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1
Périer, Henry. "Pierre Restany : biographie : chronique d'une vie." Montpellier 3, 1997. http://www.theses.fr/1997MON30008.
Повний текст джерелаАнотація:
Ne en 1930, a amelie-les-bains, pierre restany cree, a l'age de 27 ans, son premier groupe les "espaces imaginaires" ou il defend une ligne abstraite lyrique. En 1955, sa rencontre avec yves klein est capitale. Il recoit lors de l'exposition de l'artiste en 1958, le choc conceptuel du vide. Le 27 octobre 1960, restany fonde le nouveau realisme base sur l'appropriation du reel et developpe sur le concept d'une nature moderne urbaine, industrielle et mediatique autour du theme du bapteme artistique de l'objet et de la reference a dada. La declaration constitutive est signee par arman, dufrene, hains, raysse, tinguely, klein, villegle, restany et spoerri auxquels se joindront christo, rotella, deschamps et niki de saint phalle. Restany est depuis 1963 le collaborateur de la revue domus et vit entre milan et paris. Son action et son role aupres de cesar et de klein sont immenses. Directeur de la revue d'ars, il publiera de nombreux manifestes (nouveau realisme, mec-art, natura integrale), de nombreuses monographies et prefaces d'artistes, des ouvrages theoriques importants, (l'autre face de l'art, par exemple, une histoire parallele de la "fonction deviante" dans l'art contemporain). La decouverte de l'oeuvre de dani karavan le conduit a une reflexion sur les problemes d'esthetique et d'urbanisme. Globe-trotter infatigable, polemiste, theoricien, critique d'art planetaire dont le champs d'action s'est exerce en argentine, au bresil, dans les pays de l'est, aux etats-unis, au japon, en coree, en italie, en espagne et en allemagne, pour ne citer que ces pays. Restany est devenu au fil du temps une "part de l'histoire de l'art". L'aventure expressive de l'objet, la sculpture monumentale et la haute technologie sont aujourd'hui ses centres d'interet, de reflexion et d'actionBorn in amelie-les-bains in 1930, pierre restany creates, at the age of 27, his first group "the imaginary spaces" in which he defends a line of lyrical abstraction. The meeting with yves klein in 1955 is of paramount importance. He will, at the artist's exhibition in 1958, recieve the conceptual shock of the "empty space". On octobre 27th 1960, restany founds the new realism, based on the appropriation of reality and developed on the concept of a modern media, urban and industrial nature around the artistic baptisme of the object and the reference to dada. The constituent declaration of new realism is signed by arman, dufresne, hains, raysse, tinguely, klein, villegle, restany and spoerri who will be joined by christo, rotella, deschamps et niki de saintphalle. Since 1963 restany is a contributor of the magazine domus and shares his life between milano and paris. His action and his role close to klein and cesar are immense. As the director of the magazine d'ars, he publishes numerous manifests (new realism, mec art, natura integrate), numerous monographs and prefaces of artists and important theoretic works (f. I. The other face of art, a parallel story of the "deviant function" in contemporary art). The discovery of dani karavan's work leads him to a reflection on esthetism and town-planning. A tireless globetrotter, a polemist, a theorist, a planetary art critic whose action field is exercised in argentina, in brasil, in the east block nations, in the usa, in japan, in corea, in italie in spain, in germany as well as in many other countries. Pierre restany has become year after year a part of art history". The expressive adventure of the object, of the monumental sculpture and the high technology is today the central point of his interests, his reflections and his actions
2
Kühnle, Rüdiger Paul. "Paul Rudolph und die zweite Generation der amerikanischen Moderne." [S.l. : s.n.], 2005. http://nbn-resolving.de/urn:nbn:de:bsz:93-opus-26325.
Повний текст джерела
3
Brugeas, Pierre, and Jean-Baptiste Santeul. "Traduction annotée de commentée des Hymni sacri et novi de Jean de Santeul, accompagnée d'une biographie de l'auter." Paris 4, 1995. http://www.theses.fr/1995PA040216.
Повний текст джерелаАнотація:
Les hymnes traduits étaient destinés à renouveler le bréviaire de Cluny et de Paris. L'auteur, Jean de Santeul (1630-1697), très apprécié de ses contemporains et connu pour ses extravagances, est considéré comme le dernier grand poète néo-latin. Ses hymnes révèlent le souci d'une latinité très pure mise au service d'une esthétique cohérente marquée par le goût du baroque et le sens du sublimeThe translated hymns were aimed at renewing the breviary of Cluny and Paris. The author, J. De Santeul (1630-1697), was very appreciated by his contemporaries and known as someone original. He has been considerated as the last great neo-Latin poet. His hymns have revealed the care of a very pure latinity and a research for coherent aesthetics, characterized by a baroque tendency and the sense of the sublime
4
Lebourg-Leportier, Léa. "La Tribune et l’Échafaud : morale et politique dans les biographies de criminels en Angleterre et en France, 1620-1830." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL156.
Повний текст джерелаАнотація:
Cette étude s’intéresse aux biographies de criminels, l’un des nombreux imprimés sur le crime qui se développent au cours de l’époque moderne en Angleterre et en France. Ces dernières sont travaillées par des tensions morale et politique. Elles revendiquent un dessein didactique tout en exploitant volontiers le sensationnel de leur sujet. De même, la représentation de criminels est équivoque politiquement. Plutôt que de faire des hors-la-loi des repoussoirs et de souligner la manière dont ils sont écrasés par le pouvoir qu’ils ont défié, les textes les glorifient souvent et construisent un panthéon du crime. Cette thèse propose de réévaluer les ambiguïtés idéologiques de ces textes au croisement des discours historique, journalistique et romanesque en prenant en considération certains traits de l’écriture moderne comme l’ambition morale généralisée ou le flottement de la distinction entre fait et fiction. Cette remise en perspective conduit à repenser les potentialités subversives de ces textes qui semblent en fait moins résider dans l’héroïsation des criminels que dans l’articulation entre leur parcours et des questions sociales et politiques spécifiques au tempsThis study focuses on criminal biographies, one of the much-printed forms of criminal literature which developed in the early modern England and France. These texts are marked by moral and political ambivalence. Despite their proclaimed prescriptive aims, they make the most of the very sensational topic of crime. Furthermore, the depiction of criminals is politically problematic. Instead of presenting them as bad examples, underlining the way they are defeated by the authority they defy, they are often romanticized and thus a crime pantheon is built. This study seeks to reassess the ideological ambiguities of criminal biographies, at the crossroads of historical, journalistic, and novelistic discourses, taking into account some features of early modern literature, notably the systematic moral purpose and the blurred distinction between fact and fiction. This change of perspective leads us to re-evaluate the biographies’ potential in transgressing. Rather than lying in the romanticization of the outlaws, these seem to lie in the way some texts link the outlaws’ lives with some social and political debates of the time
5
Lade, Quentin. "Histoire des problématisations biologiques de la mémoire par la biographie d’un animal scientifique : l’aplysie : une enquête historique et ethnographique sur la biologie moderne, des stations marines aux neurosciences." Thesis, Université de Paris (2019-....), 2019. http://www.theses.fr/2019UNIP7136.
Повний текст джерелаАнотація:
Cette thèse est le fruit d’une enquête historique et anthropologique sur les sciences de la vie. Il s’agit de questionner les sciences sous l’angle de la matérialité des pratiques, comme un ensemble d’activités et d’institutions caractéristiques de l’époque moderne. Pour cela, nous avons retracé le parcours scientifique d’un animal singulier, un mollusque marin : la limace aplysie. Le choix d’un tel animal a été guidé par l’importance particulière accordée à l’aplysie par une partie de la communauté des neurobiologistes durant la seconde moitié du XXème siècle. La limace est alors devenue célèbre auprès des biologistes et même au-delà du monde scientifique, après que le neurobiologiste Eric Kandel se soit approprié l’animal pour en faire le modèle phare de ses recherches sur la mémoire à l’échelle des neurones, durant environ un demi-siècle. Le succès de ses travaux, rarement égalé dans son champ de recherche, sera récompensé par le prix Nobel en 2000. Notre histoire commence néanmoins au XVIème siècle, nous décrivons ainsi comment l’aplysie est devenue un objet d’étude pour l’histoire naturelle, puis un animal scientifique pour la biologie naissante. Nous nous focalisons enfin principalement sur la transformation de l’aplysie en un modèle pour la neurobiologie. Nous retraçons ainsi le parcours de domestication de l’aplysie, dont les étapes correspondent à la domestication de la nature par les sciences de la vie, et reflètent les évolutions de la modernité industrielle. En parallèle de ce travail historique, rédigé à partir de sources écrites, des ouvrages scientifiques, des autobiographies et de nombreux articles publiés dans des revues spécialisées, nous avons aussi mené une enquête de terrain selon la méthode de l’observation participante. Pour réaliser cette ethnographie, nous avons passé six mois environ dans un laboratoire de neurobiologie à Bordeaux, auprès de scientifiques dont les recherches sur l’aplysie prolongent et renouvellent celles initiées par Kandel dans les années 1960This thesis is a historical and anthropological investigation on life sciences. It investigates sciences from the perspective of the materiality of practices, as a set of practices and institutions that characterizes the modern period. To this end, we have retraced the scientific trajectory of a singular animal, a marine mollusk : the sea slug Aplysia. The choice of such an animal was motivated by the peculiar importance attached to Aplysia by many neurobiologists during the second half of the 20th century. The sea slug became famous to biologists and beyond the scientific world, when the neurobiologist Eric Kandel chose it as the flagship model for his researches on memory at the neural and molecular scale, during half a century. The great success of his work, rarely equaled in his field of research, was rewarded by the Nobel Prize in 2000. Nevertheless, our narrative begins in the sixteenth century. We describe how Aplysia became an object of study for natural history, then a scientific animal for nascent biology. Finally, we focus on the transformation of Aplysia into a model organism for neurobiology. Then we retrace the course of the domestication of Aplysia, which reflects the domestication of nature by life sciences embedded in industrial modernity.In parallel with this historical account based on written sources, scientific books, autobiographies and numerous articles published in specialized journals, we also conducted a field survey using the participant observation method. To conduct this ethnography, we spent about six months in a neurobiology laboratory in Bordeaux, with scientists whose researches on Aplysia extend and renew those initiated by Kandel in the 1960s
6
Waldron, Andrew M. "Irving Grossman, 1954-1964, a young architect's response within Modernism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0004/MQ43297.pdf.
