, converted through the art of ripening. Trade success has transformed both the village and the supply area. The Société civile des Caves was founded in 1851 by several small and large owners, in order to bring together the coldest cellars of the village to produce cheese better able to travel. The association became a limited company in 1882 and was one of the largest French food processing businesses in 1914. Lt has deeply transformed the way cheese is manufactured and sold. From 1851 to 1914, the company tried to capture and increase consumer demand: first (between 1850-1880), the sales policy focused on the high quality of the product ripened in the best cellars. Then, faced with growing markets and the Great Depression, it attempted to transform both the manufacturing process and the product to bring a more affordable cheese to new consumers. By 1914, manufacturing had reached an industrial scale: Roquefort cheese has since become world famous and an international symbol of France
8
Larguèche, Aladin. "Vers une histoire des intellectuels norvégiens : pratiques littéraires, nationalisme et sécularisation à Christiania (1811-1869)". Phd thesis, Université Toulouse le Mirail - Toulouse II, 2013. http://tel.archives-ouvertes.fr/tel-00877258.
Texto completo da fonteResumo:
Le présent texte propose de questionner le postulat couramment admis selon lequel l'émergence des intellectuels nationalistes au XIXe siècle est parallèle à une déchristianisation de la vie sociale et culturelle, en se focalisant sur l'ensemble des littérateurs norvégiens publiant dans la période 1811-1869. C'est plus spécifiquement les rapports entre Belles-lettres, construction nationale et sécularisation qui constituent le cœur de cette enquête, avec une attention portée sur la principale arène de la vie scientifique norvégienne : l'université de Christiania. Après avoir recensé les contraintes matérielles, politiques et religieuses qui conditionnent le développement de la vie culturelle dans la capitale du jeune royaume, l'auteur propose une analyse socio-historique systématique de tous les littérateurs norvégiens, ainsi qu'un échantillonnage des auteurs les plus productifs afin de déterminer l'évolution des rapports des écrivains, amateurs de Belles-lettres, nationalistes ou scandinavistes, avec le fait religieux et l'Église d'État norvégienne. La notion de "pratique littéraire" permet d'aborder la littérature comme un phénomène social multiforme, au croisement entre l'histoire de l'éducation, histoire des idées, histoire religieuse et sociologie de la littérature, et permet de comprendre les mutations essentielles et les ambigüités indépassables de l'identité sociale des intellectuels contemporains
9
Bernard, Stéphanie. "De Thomas Hardy à Joseph Conrad : vers une écriture de la modernité". Lyon 2, 2004. http://theses.univ-lyon2.fr/documents/lyon2/2004/vallon_s.
Texto completo da fonteResumo:
Thomas Hardy est le plus souvent considéré comme un auteur victorien. Cependant, son dernier roman intitulé Jude the Obscure annonce la modernité qui éclot à l'aube du vingtième siècle, lorsque l'auteur se tourne vers la poésie et qu'un autre écrivain, nommé Joseph Conrad, rédige ce roman aux mille voix qu'est Lord Jim. Derrière leurs œuvres se profile la réécriture de la tragédie qui renaît sous les espèces du tragique. Tess of the D'Urbervilles, à la tonalité pastorale parfois, rappelle les tragédies familiales des grands auteurs grecs. Avec Jude the Obscure, la ville a remplacé la campagne, la société a inéluctablement pris la place des dieux. Cette chute du divin s'affirme dans Lord Jim où le romantisme côtoie l'éclatement de la représentation dans une écriture moderne, puis plus nettement encore au travers des paysages blancs et froids de Under Western Eyes. Ces œuvres, tant par leurs différences que par leurs ressemblances, mettent en lumière le renouvellement qu'opère la modernité sur les genres et les formes du passé. Le style tragique utilise la lettre pour mieux la faire voler en éclat et s'oriente sur le pan de la voix : celle de l'écrivain qui se fait poète, celle de Jude qui se laisse bercer par son imaginaire, ou encore celle de l'indicible vérité qui borde l'horreur et surprend le lecteur occidental du texte conradienThomas Hardy is usually considered a Victorian writer. Nonetheless, his last novel entitled Jude the Obscure announced the era of modernity which started with the twentieth century, just before he abandoned fiction to become a poet, while Joseph Conrad was writing that deep-resounding novel entitled Lord Jim. With rising modernity in the background, it appears that their works allowed for the rewriting of tragedy, now revived as the tragic. Tess of the D'Urbervilles, whose tone may sound pastoral, recalls traditional Greek tragedies. In Jude the Obscure, urban settings have replaced the countryside, and society has definitely been substituted for the gods. Such a defeat of the divine is brought even further with Conrad : in Lord Jim, the romantic undertones are incessantly balanced by the explosion of the conventions of representation; the modern age is clearly perceptible in the white and cold landscapes of Under Western Eyes. These four novels, through their similarities and differences, show how modernity operates on genres and old forms of writing by regenerating them. The tragic as a style uses the letter the better to shatter it : so it does when the voice of the poet can be heard through the murmurs of Jude's imagination, or when unspeakable truth comes close to the horror and startles the Western reader of the Conradian text
10
Bernard, Stéphanie Paccaud-Huguet Josiane. "De Thomas Hardy à Joseph Conrad vers une écriture de la modernité /". Lyon : Université Lumière Lyon 2, 2004. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2004/vallon_s.