Повний текст джерела
7
Hall, Kyle Matthew. "Affecting Lives: The Politics of Biography in Modern Italy, 1850-1881." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10838.
Повний текст джерелаАнотація:
This study examines the spread of in-life biographies (biographies written and published while their subjects were still alive) in Italy during the later years of the Risorgimento and the early years of Unification. These biographies, whose subjects ranged from the already famous to those being promoted as new political leaders, took a well-established literary form and applied it to the exigencies of the day. That this was a relatively new method of political engagement is seen through the numerous interventions by authors and editors justifying their choice of living subjects and excusing the fact that these were not traditional subjects with explanations of impartiality and necessity. As the Italian nation continued forward, such writings begin to be extended to less blatantly political subjects, such as the economic and social self-improvers touted by Michele Lessona (who followed the more famous Samuel Smiles of England) and the fictional Sicilian fishermen of Giovanni Verga's I Malavoglia. This continued push to describe in biographical terms the lives of living Italians reveals a widely neglected aspect of the biographical genre, namely that writing the life of a still-living figure is fundamentally different than writing the life of a deceased individual whose life course cannot be in any way changed by the publishing of a biography. The work that both begins and ends this study, a very early biography of Benito Mussolini, serves to illustrate the possibilities contained in this subgenre as well as the reasons for which it should continue to be studied as a form distinct from that of traditional biography.Romance Languages and Literatures
8
De, Lencquesaing Marion. "Crises et renouveaux du geste hagiographique. Le cas des Vies de Jeanne de Chantal (1642-1912)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA121.
Повний текст джерелаАнотація:
Ce travail de thèse a pour objet l’historicité conflictuelle d’un objet qui n’a jamais vraiment été étudié d’un point de vue littéraire : la littérature hagiographique de l’époque moderne. En nous séparant de la lecture institutionnelle qui est souvent celle de la critique, nous voulons la dégager de son utilisation comme moyen de contextualisations historiques ou anthropologiques. Au sein des écrits de la période moderne, l’hagiographie n’est pas simplement l’ « autre discours » de l’historiographie, comme le disait Michel de Certeau. Au lendemain du concile de Trente, les biographies d’une candidate à la sainteté comme Jeanne de Chantal (1572-1641, canonisée en 1767) sont l’occasion de réfléchir sur ces nouveaux écrits, qui présentent des structures qui se stabilisent et des éléments topiques qui renvoient à une tradition d’écriture préexistante. Qui sont les auteurs de ces textes ? Dans quelles conditions les rédigent-ils et pour quel public ? Quels en sont les enjeux ? En pleine crise moderniste, la condamnation par la Congrégation de l’Index de la dernière Vie importante de la figure, la Sainte Chantal de Bremond (1912), sera notre point de vue : Bremond revendique paradoxalement une forme de nouveauté par un retour au XVIIe siècle, visible dans la filiation exhibée de son propre texte à celui de la première biographie, les Mémoires de Françoise-Madeleine de Chaugy (1642). Ce geste construit alors, comme malgré lui, une histoire diachronique des Vies de Jeanne de Chantal, dont les mutations en font un « cas » de la littérature hagiographique française et permettent de voir qu’écrire la Vie d’un saint, c'est à chaque fois rejouer ce qu’est la saintetéThe hagiographic literature from the Early Modern Period has never been studied as a plain literary issue. Departing from the institutional reading of a major part of the critics about hagiography, the hagiographic literature must be considered apart from its historical and anthropological contextualisations. Hagiography is not only the “other one” of historiography, as Michel de Certeau said. In the wake of the Trent Council, the biographies of a candidate to sanctity like Jeanne de Chantal (1572-1641, canonized in 1767) allow us to consider these new writings which show newly built structures and topical elements of a former writing tradition. Who wrote these texts? How have there been written? For whom? What were there main issues? Our point of view will be the last major Life of Jeanne de Chantal (1912), convicted by the Congregation of the Index, in the middle of the Modernist Crisis. The return to the first biography of the heroine, the Mémoires of Françoise-Madeleine de Chaugy (1642), is a paradoxical way for Bremond to claim the originality of his approach. A diachronic history of Jeanne de Chantal’s Lives can be seen through this operation. Their mutations make them a “case” of French hagiographical Literature: writing the Life of a saint is always defining what is sanctity again
9
Boyle, Terence A. "Denis Johnston (a critical biography)." Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390056.
Повний текст джерела
10
Rahnamaei, Seyed Ahmad. "A comparative study of two modern Muslim biographies of the Prophet." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23356.
Повний текст джерелаАнотація:
This thesis presents a comparative study of two modern Muslim biographers of the Prophet of Islam, Muhammad Husayn Haykal and Sayyid Ja$ rm sp{c}$far Murtada, the one a Sunni the other a Shispc$ = i. In dealing with their works on the { it s = i ra}, the intention is to focus on some aspects of the life of the Prophet of Islam from the time when he resided in Makka. After outlining the authors' scholarly backgrounds, sources, methods, and purposes, etc., the thesis deals with certain specific issues concerning the Prophet's birth, his nursing and the reason behind the custom of having foster-mothers, the controversial stories of the splitting of his chest and of his participation in the sacrilegious war, his state both before and after the announcement to him of his Mission, the authors' interpretations of his night journey and ascent to heaven and lastly their discussion about the Prophet and miracles. This research should not be considered as historical in nature; rather, it aims at clarifying the similarities and differences which may be discovered between our two biographers, and at comparing their respective Sunn = i and Sh = i$spc$ = i approaches.
11
Kandeh, Kar Zahra. "A Lacanian study of the childhood representation in William Wordsworth's poems and William Adolphe Bouguereau's paintings." Thesis, Mulhouse, 2021. https://www.learning-center.uha.fr/.
Повний текст джерелаАнотація:
Cette thèse est une entreprise lacanienne interdisciplinaire pour aborder la représentation de l'enfance dans The Prelude de William Wordsworth et certaines peintures de William Adolphe Bouguereau. L'enfance est une image chargée de romance, souvent associée à la glorification nostalgique de l'enfance ou à une fixation sur les enfants en tant qu'incarnations de la beauté et de la sauvagerie par excellence. Wordsworth et Bouguereau, cependant, en tant que deux romantiques canoniques, montrent que ces lectures sont intenables, car les représentations de l'enfance dans leurs œuvres d'art sont un espace sur lequel ils ont projeté leur propre intérieur en tant qu'adultes, qu'il s'agisse de sentiments agréables, tels que le sentiment d'unité, le réconfort et l'attachement ou des sentiments désagréables, tels que l'anxiété, le sentiment de perte et le deuil. L'enfance a des modalités variées dans la littérature et la peinture romantiques, mais une approche similaire de cette image est l'un des dénominateurs communs entre ces deux artistes, dont l'étude en dit long sur les époques historiques dans lesquelles ils vivaient, ainsi que leurs réponses à leur milieux Cette étude démêle également la masse des diverses idéologies de l'enfance qui dominent le 19e siècle en tant que « siècle de l'enfant, » un siècle au cours duquel artistes et militants ont écrit « pour » et/ou « sur » les enfants à des fins pédagogiques, divertissantes, idéologiques, révélatrices, historiques. Alors que Wordsworth a écrit « sur » l'enfance comme une métaphore pour approfondir les intersections psychologiques de l'enfance et de l'âge adulte, Bouguereau a pris la même position dans la majorité de ses peintures, mais il est tombé dans l'écueil de confondre « pour » et « sur » les enfants dans quelques-unes de ses peintures « misérabilistes, » qui sont aujourd'hui accusées à juste titre de romancer la misère des enfants. Cette catégorie de ses peintures n'a certainement pas considérée dans cette étude. Compte tenu de notre connaissance au XXIe siècle de l'inconscient et de ses liens avec les souvenirs d'enfance, il est révélateur de cartographier les représentations nuancées de l'enfance dans The Prelude de Wordsworth et les peintures de Bouguereau à la lumière de la psychanalyse de Lacan. D'une part, Lacan, dont la thèse de doctorat était La psychose paranoïaque et son rapport à la personnalité (1932), a consacré une bonne partie de ses analyses aux paradigmes psychiques formés dans l'enfance qui définissent nos personnalités d'adultes. Il a transformé les théories trépidantes de Freud sur l'inconscient en données formalistes et structurées fondées sur les subtilités du langage. Textuel, le modèle de Lacan nous propose une approche qui prend comme point de départ les spécificités rhétoriques et sémantiques d'un texte, d'une peinture ou d'une poésie, pour mettre en évidence les opérations psychiques en jeu, ce que Peter Brooks appelle les « zones de jeu » d'un texte. La psychanalyse appliquée lacanienne peut supprimer les explications téléologiques que la plupart des approches psychanalytiques cherchent à trouver, car elle soulève des arguments plutôt que de les fermer. Avec ces considérations, cette étude vise à démêler les opérations psychiques encapsulées dans les représentations de l'enfance dans The Prelude de Wordsworth et les peintures de Bouguereau, qui s'articulent, entre autres, sur le « corps morcelé » lacanien, ces images de la désunion, de la désincarnation, de l'émasculation, ainsi que de la gestalt, qui a à voir avec l'unité et la plénitude. Ces deux concepts sont des éléments essentiels d'une « libre association » psychanalytique, car tandis que le premier signale la réalisation de la construction illusoire du moi d'un sujet, la seconde est une construction imaginaire qui a des effets constitutifs et formateurs sur l'organisme ainsi que sur la croissance psychologie des humainsThis dissertation is an interdisciplinary Lacanian venture to address childhood representations in William Wordsworth’s The Prelude and some of William Adolphe Bouguereau’s paintings. Childhood is a romantically-charged image, often associated with the nostalgic glorification of childhood or with a fixation on children as the embodiments of quintessential beauty and savageness. Wordsworth and Bouguereau, however, as two canonical Romantics, prove these readings untenable, for childhood representations in their artworks is a space onto which they have projected their own innermost as adults, be it pleasant feelings, such as sense of unity, reassurance, and attachment, or unpleasant feelings, such as anxiety, sense of loss, and mourning. Childhood has variegated modalities in Romantic literature and painting, but similar approach to this image is one of the common denominators between these two artists, the study of which also unfolds a great deal about the historical epochs in which they were living, as well as their responses to their milieus as two very astute and talented observers. This study also disentangles the mass of varying child ideologies that dominates the 19th century as the “child century,” a century in which artists and activists wrote “for” and/or “about” children for pedagogical, entertaining, ideological, illuminating, historical reasons. While Wordsworth wrote “about” childhood as a metaphor to delve into the psychological intersections of childhood and adulthood, Bouguereau took the same position in the majority of his paintings, but he fell into the pitfall of confusing “for” and “about” children in few of his “miserabilist” paintings, which are today justly accused of romanticizing children’s misery. This strand of his paintings has definitely not been instanced in this study. Given our twenty-first century awareness of the unconscious and its connections to childhood memories, it is illuminating to map out nuanced childhood representations in Wordsworth’s The Prelude and Bouguereau’s paintings in the light of Lacan’s psychoanalysis. For one thing, Lacan, whose doctoral dissertation was Paranoid Psychosis and Its Relation to the Personality (1932), dedicated a great deal of his analyses to the psychic paradigms formed in childhood that define our personalities as adults. He turned Freud’s hectic theories of the unconscious into formalistic and structured data predicated on the subtleties of language. Text-oriented, Lacan’s model provides us with an approach which uses the rhetoric and semantic specificities of a text, painting or poetry, as a point of departure to bring in the fore the psychic operations at play, that which Peter Brooks calls the “play zones” of a text. Lacanian applied psychoanalysis can do away with the teleological explanations most psychoanalytical approaches seek to find, for it raises discussions rather than to close them. With these considerations, this study aims to unravel psychic operations encapsulated in childhood representations in Wordsworth’s The Prelude and Bouguereau’s paintings, which hinge on, among others, Lacanian “fragmented body” (corps morcelé), the images which have to do with disunity, disembodiment, emasculation, and so on, or gestalt matrix, which has to do with unity and wholeness. These two concepts are essential parts of a psychoanalytical “free association,” for while the former signals the realization of the illusory construct of a subject’s egos, the latter is an imaginary construct that has constitutive and formative effects on organism as well as humans’ psychological growth
12
MacGregor, Catherine. "Writing lives of addiction: A context for literary biography and criticism." Thesis, University of Ottawa (Canada), 2000. http://hdl.handle.net/10393/9180.
Повний текст джерелаАнотація:
This thesis presents a series of case studies demonstrating that literary biography and literary criticism concerning writers who abused alcohol or who lived in relationships with those who abused alcohol can be enriched by an interdisciplinary appreciation of contemporary addiction theory. It begins with an overview of the various constructions of addiction to alcohol and to other substances and activities, ways of thinking about harmful dependencies which have dominated Western attitudes since the eighteenth century. It then identifies the directions current addiction research and therapy have taken and focuses particularly on the paradigm in most frequent clinical use today; that is, the understanding of alcohol addiction as a disorder not merely of the individual subject but of a constellation of codependent relationships. Literary biography has all too often either trivialized or sensationalized the addictions of writers and their families, and in doing so, has made it difficult for critics to address textual questions which could be resolved more appropriately with a sensitivity to addiction theory in general and to the circumstances of the writer's life in particular. To demonstrate that current thinking about alcoholism and codependency provides a valid way to read works by writers who were either alcoholic themselves or who lived in domestic relationships with alcoholics, it presents "case studies" from eras prior to our own and argues that authorial anxiety about alcohol abuse and addiction was not only a significant factor in the production of the texts but in the preoccupations within the works themselves in ways which repay close reading. It provides readings of well-known nineteenth and twentieth-century novels: Anne Bronte's The Tenant of Wildfell Hall, Dostoevsky's Crime and Punishment, Malcolm Lowry's Under the Volcano, and Evelyn Waugh's The Sword of Honour trilogy. In doing so, it seeks to demonstrate that anxiety about alcohol abuse in the context of marriage and parent-child relationships is a recurring and meaningful element, attention to which deepens a reader's appreciation of the writers' theme and technique and, moreover, challenges-or complements, in unexpected ways-insights from more conventional criticism.
13
Sury-Bonnici, Claude-Jeanne. "René Seyssaud, 1867-1952, peintre moderne." Paris 4, 2001. http://www.theses.fr/2000PA040157.
Повний текст джерелаАнотація:
Artiste peintre, natif de Marseille, vauclusien d'origine, attaché à des racines terriennes, installé à deux pas de l’Estaque et de Martigues, c'est en Provence qu'il trouve ses sources d'inspiration. Sans fortune sans tradition familiale dans les beaux-arts, nourri d'une culture provençale spontanée, proche du félibrige, d'une sensibilité libertaire socialisante, l'artiste qui cultive sa solitude loin de Paris n'est solitaire que dans l'exercice de son art. Il porte en lui un héritage, celui de personnalités bien affirmées, celles de Daumier, de Loubon, de Guigou, de Monticelli. Artiste né en 1867, il appartient à la génération de transition, qui après avoir tourné le dos au naturalisme, a le souci de se libérer de l'obsession impressionniste et est animée par le désir de modernité. Grâce aux nabis et à Gauguin, il pose la question artistique sur des bases nouvelles en combinant lignes et couleurs. Il découvre dans l'estampe japonaise, la liberté nouvelle du dessin qui de courbes et d'arabesques fait de la ligne une force vivante. Franc-tireur du fauvisme, il s'empare avec jubilation de la couleur ramenée à sa pureté, solidaire de la lumière. Peintre indépendant, d'une personnalité bien affirmée, d'un tempérament avant tout sensible, son art est tout entier porte par la sensation et l'élan instinctif. A la suite de Monticelli et parallèlement à Van Gogh, il livre dans un geste expressionniste et dans l'alchimie des pates colorées, son angoisse comme sa jouissance, dans l'ivresse païenne d'un panthéisme solaire. Dans un souci d'équilibre, il entend la leçon de Cézanne. Dans les paysages du midi et les scènes de la vie des champs, son respect de la profondeur et de la surface, de la structure de l'objet et de la forme, de l'établissement des volumes, tempère le lyrisme de son expression et fait de son art, un art de synthèse.
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Smith, Jaclyn A. "D.W. Griffith’s Biograph Shorts: Teaching History with Early Silent Films, 1908-1922." University of Toledo / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1197411493.
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Huglo, Marie-Pascale. "Métamorphoses de l'insignifiant : essai sur l'anecdote dans la modernité /." [S.l.] : Montréal, 1997. http://catalogue.bnf.fr/ark:/12148/cb37733685r.
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Augustin, Anna-Carolin. "Biographien jüdischer Frauen: Ein großbürgerliches Frauenleben für die moderne Kunst – Der Rückblick der Berliner Kunstsammlerin Margarete Mauthner." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2015. https://slub.qucosa.de/id/qucosa%3A34950.
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Strasdin, Kate. "Fashioning Alexandra : a sartorial biography of Queen Alexandra 1844-1925." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/366831/.
Повний текст джерелаАнотація:
In the second half of the 19th century, Alexandra Princess of Wales and later Queen Consort to her husband Edward VII became one of the most recognizable women of the period. Her image was circulated around the globe by the million and her every movement recorded daily in The Times. Despite her contemporary celebrity, she has become a lesser-known figure in modern history. With little in the way of political influence, Alexandra recognized that her ppearance in public was powerful. She used clothes throughout her life to both display and disguise herself. despite the centrality of dress in her life, no other study has ever examined her remaining items of clothing until now. This thesis considers in detail those garments that have survived from Queen Alexandra’s wardrobe, most of which, owing to their geographic spread, have never been studied before. This object-led approach allows an analysis of a life, which has been considered before in more traditional biographies. However, the close examination of the garments and of Alexandra’s approach to her clothing reveals aspects never before considered. It has also prompted the consideration of previously under researched areas such as royal laundry, the role of the dresser and the logistics of 19th century royal travel. As a multi-disciplinary project it has shed new light onto Alexandra’s life and dispelled certain apocryphal stories which only the material culture itself could reveal.
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Chaghafi, Elisabeth Leila. "Early modern literary afterlives." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:c46edf04-50ed-4fc0-8d4f-74dfdfdb470e.
Повний текст джерелаАнотація:
My thesis explores the posthumous literary life in the early modern period by examining responses to ‘dead poets’ shortly after their deaths. Analysing responses to a series of literary figures, I chart a pre-history of literary biography. Overall, I argue for the gradual emergence of a linkage between an individual’s literary output and the personal life that predates the eighteenth century. Chapter 1 frames the critical investigation by contrasting examples of Lives written for authors living before and after my chosen period of specialisation. Both these Lives reflect changed attitudes towards the writing of poets’ lives as a result of wider discourses that the following chapters examine in more detail. Chapter 2 focuses on the events following the death of Robert Greene, an author often described as the first ‘professional’ English writer. The chapter suggests that Greene’s notoriety is for the most part a posthumous construct resulting from printed responses to his death. Chapter 3 is concerned with the problem of reconciling a poet’s life-narrative with the vita activa model and examines potential causes for the ‘gap’ between Sir Philip Sidney’s public life and his works, which continues to pose a challenge for biographers. Chapter 4 examines the evolution of Izaak Walton’s Life of Donne. The ‘life history’ of Walton’s Lives, particularly the Life of Donne, reflects an accidental discovery of a biographical technique that anticipates literary biography. My method is mainly based on bibliographical research, comparing editions and making distinctions between them which have not been made before, while paying particular attention to paratextual materials, such as dedications, prefaces and title pages. By investigating assumptions about individual authors, and also authorship in general, I hope to shed some light on a promising new area of early modern scholarship and direct greater scrutiny towards the assumptions brought into literary biography.
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Gauvin, Sylvie. "Françoise Sullivan, pionnière de la danse moderne au Québec." Master's thesis, Université Laval, 1988. http://hdl.handle.net/20.500.11794/33480.