Texto completo da fonteLivros sobre o assunto "Verse 1841 - 1860"
1
John, Strachan, ed. British satire, 1785-1840. London: Pickering & Chatto, 2003.
Encontre o texto completo da fonte
2
Colin, Blyth, Roche Georgina Blyth ill e Blyth Valerie ill, eds. Struwwelpeter 2000: The original German verse and 1861 illustrations of Der Struwwelpeter. Kingston, Ont: Iolair Pub., 2000.
Encontre o texto completo da fonte
3
Culler, Jonathan. Baudelaire's satanic verses: The Cassal lecture 6 October 1994. (London): University of London, 1994.
Encontre o texto completo da fonte
4
Correia, Claudia. Presença de judeus em Cabo Verde: Inventariação na documentação do Arquivo Histórico Nacional, 1840-1927. Praia: Arquivo Histórico Nacional, 1998.
Encontre o texto completo da fonte
5
Arquivo Histórico Nacional (Cabo Verde), ed. Presença de Judeus em Cabo Verde: Inventariação na documentação do Arquivo Histórico Nacional (1840-1927). Praia (Cape Verde): Arquivo Historico Nacional, 1998.
Encontre o texto completo da fonte
6
Hardy, Thomas. Moments of vision and miscellaneous verses. Keele: Ryburn, 1994.
Encontre o texto completo da fonte
7
Gould, Evlyn. Virtual theater from Diderot to Mallarmé. Baltimore: Johns Hopkins University Press, 1989.
Encontre o texto completo da fonte
8
John, Strachan, e Jones Steven E. British Satire, 1785-1840, Volume 3. Taylor & Francis Group, 2020.
Encontre o texto completo da fonte
9
John, Strachan, e Jones Steven E. British Satire, 1785-1840, Volume 3. Taylor & Francis Group, 2020.
Encontre o texto completo da fonte
10
John, Strachan, e Jones Steven E. British Satire, 1785-1840, Volume 3. Taylor & Francis Group, 2020.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Verse 1841 - 1860"
1
Innerhofer, Roland. "„Julius" Verne in Österreich. Produktion und Rezeption eines Erfolgsautors". In Literarisches Leben in Österreich 1848–1890, 805–27. Wien: Böhlau Verlag, 2000. http://dx.doi.org/10.7767/9783205126232-029.
Texto completo da fonte
2
Hughes, Michael. "2. The Making of a Revolutionary". In Feliks Volkhovskii, 17–64. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0385.02.
Texto completo da fonteResumo:
This chapter examines Volkhovskii’s early life from his birth in 1846 down to his third arrest in 1874. Volkhovskii was born into a comparatively impoverished noble family in modern-day Ukraine. He was at a young age scarred by seeing the harsh treatment of the serfs on his grandfather’s estate, which prompted his sympathy for the plight of the Russian people, and he was while still a teenager already well-versed in the ideas expressed in radical literature (both legal and illegal). He initially came under police supervision in 1866, in part because of his role in running a student organisation suspected of fostering Ukrainian national sentiment, before being arrested two years later for his part in setting up the Ruble Society that sought to build closer links between the intelligentsia and the peasantry. Volkhovskii was eventually released without charge, but within a few months he was arrested again, in part because he was suspected of having ties to Sergei Nechaev, the enfant terrible of the mid-nineteenth-century Russian revolutionary movement, whose sadism and penchant for melodramatic pronouncements alienated many of his fellow revolutionaries. Volkhovskii was again acquitted, after two years in prison, subsequently moving south to Odessa where he established one of the most active groups that made up the Chaikovskii movement. Volkhovskii’s group was extremely well-organised, insisting on the complete commitment of its members, and directed much of its attention to agitation among urban workers rather than the peasantry. Volkhovskii believed for a short time in the late 1860s that a successful revolution could be brought about by a small group committed to seizing power to bring about social and economic revolution. He was, though, for the most part convinced that real change would only come about through a programme of agitation designed to foment a radical outlook among the Russian narod.
3
Youngkin, Molly. "“[W]e had never chosen a Byzantine subject … or one from Alexandria”: Emancipation Through Desire and the Eastern Limits of Beauty in Michael Field’s Verse Dramas". In British Women Writers and the Reception of Ancient Egypt, 1840–1910, 99–130. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137566140_4.