Повний текст джерелаАнотація:
Lorsque l'on parle d umouvement automatiste, on pense surtout aux moyens d'expression artistique reliés à la peinture et à la littérature. La danse trop longtemps oubliée par les historiens, tint pourtant une place importante dans l'univers automatiste. Françoise Sullivan, Françoise Riopelle et Jeanne Renaud, toutes trois signataires du Refus global, sont les noms que l'on associe à la danse dite automatiste. Ce mémoire traite de l'activité d'une de ces trois danseuses, Françoise Sullivan, qui fut l'une des pionnières de la danse moderne du Québec. Nous avons tenté de brosser un tableau de l'activité artistique, dans le domaine de la danse, de Françoise Sullivan entre 1940 et 1950. Cette reconstitution est fondée sur les témoignages recueillis auprès de Françoise Sullivan elle-même ainsi que sur ceux de Jeanne Renaud et de jeunes danseurs qui ont interprété les oeuvres présentes et passées de l'artiste. Notre travail se divise en deux parties. La première traite du mouvement automatiste, et la deuxième de l'activité chorégraphique de Françoise Sullivan pendant la période qui fait l'objet de notre étude.Montréal Trigonix inc. 2018
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Balińska, Marta Aleksandra. "Ludwik W. Rajchman, 1881-1965, précurseur de la santé publique moderne." Paris, Institut d'études politiques, 1993. http://www.theses.fr/1993IEPP0016.
Повний текст джерелаАнотація:
Ludwik Rajchman, directeur de l'Organisation d'hygiène de la Société des nations, fondateur de l'Unicef, a lancé les bases- à travers les organisations qu'il a dirigées- de la santé publique internationale telle que nous la connaissons aujourd'hui. Sa jeunesse socialiste-indépendantiste dans une Pologne annexée par l'empire russe, ses études de bactériologie à l'Institut pasteur et à Londres, sa direction de la lutte antiépidémique en Pologne après la première guerre mondiale, ses nombreux voyages en Chine nationaliste où il fut l'artisan de la collaboration technique entre ce pays et la SDN, son rôle de conseiller du ministre des affaires étrangères chinois, t. V. Soong (beau-frère de Chiang Kai-Shek) pendant la seconde guerre mondiale, ses activités humanitaires au gouvernement polonais en exil de Sikorski, son travail à l'UNRRA et à l'Unicef ainsi que ses relations intimes avec des personnalités comme Jean Monnet, Thorvald Madsen, Robert Debré, Louis Ferdinand Céline, Philip Noël Baker, August Zaleski. . . -- illustrent quelques chapitres d'une vie et d'une carrière extrement riches et variéesLudwik Rajchman, director of the League of Nations' Health Organization, founder of UNICEF, laid the foundations- through the organizations which he directed- for international public health as we know it today. His socialist youth and struggle for Polish independence in the Russian empire, his bacteriological studies at the Pasteur Institute and in London, his leadership of the fight against the epidemics which swept Poland after the first world war, his numerous trips to nationalist China where he launched the League's program of technical collaboration with China, his role as advisor to the Chinese Minister of Foreign Affairs, t. V. Soong (brother-in-law of Chiang Kai-shek) during world war ii, his humanitarian efforts within Sikorski's government in exile, his work at UNRRA and Unicef as well as his close relationships with such figures as Jean Monnet, Thorvald Madsen, Robert Debré, Louis Ferdinand Céline, Philip Noël Baker, August Zaleski. . . -- illustrate but some of the chapters of an outstandingly rich and varied life and career
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Dionne, Jennifer. "Franco-Ontariens avant la lettre? La correspondance de la famille Askin." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27832.
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Mahoney, Ross Wayne. "The forgotten career of Air Chief Marshal Sir Trafford Leigh-Mallory, 1892-1937 : a social and cultural history of leadership development in the inter-war Royal Air Force." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6090/.
Повний текст джерелаАнотація:
This thesis examines how an officer with so many perceived detractors reached senior leadership positions in the Royal Air Force of the Second World War; that officer is Air Chief Marshal Sir Trafford Leigh-Mallory. Utilising prosopography as a methodology, and grounded in an understanding of leadership theory, though recognising the limitations of applying modern language to historical analysis, this thesis surveys the development processes used by the RAF to nurture officers for senior positions. Furthermore, this thesis argues that the RAF, bounded by the Service’s culture and ethos, took an interest in the leadership development of its officer class as it had a stake in producing able leaders capable of defending its independence. This was done through modern conceptions, such as socialisation, job assignments, action learning and nurturing. These concepts formed the basis of nurtured officers shared experiences, and this thesis illustrates how Leigh-Mallory was representative of the type of officer the RAF wanted to lead the Service. The experiences outlined in this thesis focus on training, education and job assignments, which included aspects, such as the importance of Staff College attendance, command experience and staff duties. Participation in these key shared experiences made officers such as Leigh-Mallory ‘visible’ to those able to further nurture officers careers while giving them the knowledge required to lead at the senior level. By understanding the culture and context of the development of the senior leadership of the RAF of the Second World War, this thesis now allows for a more considered understanding of the effectiveness of officers such as Leigh-Mallory during that conflict.
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Buaben, Jabal Muhammad. "The life of Muhammad (S.A.W.) in British scholarship - a critique of three key modern biographies of the prophet Muhammad (S.A.W.)." Thesis, University of Birmingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503129.
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Reid, Jonathan Andrew. "King's sister, queen of dissent: Marguerite of Navarre (1492-1549)and her evangelical network." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/289749.
Повний текст джерелаАнотація:
This study reconstructs the previously unknown history of the most important dissident group within France before the French Reformed Church formed during the 1550s. From edited and unpublished literary, institutional, diplomatic, and epistolary sources from across Europe, the dissertation demonstrates that King Francis I's sister, Marguerite of Navarre (1492-1549), and a network of more than two hundred nobles, royal officers, humanists, literary writers, and prelates collaborated to promote a reformation of the French church based on their evangelical views. To this end, they attempted to steer Francis I into alliances with Henry VIII, the Protestant powers of the Empire and Switzerland, as well as, for a time, the Pope that favored the adoption of their reform agenda. Within France they strove to disseminate their beliefs by exploiting their administrative powers, sponsoring evangelical preaching, and publishing hundreds of vernacular books, including many adaptations of German Reformation tracts. An opposing conservative party stymied these efforts, yet Marguerite and her network managed, in turn, to prevent it from unleashing full-scale persecution, thereby enabling a broad dissenting movement to grow. Meanwhile, French reformers in exile, led by Guillaume Farel and John Calvin, former members of Marguerite's network, became critical of their erstwhile colleagues and called on French evangelicals to reject the "papal" church. After Marguerite's death, members of her network and their heirs joined two successor parties during the Wars of Religion (1562-1598): the irenic royalists and the unyielding Calvinist Huguenots. Ultimately, the confessional historiographies of the Calvinist and Catholic 'victors' effaced the record of Marguerite and her network's campaign for moderate evangelical renewal. This account revises the received interpretations of Marguerite and the early Reformation in France. Although Marguerite is well-known as a literary figure with heterodox beliefs, her leadership of a dynamic evangelical network has never been seen or reconstructed. This network's actions reveal, moreover, that early sixteenth-century France was not, as it is universally portrayed, a period of "magnificent religious anarchy." These evangelicals were not divergent in their beliefs, disunified, and hence hopelessly ineffective. Amidst growing persecution they failed to secure the adoption of their beliefs, but they did disseminate them and obtain a foothold for religious dissent without which the Reformed churches could not have emerged.
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Mowafy, Waheed Mohamed Awad. "Modern Arabic literary biography : a study of character portrayal in the works of Egyptian biographers of the first half of the twentieth century, with special reference to literary biography." Thesis, University of Leeds, 1999. http://etheses.whiterose.ac.uk/703/.
Повний текст джерелаАнотація:
In Chapter one, I presented a comparative definition of the meaning of Sirah (PI.Siyar), Tarjamah (Pl. Tarajim), Manaqib, Tabaqat and Maghazi as they were understood in antiquity. I also showed how the meaning of Sirah in modern times has only narrowly developed. Although the method of biographical writing continuously developed in Europe, it hardly progressed in Modem Arabic Literature. The only exception was seen in the writings by the pioneers of enlightenment in Egypt at the beginning of the twentieth century. This change of direction relied on borrowing European methodology in biographical writing. In chapter two, I reviewed the early attempts at writing biographies in the nineteenth century by Abd al Rahman al- Jabarti and Ali Mubarak. Although both were the first pioneers in this respect, yet they followed the footpath of classical approach above all that of al-Maqarizi from whom -Ali Mubarak derived inspiration in his book Al-Khitat al-Tawfiqiyyah. In chapter three, I studied the twentieth century, starting with traditional biography writers who could not employ European methodologies and whose writings oscillated between biographical notes and biographical sketches; or whose texts were more of a literary study than a biography proper. In chapters four to nine, I selected the most renowned, productive writers who best represented methodologies of biography writing. Perhaps certain writers have not been mentioned in this period of study. This is not out of negligence but simply because their texts were totally out of reach, or their writings did not exhibit the required literary criteria. All methodologies representing the theory of biography writing in Egypt have been analysed in these chapters. All, in fact, form a digestion or assimilation of French,English and German schools. In Egypt, Taha Husayn is considered the chairman of the French school, al-Mazini and al-Aqqad of the English/German schools, al-Nuwaihi of the psychoanalytical/anatomical school and Sidqi who employed both. By contrast, al Iryan was the trailblazer of the distinguished biographical novel. In these chapters, I tried to lay out the general outlines these writers have produced in the production of biographical texts, and how these attempts were a successful step on the road of presenting literary biographies characterized by high world standards. Chapter ten may well seem traditional, but it is important to give a comparative outlook on the views of biography writers themselves when they study and analyse the same character. Among the characters studied ,I selected Bashsliar, Abu Nuwas, Ibn al-Run-i, al-Mutanabbi and al-Maarri. These are outstanding landmarks in the history of Arab verse and the subject of a multitude of studies as well. Modern biographers took these figures as a test field for the deployment and employment of biographical methodologies. I selected these examples to provide comparisons and explain how far these biographies were successful in producing a biography or a profile of those classical poets. The conclusion and the bibliographical list arrived at the end of research. I wish, however, to clarify one important point here. It seems that I could not fix the year 1950 as the temporal parameter of my research but took some textswhich were published shortly beyond that point. The reason for this obvious extension was either to give additional useful details or simply because chapters of such texts had already been published prior to that year and were known to the readership. At times I would satisfy myself with analysing the part rather than the whole. This again was meant to eschew repetition or was due to the fact that the book in question was not available.
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Lambrichs, Anne. "József Vágó (1877-1947) : un architecte hongrois entre l'art nouveau et le mouvement moderne." Paris 4, 2001. http://www.theses.fr/2001PA040012.
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Architecte renommé en Hongrie avant la Première Guerre mondiale, dessinateur, théoricien, urbaniste et écrivain, l'architecte hongrois Jozsef Vago (1877-1947) travaille à Budapest (1900-1919 ; 1926-1940), à Rome (1919-1926) et à Genève (1927-1935) avant de s'établir en France (19401947). Sa filiation, au cours de la première partie de sa carrière, avec l'école sécessionniste de Odon Lechner ; sa collaboration avec l'avant-garde artistique à Budapest (A. Korosfoi-Kriesh, Sandor Nagy, Jozsef Rippl-Ronai et Karoly Kernstock) et les missions officielles qu'il exerce dans son pays jusqu'au renversement de la république des conseils de Bela Kun permettent de mettre en évidence sa réflexion artistique et politique mais aussi la spécificité de la scène hongroise par rapport à l'histoire de l'architecture occidentale. Exilé à Rome entre 1920 et 1926, Vago participe à la vie architecturale italienne et aux grands concours internationaux de l'entre-deux-guerres avant de gagner le concours de la Société des nations à Genève en 1927 avec huit autres lauréats. Ses démêlés avec ses associes - Nénot, Flegenheimer, Lefèvre et Broggi et avec le Corbusier au cours de la réalisation du projet de la SDN à Genève vont le conduire, dans les années trente et quarante, à rechercher une synthèse entre les idéaux de l'art nouveau et du mouvement moderne. Cette recherche, qui apparait dans son grand ouvrage théorique, à travers les villes (1930), et dans son projet d'urbanisation de Budapest (1933-1937), trouve son aboutissement dans son grand projet théorique de reconstruction opposé aux préceptes des CIAM et de la charte d'Athènes : la ville de l'avenir (1940-1945).
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Nye, Casey. "Contextualizing Anthony van Dyck's Iconography within the Emerging Traditions of Portraiture and Artists' Biography in the Early Modern Period." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/616.
Повний текст джерелаАнотація:
The Flemish painter Anthony Van Dyck extended his preoccupation with portraiture into the printed medium by designing a body of portrait prints, posthumously compiled into a book entitled, the Iconography. This suite of images, organized and designed by Van Dyck and printed by workshop assistants between 1632 and 1644, is comprised of engraved and etched half-length portraits of contemporary European men and women of various professions and backgrounds, including artists, scholars, diplomats, and religious leaders. This thesis examines the artistic and literary context for Van Dyck’s Iconography, with a focus on the changing social and intellectual status of artists in northern Europe during the seventeenth century. It seeks to provide the scholarship on the Iconography with an understanding of how the portraits function as a collective group that enhanced the prestige of artists in the seventeenth century.
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Dubé, Alexandre. "Pierre-Jacques Lemoyne (1709-1778) et l'aprovisionnement métropolitain des colonies françaises de l'Amérique du Nord." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79761.
Повний текст джерелаАнотація:
This thesis aims at clarifying the situation of supplying to the French colonies of North America, during the 18th century. It attempts to redefine what can be construed as "supplying" and in the process, identifies its various sources. The study of one of these sources, the direct contribution of France, constitutes the second part of the thesis, as seen through the example of Pierre-Jacques Lemoyne, supplier to the colonies from 1734 to 1762. This stance permits to go further than the better-known world of the merchants carrying the King's goods. Suppliers to the colonies are thus revealed to be split between adjudicataires who obtain their contracts through public procedures, and a handful of specialized merchants, who contact or are contacted by the Navy's administration. The selection of these merchants seem to stem from their capacity to fulfill adequately the Navy's needs---although the influence of "cronyism" should not be discarded.
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Kevin, Gilvary. "Shakespearean biografiction : how modern biographers rely on context, conjecture and inference to construct a life of the Bard." Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/13806.
Повний текст джерелаАнотація:
Modern biographies of William Shakespeare abound: new studies appear almost every year, each claiming new research and new insights, while affirming that there are enough records for a documentary life. In this thesis, I argue that no biography of Shakespeare is possible due to insufficient material, that most of what is written about Shakespeare cannot be verified from primary sources, and that Shakespearean biography did not attain scholarly or academic respectability until Samuel Schoenbaum’s Documentary Life (1975). The thesis therefore is concerned with demythologising Shakespeare by exposing numerous “biogra-fictions.” I begin by reviewing the history and practice of biography as a narrative account of a person’s life based on primary sources. Next I assess the very limited biographical material for Shakespeare identifying the gaps, e.g. there is no record that he spent any of his childhood in Stratford or ever attended school. A historical review of writing about Shakespeare demonstrates that there were no serious attempts to reconstruct his life during the seventeenth and eighteenth centuries, merely some comments and unverifiable anecdotes. I demonstrate that the greatest Shakespearean scholar, Edmond Malone, realised that no narrative account of Shakespeare’s life was possible. I show how the earliest biographies of Shakespeare emerged in the 1840s in line with the Victorian need to identify national heroes. Schoenbaum’s deeply flawed study has greatly influenced academics who have followed his structure and myths in their own biographies. My analysis of the contrasting descriptions of Shakespeare’s relationships with Southampton and with Jonson demonstrate that the very limited biographical material can only be expanded through speculation and inference. Finally, I propose that study of Shakespeare’s life should be confined to discrete topics, starting from a sceptical examination of primary sources. Any attempt at an account of his life or personality amounts, however, merely to “biografiction”.
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Schlicklin, Alexandra. "Robert Joly (1928-2012) : urbaniste, moderne, intellectuel : les nouvelles figures de l'architecture." Thesis, Université de Lorraine, 2014. http://www.theses.fr/2014LORR0342/document.
Повний текст джерелаАнотація:
La thèse dresse le portrait de Robert Joly (1928-2012), et à travers lui d'une époque de renouvellement des métiers et postures de l'architecte dans les années 1960-1990 en France. Robert Joly traverse les débats majeurs de la profession et y prend souvent une part active voire militante, soit par la construction architecturale, soit par d'autres médias écrits. L'architecte diplômé des Beaux-Arts est aussi urbaniste de formation. Entre 1928 et 1957, il constitue son bagage personnel de références : le sens du territoire, le choix de l''architecture moderne nordique et l'héritage de l'urbanisme français sont les fondements de sa pratique. Entre 1958 et 1969, il explore la place de l'urbanisme dans la pratique architecturale, depuis l'aménagement et la planification territoriale jusqu'à l'intégration urbaine et paysagère des projets. Mais l'architecte construit aussi beaucoup durant cette décennie, arrivant à la fin des années 1960 à la synthèse d'une pratique architecturale complexe, hybride et riche. Ses oeuvres sont orientées dans le sens de modus operandi viables, permettant à la modernité architecturale de perdurer en l'acclimatant à des contextes géographiques, humains et culturels. A partir du milieu des années 1960, il s'interroge avec ceux de sa génération sur le devenir de la modernité en crise, et sur l'évolution des rôles de l'architecte. De nouvelles pratiques s'ouvrent alors, dont l'assistance architecturale et la recherche. L'architecte continue de construire, s'intéressant à l'apport des sciences humaines dans les bâtiments. L'engagement de l'architecte comme intellectuel passe encore par le militantisme politique, et par l'écriture et l'enseignementThe thesis draws up the portrait of Robert Joly (1928-2012), and through him one time of renewal of the trades and postures of the architect in the years 1960-1990 in France. Robert Joly crosses the major debates of the profession and often takes an even militant active part there, either by architectural construction, or by other media. The graduate architect of the Art schools is also town planner of formation. Between 1928 and 1957, it constitutes its personal luggage of references: the taste of the territory, the choice of L '' modern architecture Scandinavian and the heritage of French town planning. Between 1958 and 1969, it explores the place of town planning in practice architectural, since installation and territorial planning until the urban and landscape integration of the projects. But the architect builds also much during this decade, arriving at the end of the years 1960 at the synthesis of an architectural practice complexes, hybrid and rich. Its works are directed in the viable direction of modus operandi, making it possible architectural modernity to continue by acclimatizing it to geographical, human and cultural contexts. From the middle of the years 1960, he wonders with those of his generation on becoming to it modernity in crisis, and about the evolution of the roles of the architect. New practices open then, of which architectural assistance and research. The architect continues to build, being interested in the contribution of the social sciences in the buildings, in link with the claims carried per May 68. The commitment of the architect as intellectual still passes by the political militancy, and the writing and teaching
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Mims, Pamela J., Melissa E. Hudson, and Diane M. Browder. "Using Read-Alouds of Grade-Level Biographies and Systematic Prompting to Promote Comprehension for Students With Moderate and Severe Developmental Disabilities." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/299.
Повний текст джерелаАнотація:
The purpose of this study was to investigate the effects of a modified system of least intrusive prompts on text-dependent listening comprehension for four middle-school-aged students with intellectual disability and autism during read-alouds of adapted grade-level biographies. A system of least intrusive prompts was modified by inserting a rule for answering questions and an opportunity to hear sections of the biography again. The procedure was evaluated via a multiple probe design across students. Outcomes indicate that all students improved listening comprehension after intervention and all students maintained high levels of correct responding 2 weeks after intervention. In addition, three students generalized skills to new biographies. The need for future research and implications for practice are discussed.
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Bullock, Edward L. "Considering the Human and Nonhuman in Literary Studies: Notes for a Biographic Network Approach for the Study of Literary Objects." UKnowledge, 2014. http://uknowledge.uky.edu/english_etds/8.
Повний текст джерелаАнотація:
In recent years critical projects spanning philosophy, the social sciences, science studies, and nearly everywhere that has employed the term ecology have engaged in thinking humans and non-humans together as collectively producing outcomes, where objects do work beyond how humans perceive or make use of them. Taking Zelda Fitzgerald’s Save Me the Waltz as its focus, this thesis explores how this reorientation might contribute to literary studies and to literary criticism more specifically. The thesis considers a notion that novels constitute objects with biographies running “against” the biographic material of their authors, mobilizes actor network theory as a manner of mapping that biographic assemblage, and tentatively develops a biographic network approach as one alternative to traditional literary interpretative practices. Attending to the novel as an actor shifts critical focus away from its interior – the “text” or content – and expands traditional literary criticism’s default practice – interpretation – and logic – mimetic representation – in hopes of facilitating a discussion of Zelda’s novel in a manner which destabilizes the overdetermined themes that continue to scaffold her imaginary. Ultimately, this work argues that a biographic network approach can prove instructive as a “method” for dealing with other texts which remain relatively obscured at the margins of literary consciousness.