Texto completo da fonte
4
"Written in a Thunder Storm July 15th 1841". In English Verse 1830 - 1890, 46. Routledge, 2014. http://dx.doi.org/10.4324/9781315837147-20.
Texto completo da fonte
5
Miller, Richard. "Opus 83 and Opus 87". In Singing Schumann, 166–70. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195119046.003.0020.
Texto completo da fonteResumo:
Abstract That most of the Lieder of 1850 no longer sound like those of 1840 is indisputable. There is considerable controversy as to what this change may mean. Traditional criticism, passed from one pen to another, long maintained that Schumann’s mental and physical condition was responsible for changes in his compositional mode. For that reason, in-depth consideration of the inherent value of the late Lieder has been neglected. For example, for performing musicians intrigued by Resignation, #1 of op. 83, the following pejorative evaluation (Sams, p. 232) is upsetting: “Here is the new and disturbing voice of the 1850 Schumann; the bland vagueness of its harmonic language is only too fitting a match for the sickly drivel of the verse.”
6
Jenkins, Thomas E. "Desire and Disgust". In The Character of God, 113–34. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195112023.003.0007.
Texto completo da fonteResumo:
Abstract A year after the publication of Baird’s 1860 treatise, The First and Second Adam, Horace Bushnell revised his 1847 work, Christian Nurture. Like Baird, Bushnell also gave Romans 5 an anthropomorphic gloss by characterizing God as a propagative force. Instead of drawing on the prophecy from Isaiah, however, Bushnell drew on the second chapter of Malachi, which also referred to God’s “seed.” The difference between the two verses was significant, for using the verse in Malachi made it easier for Bushnell to suggest that God the Father, rather than Christ, was involved with this “seed.” This helped Bushnell to leave aside the Trinity as God’s propagative sphere. In place of this, Bushnell imagined a more individuated characterization of God in a direct relationship with the human race.
7
Larguèche, Aladin. "Chapitre V. Vers une métaphysique de la nation (1814-1846)". In Christiania (1811-1869), 267–329. Presses universitaires du Midi, 2015. http://dx.doi.org/10.4000/books.pumi.12351.
Texto completo da fonte
8
"Frances Anne Kemble (1809-93)". In A Century of Sonnets, editado por Paula R. Feldman e Daniel Robinson, 208. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0078.
Texto completo da fonteResumo:
Abstract Frances Anne Kemble published a verse melodrama, Frances I, in 1827. Two years later, she made her debut as an actress at Covent Garden, playing the role of Juliet. As a stage star, she toured the United States, where she met Pierce Butler, a Georgia plantation owner whom she married in 1834. She left him in 1845 and returned to England, shortly after publishing Poems (1844). She returned to the stage and gave Shakespearean readings for two decades, often returning to America. Her Journal of a Residence on a Georgia Plantation (1863) details the everyday workings of slavery, an institution she abhorred. At the age of eighty, Kemble published her first novel, Far Away and Long Ago.
9
"Fish have Their Times to Bite, Anon. (1861)". In Collected Verse Parody, 375. Routledge, 2020. http://dx.doi.org/10.4324/9780429348297-59.
Texto completo da fonte
10
Donovan, J. P. "Thomas Love Peacock". In Literature of the Romantic Period, 269–83. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711209.003.0013.
Texto completo da fonteResumo:
Abstract Although Thomas Love Peacock (1785-1866) produced a substantial quantity of poetry in modes commonly practised by both the major and minor writers of his day-the meditative and loco-descriptive poem, personal lyric, mythological narrative, and verse satire-he is now regarded chiefly as the author of a kind of satirical prose fiction often considered to be peculiar to him and which an early reviewer described as combining the novel, the drama, and the essay In five novels with contemporary settings-Headlong Hall (1816), Melincourt (1817), Nightmare Abbey (1818), Crotchet Castle (1831), and Gryll Grange (1860-1)-as well as in the two historical romances Maid Marian (1822) and The Misfortunes of Elphin (1829), Peacock developed comic and critical perspectives on the fashions and opinions in the arts and public life which were current at various moments in his long career. He also wrote a number of trenchant essays examining the literature, as well as the literary culture and reputations, of the Romantic period. In 1820 Peacock ‘s friend Shelley described his ‘fine wit ‘ as ‘a strain too learned for a shallow age ‘, declaring his proper audience to be ‘the chosen spirits of the time ‘. It has since become a commonplace that his novels could never be widely popular, and his reputation has indeed been marked by the devoted connoisseurship, and occasionally by the sceptical mistrust, which are the usual extremes of response to writers whose afterlife has been both vigorous and persistent, though confined to a set of readers with a taste for intellectual comedy.