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Erkers, Beatrice. "Stoner vs. Lyhne : Döden som den moderna apokalypsen." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-351973.
Повний текст джерелаАнотація:
En komparativ analys av dödsskildringar i två moderna romaner, Niels Lyhne skriven av J.P. Jacobsen och Stoner av John Williams. Diskuterar den moderna apokalypsen, utvecklingen från tidigmoderna till senmoderna romaner och Karl Jaspers gränsögonblick.
34
Navet-Grémillet, Marie-Cécile. "Penelope S. Delta et Alexandrie : une femme grecque à la confluence des langues et des cultures." Montpellier 3, 1998. http://www.theses.fr/1998MON30008.
Повний текст джерелаАнотація:
Pénélope Delta (1873-1941) s'inscrit parmi les écrivains liés à l'Alexandrie des temps modernes. Inconnue à l'étranger, elle est réputée en Grèce comme première démoticiste de la littérature enfantine et comme auteur engagé dans les luttes qui ont jalonné la Grèce de son temps. Or, elle a passé l'essentiel de sa vie, et la part la plus marquante, dans cette cité cosmopolite, ouverte sur le monde, mais isolée entre mer et désert. A travers ses oeuvres autobiographiques en cours de publication, cette femme qui se voulait grecque avant tout se révèle une véritable Alexandrine. De la ville mythique de Cavafy, Durrell, Forster, Ungaretti et Tsirkas, la fille du richissime et omnipotent Em. Benaki donne une autre image : une Alexandrie au quotidien, vue par une enfant puis une femme prisonnière de la haute bourgeoisie alexandriote qui fondait sa richesse et son pouvoir sur le commerce du coton. Vision aussi partielle et partiale que les autres. Longtemps restée en marge et redécouverte récemment à l'occasion de la question macédonienne qui occupe largement son oeuvre, c'est sous un autre angle que Pénélope Delta apparaît dans ses relations avec son Alexandrie natalePenelope Delta (1874-1941) must be looked as one of the writers linked to modern Alexandria. Unknown abroad, she is famous in Greece for having been the first person who wrote in demotic for children and as an author she was involved in the fights that punctuated Greece's history in her own time. In fact, she sent the most important part of her life in this cosmopolitan city, open to the world but apart, between sea and sand. Reading her autobiography in process of publishing, one would discover as a true Alexandrine this woman who wanted above all to be recognized as a Greek. The mythic town of Cavafy, Durrell, Forster, Ungaretti and Tsirkas is pictured in another way by the daughter of wealthy and powerful Emmanuel Benákis : an everyday Alexandria, seen by a child and then a woman from the jail of the Alexandriot upper-class whose richness and power was based on tie cotton trade. Vision as partial as the others. Left on the fringe for a long time and recently brought back to topical literature with the Macedonian problem widely exposed in her books, Penelope Delta is revealed from another point of view through her relationships with her birthplace, her own Alexandria
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Viana, Huendel Junio. "Jurandir Ferreira: o escritor escondido - biografia, seleção de textos e catálogo bibliográfico." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-22052007-135951/.
Повний текст джерелаАнотація:
Esta dissertação, composta de três volumes (I. Biografia; II. Seleção de textos; e III. Catálogo bibliográfico), tem como objetivo resgatar a figura do escritor mineiro Jurandir Ferreira (1905-1997), contextualizando-o no cenário cultural de Poços de Caldas, cidade em que nasceu e residiu a maior parte da vida. Baseia-se para tanto em uma pesquisa de campo desenvolvida entre 1998 e 2005 (durante a Iniciação Científica e parte do Mestrado), composta basicamente de três etapas: 1. Consulta ao acervo do escritor; 2. Reunião e organização de textos de e sobre ele dispersos em periódicos; e 3. Entrevistas com escritores, amigos e familiares do autor. A literatura na estância balneária de Poços tardou a ultrapassar as ralas manifestações de jornal, devido, em grande parte, a uma cultura de entretenimento que os cassinos instalaram por lá. O primeiro romance só apareceu em 1948, com a edição de O céu entre montanhas, de Jurandir Ferreira. O autor incluído entre Os 18 melhores contos do Brasil, editado pela Bloch em 1968 publicou ainda coletâneas de contos, crônicas e poesias, além de um segundo romance e da novela Um ladrão de guarda-chuvas, que lhe valeu o Prêmio Guimarães Rosa de 1994. Do conjunto de sua obra onze títulos publicados em geral por editoras paulistas, como Martins, Saraiva e Duas Cidades destacam-se as crônicas, traçadas com estilo leve e seguro, que compõem o painel de uma vila interiorana, com sua gente, seus costumes e suas transformações. Ao refazer o percurso da vida intelectual de Jurandir Ferreira, nota-se que, paralelamente à carreira de escritor, ele se empenhou em construir um sistema literário orgânico em Poços, podendo ser considerado, pelo seu enorme esforço, o principal divulgador da literatura moderna naquelas regiões montanhosas.This dissertation, composed of three volumes (I. Biography; II. Selection of texts; and III. Bibliographical catalog), aims to rescue the writer\'s personality of Jurandir Ferreira (1905-1997), bring him in to the cultural scenery context of Poços of Caldas, city he was born and lived most part of his life. This work was based in the field research developed between 1998 and 2005 (during the Scientific Initiation and part of the period of the Master\'s degree), an it was composed basically of three stages: 1.Studies of the writer\'s collection; 2. Organization of texts of and about him dispersed in periodical publication; and 3. Interviews with writers, friends and the authors family. The literature in the Watering Place of Poços delayed to cross the insipient manifestations of newspaper, due, mostly, the culture of entertainment that the casinos installed in the city. His first novel only appeared in 1948, with the edition of O céu entre montanhas, of Jurandir Ferreira. The author included among the eighteen better short story of Brazil, edited by Bloch in 1968 published so far collections of stories, chronicles and poetries, besides a second novel and of the fiction Um ladrão de guarda-chuvas, in which he was awarded the Guimarães Rosa prize in 1994. From the collection of his work eleven titles published in general by publishers from São Paulo, as Martins, Saraiva and Duas Cidades the most important are the chronicles, written with soft and safe style, that composes a picture of a countryside village, their people, their habits and their transformations. When we reestablish the trajectory of Jurandir Ferreira\'s intellectual life, we realized that, parallel to writer\'s career, he fought to build an organic literary system in Poços de Caldas, and we could consider him, by his enormous effort, the main divulger of the modern literature in those mountainous regions.
36
Hui, Ching, and 許楨. "Modern transformation of the Huizhou merchant : Wu Jim-pah (1850-1927) the Mandarin-capitalist in late Qing Tianjin." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hdl.handle.net/10722/207899.
Повний текст джерелаАнотація:
Contrary to the significance that HSBC and its comprador office made on
the modernisation in China at the turn of the 19th and the 20th Century, studies
about the Bank’s expansion in the Beijing-Tianjin area were exceptionally limited.
In this research, the importance of HSBC’s expansion to North China in the 1880s
will be primarily examined by the Bank and its comprador office’s roles in the
railways development in North China.
During this process, Wu Jim-pah, as the first comprador of HSBC in
Tianjin, offered significant aids in establishing HSBC’s collaboration with the
Qing Court and the influential Bei-yang Ministry under Li Hong-zhang’s
administration. This research is going to examine Wu Jim-pah’s career and
personal development in late Qing Huizhou, Suzhou, Shanghai, Tianjin and
Beijing, so as to answer a series of questions related to China’s social-economic
reforms and its earliest capitalists’ formation at the turn of the centuries.
Moreover, acts as the first academic study focusing on Wu Jim-pah’s
participation in the early modernisation projects of late Qing China, this research
put the collection and classification of historical materials in the central place. The
findings of primary resources from the archives in China and overseas, namely,
the Institute of History and Philology of Academia Sinica in Taipei, the National
Library of China, the Shanghai Library, the Southwest Jiao-tong University, the
Tianjin Academy of Social Sciences (TASS), the HSBC Group Archives, London
School of Oriental and African Studies (SOAS), as well as the Public Record
Office at Kew, London, could be regarded as the most valuable part of this
research.published_or_final_version
Humanities and Social Sciences
Doctoral
Doctor of Philosophy
37
Durrant, Michael William. "Writing and rewriting Henry Hills, printer (c. 1625-1688/9)." Thesis, University of Manchester, 2015. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:263877.
Повний текст джерелаАнотація:
In recent years a number of important studies have emerged that focus on the lives of the human agents who operated in the early-modern book trade. This marks a scholarly shift away from the technologies of book production towards the figures who operated, profited from, and helped to shape, print technologies and their related products. In this critical movement the identities of printers, publishers, and booksellers have come to matter, both in terms of our understanding of what constitutes ‘print culture,’ and in efforts to narrativise the history of the book. However, although scholars have become increasingly familiar with a critical vocabulary that links early-modern print with textual transience, and the archive with paradigms associated with absence, disputation, and authenticity, biographies related to the lives of book-trade professionals have tended to privilege the representational stability of the documentary evidence we use to reconstruct past lives. This thesis aims to address this critical vacuum by analysing the life and career of one highly controversial, although critically neglected, 17th-century printer, Henry Hills (c. 1625-1688/9). By drawing together methodologies associated with bibliography, the history of the book, and the study of literatures, the thesis seeks to self-reflexively respond to the absences, doublings, missing or fabricated texts, revisions, accretions, and amendments that seem to mark, and have come to shape, the story of Hills’ life. Theories and approaches associated with the materiality of early-modern lives, critical biography, and the archive are used to fully explore the way Hills functioned both in his own time and after as a metonymic figure who has been actively written and rewritten with different historically specific agendas in mind. Ideas of elusiveness, how his contemporaries struggled to represent Hills, and the problem of locating him in the documentary evidence, are also investigated. In the process this thesis casts new light not only on Hills but on the 17th-century printing trade and the printer as a cultural emblem, 17th-century history and culture, and the way we research lives in the early modern period. Each of the chapters of this thesis discusses archival sources that critical biography and bibliography have traditionally looked to for biographical details of Hills’ life. These include a Particular Baptist confession-cum-conversion account entitled The Prodigal Returned, said to have been composed by Hills in 1651 while he served a prison sentence in the Fleet for adultery. I also discuss three accounts of Hills’ high-profile conversion to Catholicism in the mid-1680s, which were authored between 1684 and 1733. The thesis provides a detailed analysis of a conspiracy story, first published in 1697, which posthumously cast Hills as a key player in a bibliographical scandal that is said to have taken place in 1649. I also pay close attention to Hills’ last will and testament, a document that spawned a number of very public legal contestations amongst members of the Hills family. Through a close, historicised reading of these materials, this thesis adds new discussions of the way in which Hills was read and contested by his contemporaries, later historians, and bibliographers, and throughout I retain a sense of the highly mediated nature of the evidence we use to reconstruct Hills biographically, while stressing his importance in the cultural imagination of the period.
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Walfish, Miriam. "Rabbi Moses Sofer and his response to religious reform." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55667.
Повний текст джерела
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Oliveira, Simone Borges Camargo de. "Eurico Calixto de Godoi na formação da arquitetura moderna em Goiânia." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/8645.
Повний текст джерелаАнотація:
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
The dissertation presents a study concerning the presence of the architectural work of Eurico Calixto de Godoi in the developing of the modern architecture in Goiania, through the analysis of the possible historical links between the urban landscape and the formation process of the history of modern Brazilian architecture. The study extends through the documentation and cataloguing of his entire production between the years 1950 and 1980, and the analysis of the most significant examples between 1950 and 1960 decades. Initially it outlines the historical path of modernity, in witch the language of modern architecture develops as a response to the social and political demands of the period. By taking this route as a background context, the study of the architect's legacy unfolds at one hand by the exposure of his biography from childhood to his formal professional influences in buildings: Ministério da Educação e Cultura; Conjunto Residencial Parque Guinle; Conjunto Residencial Prefeito Mendes de Morais, Pedregulho e a Estação de Hidroaviões. On the other hand, the split is based on the use of the formal elements of the architecture developed at the Faculdade Nacional de Arquitetura e Urbanismo do Brasil, so called “arquitetura carioca” and also on the pioneer buildings of modern Brazilian architecture, as were prepared and articulated from partnerships between Lúcio Costa, Gregori Warchavchik, Le Corbusier, Oscar Niemeyer, Affonso Reidy and Jorge Moreira. It also identifies the formal and poetic components of the modern language of the buildings, the significant examples of the architect's work and highlights the connections and characteristic features of Modern Brazilian architecture belonging to the school of Rio de Janeiro. The work also formulates the question about the possible identity in the architect´s production reflecting the symbolic formation of Goiania´s landscape as a place of modern memory, especially for its leading role in the city's inclusion in the scenario of modern architecture in Brazil. Lastly, as a final consideration, there is a brief reflection on modern architecture as a relevant possibility of this memory to its preservation.
Esta dissertação estuda a presença da obra arquitetônica de Eurico Calixto de Godoi na formação da arquitetura moderna em Goiânia através dos vínculos históricos que a paisagem urbana mantém com o processo formativo da história da arquitetura moderna brasileira. Estende-se à documentação e catalogação do conjunto de sua produção entre os anos de 1950 e 1980 e à análise dos exemplares mais significativos das décadas de 1950 e 1960. Inicialmente, delineia o percurso histórico da modernidade em que se desenvolve a linguagem da arquitetura moderna como resposta às demandas sociais e políticas do período e, nesse percurso, estuda o legado do arquiteto, que se desdobra, por um lado, na exposição de sua biografia desde a infância até as influências que marcaram sua formação através dos conceitos formais contidos nos edifícios: Ministério da Educação e Cultura; Conjunto Residencial Parque Guinle; Conjunto Residencial Pedregulho (Prefeito Mendes de Morais) e Estação de Hidroaviões. De outro lado, avalia o desdobramento que ocorre em seus projetos a partir da compreensão e da materialização dos elementos formais e do léxico da arquitetura carioca desenvolvidos na Faculdade Nacional de Arquitetura e Urbanismo do Brasil e nos edifícios pioneiros da arquitetura moderna brasileira, tal como foram elaborados e articulados a partir das parcerias de: Lúcio Costa, Gregori Warchavchik, Le Corbusier, Oscar Niemeyer, Affonso Reidy e Jorge Moreira. Identifica os componentes formais e poéticos da linguagem moderna das edificações nos exemplares significativos da obra do arquiteto e destaca as conexões e os elementos característicos da arquitetura moderna brasileira pertencentes à escola carioca. O trabalho ainda indaga sobre a possibilidade de a identidade das produções do arquiteto Eurico Calixto de Godói se refletir na formação simbólica da paisagem de Goiânia como lugar de memória moderna, principalmente por seu papel preponderante na inserção da cidade no cenário da arquitetura moderna no Brasil. Por fim, e a título de consideração final, a dissertação elabora uma concisa reflexão sobre a arquitetura moderna como possibilidade de uma memória presente e pertinente à preservação.
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McKeogh, Katie. "Sir Thomas Tresham (1543-1605) and early modern Catholic culture and identity, 1580-1610." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:c6d9ffcd-570e-4334-acd4-735c656c0a1f.
Повний текст джерелаАнотація:
What did it mean to be a Catholic elite in Protestant England? The relationship between the Protestant crown and its Catholic subjects may be examined fruitfully through a study of an individual and his world. This thesis examines this relationship through the example of Sir Thomas Tresham, who has often been seen as the archetypal Catholic loyalist. It is argued that the notion of Catholic loyalism must be reconfigured to account for the complexities inherent in the relationship between Catholics and the government. The duty to honour the monarch's authority was bound up with social and national sentiment, but it often accompanied criticisms of the practice of that authority, and the ways in which it encroached on personal experience. Intractable tensions lay behind expressions of loyalty, and this thesis travels in these undercurrents of cultural, social, religious, and political conflict to investigate the nuanced relationship between English Catholics and English society. Political resistance as classically understood - actions which directly opposed and undermined government policy - risks the exclusion of culture and identity, through which resistance was redefined. It is argued that Tresham's participation in elite activities became vehicles for resistance in the Catholic context. Book-collecting, reading, and the donation of books to an institutional library are framed as forms of resistance which countered the spirit of government legislation, and provided for the continuation of a robust tradition of Catholic scholarship on English soil. Through artistic and architectural projects, Tresham found ways to participate in elite culture which were not closed off to him, and in which Catholicism and gentility could sit side by side. These activities were also avenues for resistance, whereby the erection of stone testaments to Tresham's faith defied the government's attempts to redefine Englishness and gentility in Protestant terms, to the devastation of Catholicism. These artistic works combined piety, gentility, and resistance, and, together with Tresham's two Catholic libraries, they were to be his legacy.
41
Claass, Victor. "Julius Meier-Graefe contre l'impressionnisme." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040076.
Повний текст джерелаАнотація:
Critique et historien de l’art autodidacte, mais aussi éditeur, galeriste, commissaire d’exposition, expert, courtier et infatigable homme de terrain, Julius Meier-Graefe (1867-1935) joua un rôle prééminent dans le monde de l’art européen des trente premières années du XXe siècle. Basé sur l’examination d’archives et de correspondances inédites ainsi que sur une relecture attentive de son vaste corpus d’écrits publiés, ce travail entend retracer la trajectoire d’un passeur téméraire souvent réduit à un rôle de défenseur de l’impressionnisme français dans l’Allemagne de Guillaume II. Si son progressisme francophile tout comme le formalisme de son approche des arts visuels ont parfois été soulignés, l’analyse détaillée de son implication dans le marché de l’art, le monde des musées et plus généralement, dans les débats politico-culturels de son temps, révèle une personnalité plus nuancée. Bien que méfiant envers les fantasmes identitaires des élites allemandes conservatrices, Meier-Graefe lutta sans répit pour un nationalisme d’ouverture, espérant infléchir le cours d’une culture germanique disloquée et hostile aux valeurs de la modernité. En suivant la carrière de cet Allemand cosmopolite, brutalement cisaillée par la Grande Guerre et achevée en France en exil du nazisme, cette thèse entend décrypter les mécanismes d’un projet de régénération culturelle ambitieux, impliquant actes et discours. Alternant entre phases d’enthousiasme intense et de profond désenchantement, Meier-Graefe s’y dévoile comme le chantre d’une modernité idéalisée dont il condamna obstinément les embardées avant-gardistesSelf-taught art critic and historian, but also publisher, gallery owner, curator, expert, broker and tireless field man, Julius Meier-Graefe (1867-1935) played a prominent role in the European art world of the early 20th century. Based on a close study of numerous archives and letters, as well as a careful rereading of his vast body of published work, this dissertation endeavours to retrace the life of a reckless facilitator, whose career is too often reduced to the role of “importer” of modern French art in Germany. If Meier-Graefe has been frequently identified through his progressive francophile positions and formalistic viewpoints on visual arts, a detailed analysis of his involvement in the art market and institutions—and more broadly, in the political/cultural debates of his time—reveals a richer personality. Wary of the identity concerns shared by conservative elites of the Empire, he vigorously encouraged a “positive” nationalism, hoping to adjust the course of a fragmented Germanic culture hostile to the values of modernity. Tracing the steps of a cosmopolitan German whose path was brutally affected by the outbreak of World War I, this essay examines the mechanisms of his ambitious project of cultural regeneration, involving both action and discourse. Jostled between phases of enthusiasm and deep disillusionment, Meier-Graefe emerges as the champion of an idealized modernism, whose avant-garde experiments he nevertheless severely condemned
42
Fournier-Plamondon, Anne-Sophie. "Les Anciens à travers la correspondance de Jean Chapelain (1632-1640)." Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/26221/26221.pdf.
Повний текст джерела
43
Main, Sarah. ""Enacting the Story of Her Life": The Written Legacies and Enduring Mis/Perceptions of Zelda Fitzgerald." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564749555581709.
Повний текст джерела
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Furlan, Vivian Leme. "Da escrita da vida como construção ficcional : perspectivas de leitura de Florbela Espanca, de Agustina Bessa-Luís." Universidade Federal de São Carlos, 2016. https://repositorio.ufscar.br/handle/ufscar/8142.
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Submitted by Bruna Rodrigues (bruna92rodrigues@yahoo.com.br) on 2016-10-10T14:09:31Z
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Published in 1979, the work Florbela Espanca: vida e obra, by Agustina Bessa-Luís, shows itself as a complex characterization text to fitness in a unique literary genre, due to compose, in a first aspect, a narration of life. However, it is clear that it is not just from a pure character and simply biographical, suggesting a fluid possibility between referentiality and fictional categories. For this, the presented concerns revolve around the question how Agustina’s work feed in a hybrid communion of different textual categories. Our interests are, also, observe how this kind of genre complexity is an occurrence in author conception, mainly in the Portuguese scene after the Revolução dos Cravos placing it thus in line with female authors, allowing a contemporary work analysis, in addition to their compliance with certain neobarroco procedures that approaches the textual structure to a kaleidoscope image and its effects in the whole composition.
Publicada em 1979, a obra Florbela Espanca, de Agustina Bessa-Luís, apresenta-se, a partir dos seus primeiros indícios, como um texto de caracterização complexa quanto à adequação a um gênero literário único, em virtude de constituir, numa primeira perspectiva, um relato de vida. No entanto, é nítido que o mesmo não se realiza apenas a partir de um caráter pura e simplesmente biográfico, sugerindo, portanto, uma possível fluidez entre as categorias de referencialidade e de ficcionalidade. Por este viés de leitura, o estudo apresentado gira em torno da interrogação se esta obra Agustiniana não alimentaria uma comunhão híbrida de diferentes categorias textuais. Interessa-nos observar, também, como esse tipo de complexidade genológica constitui uma ocorrência na concepção efabulatória da autora, principalmente no cenário português de autoria feminina pós-Revolução dos Cravos, permitindo, assim, uma análise contemporânea da obra, além de sua consonância com certos procedimentos estéticos neobarrocos que aproximam a estrutura textual à imagem do caleidoscópio e de seus reflexos na totalidade da composição.
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Strivens, Robert P. B. "The thought of Philip Doddridge in the context of early eighteenth-century dissent." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3636.
Повний текст джерелаАнотація:
Philip Doddridge (1702-51) was pastor of the Independent congregation meeting at Castle Hill, Northampton, and tutor of the Northampton academy from 1729 to his death in 1751. He is regarded as a leader of moderate Dissent during that period and the heir, theologically and pastorally, of Richard Baxter. He has been seen as forming a bridge between the more rational Dissenters, on the one hand, and the more conservative and orthodox wing of Dissent on the other. His thought has not, however, been the subject of a detailed analysis in the context of his time. This thesis sets out to conduct such an analysis in order to examine more closely his position within early eighteenth-century Dissent. Doddridge’s philosophical and theological views are considered in chapters two to five. Chapter two assesses the extent of his indebtedness to the philosophy of John Locke, examining also the views of Isaac Watts and showing how Doddridge and Watts modified Locke’s thought in some areas in order to accommodate Christian beliefs. In chapter three, Doddridge’s views on natural theology, natural law and reason are considered and the influence on him of Samuel Clarke, in particular, is examined. Turning to theology, chapter four looks at the use in early eighteenth-century Dissent of terms such as ‘Baxterian’ and ‘moderate Calvinist’ and then considers Doddridge’s doctrinal positions on a range of subjects which are generally considered to represent Baxterian theology. Chapter five examines Doddridge’s views on the key interconnected areas of confessional subscription, scripture and the doctrine of the Trinity. Practical subjects are then considered in chapters six to eight. Doddridge’s views on Christian piety are examined in chapter six. Chapter seven considers ways in which Doddridge sought to communicate, examining the audiences whom he aimed to reach, the ways in which he attempted to reach them and the content of what he wanted to say. The eighth chapter looks at the subject of identity and argues that Doddridge is to be viewed, not so much as a bridge between different wings of Dissent, but as a leader amongst moderate Calvinists. In conclusion, this thesis argues that Philip Doddridge sought to expound a Calvinist theology in the context of the philosophical and theological debates of his day and to promote an ordered Dissent focused on central evangelical truths and united around the language of scripture.
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Arnold, Hannah. ""A minor Atlantic Goethe" : W.H. Auden's Germanic bias." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:061fdedc-d1f0-4cb0-a4a1-59b4b27d7ef3.
Повний текст джерелаАнотація:
This thesis is an account of the poet and critic W.H. Auden's relations with Germany and Germans over the course of his life (1907-1973), presented through a selection of influences that have received little critical attention in the corpus of secondary literature to date. While these connections and influences are manifold and sometimes disparate, they can serve as a prism to tell Auden's life-story from a particular, relatively unexplored angle and to illuminate his work. The thesis is divided into three chapters. Chapter One discusses Auden’s engagement with German literature before 1928, his reasons for spending nine months in Weimar Berlin 1928-29, and the formative influence of this experience on his life and work. Chapter Two explores Auden's relationship with his 'in-laws', the famous family of Nobel Prize winning author Thomas Mann, and Auden's choice of an international life-style. Chapter Three discusses various other, later German influences on Auden: his visit to Germany with the US Army and its traces in The Age of Anxiety; issues concerning the German translation of this text; his Ford Foundation residence in isolated West Berlin; and his intellectual friendship with Hannah Arendt. Introduction and Conclusion embed these three specific chapters, deliberating the topic more abstractly. A number of appendices bring together a wide range of unpublished sources – and their translations into English, if the original is composed in German. Translations of all German appendix material can be found in the appendix itself.
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Rotermund-Reynard, Ines. "« Dieses ist ein Land, in dem ein Kunstmensch leben kann ! » : der Kunstkritiker Paul Westheim im Prozess der Akkulturation während der französischen und mexikanischen Emigration 1933-1963." Paris, EHESS, 2007. http://www.theses.fr/2007EHES0113.
Повний текст джерелаАнотація:
L'étude a pour objet la vie de Paul Westheim et son activité de critique d'art durant trente ans d'émigration en France et au Mexique. D'une part, elle retrace les différentes étapes de son exil à travers un récit biographique, notamment en analysant des sources inédites sur la période de l'internement de cet antifasciste allemand en France au début de la Seconde Guerre mondiale. D'autre part, l'étude démontre les transformations qui s'opèrent dans les conceptions de Westheim au long de son périple interculturel. Au Mexique, il devient un historien de l'art préhispanique reconnu, qui essaie de saisir les phénomènes artistiques à partir de leurs fondements spirituels et psychiques. La thèse permet en particulier d'examiner sa position esthétique, de redessiner le contexte théorique et d'analyser le phénomène de transfert culturel de ce médiateur qui n'est en soi ni artiste, ni écrivain, ni théoricien, ni historien de l'art, mais qui apporte des éclairages dans ces divers domainesThe thesis is a study of the life of Paul Westheim and his activity as an art critic during three decades of emigration in France and Mexico. A biographical study on one hand, it describes the various stages of Westheim's exile, including an analysis of unpublished texts dealing with his internment in France as a German anti-fascist at the beginning of World War II. In the realm of ideas, the thesis explores the transformations that occurred in Westheim's ideas as a result of his intercultural experience. Recognized in Mexico as a historian of pre-Hispanic art, he sought to understand artistic phenomena as an expression of their spiritual and psychic origins. The study focuses on Westheim's esthetic position, re-examining the theoretic context of his thought and analyzing the phenomenon of cultural transfer as illustrated by a man of the arts, who himself was neither artist, nor writer, nor theorist, nor art historian, but a mediator whose works shed light on all these domains
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Dieterich, Danielle May. "Andy Warhol's Utilization of inter/VIEW Magazine as a Self Promotional Marketing Tool Updated to a Social Media Strategy For Artists in Today's Technological Age." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1452949628.
Повний текст джерела
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Coulbeaux-Le, Hüerou Armelle. "Baudri, archevêque de Dol et hagiographe (1107-1130) : édition, traduction et commentaire de quatre textes en prose." Rennes 2, 2006. http://www.theses.fr/2006REN20033.
Повний текст джерелаАнотація:
Baudri, abbé de Bourgueil puis archevêque de Dol en Bretagne (1107-1130) est l'auteur de textes hagiographiques en prose rimée qui demeurent jusqu'à présent largement méconnus : ils sont tributaires d'éditions anciennes et lacunaires ou encore inédits. Ces sources hagiographiques, réécritures et œuvres de première main, méritent pourtant d'être portées à la connaissance des historiens autant parce qu'elles sont en mesure de renseigner l'histoire de la période à laquelle elles ont été composées que parce que toutes, à un moment ou autre, ont servi de sources à l'historiographie et à la liturgie de sanctuaires importants, notamment en Normandie. Elles contribuent également à renouveler la connaissance de l'histoire complexe du siège métropolitain de Dol au début du XIIe s. Et constituent un précieux témoignage sur le " métier " d'hagiographe. L'édition de ces textes, l'étude de leur histoire et leur traduction devraient maintenant les ranger parmi les sources hagiographiquesBaudri, abbot of Bourgueil then archbishop of Dol in Brittany from 1107 to 1130, is the author of hagiographical prose texts remaining for the most part unsung: they rely on old and incomplete editions or are merely unpusblished. These hagiographical sources, either rewritings or originals, deserve to be brought to attention of historians, both because they can provide informations on the history of the period during which they were composed and because they all were used at one time or an other as sources for the historiography and liturgy of important sanctuaries, particularly in Normandy. Moreover, they contribute to the knowledge of the complex history of the Metropolitan see of Dol in the beginning of the Twelfth Century and are also a valuable testimony on hagiographical craftmanship. Establishing the texts, studying their history as well as providing a translation should allow the prose hagiographical sources to be considered as evidences for the history of this period
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Salazar, Gregory Adam. "Daniel Featley and Calvinist conformity in early Stuart England." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278216.
Повний текст джерелаАнотація:
This thesis examines the life and works of the English Calvinist clergyman Daniel Featley (1582-1645) through the lens of various printed and manuscript sources, especially his manuscript notebooks in Oxford. It links his story and thought to the broader themes of early Stuart religious, political, and intellectual history. Chapter one analyses the first thirty- five years of Featley’s life, exploring how many of the features that underpin the major themes of Featley’s career—and which reemerged throughout his life—were formed and nurtured during Featley’s early years in Oxford, Paris, and Cornwall. There he emerges as an ambitious young divine in pursuit of preferment; a shrewd minister, who attempted to position himself within the ecclesiastical spectrum; and a budding polemicist, whose polemical exchanges were motivated by a pastoral desire to protect the English Church. Chapter two examines Featley’s role as an ecclesiastical licenser and chaplain to Archbishop George Abbot in the 1610s and 1620s. It offers a reinterpretation of the view that Featley was a benign censor, explores how pastoral sensitivities influenced his censorship, and analyses the parallels between Featley’s licensing and his broader ecclesiastical aims. Moreover, by exploring how our historiographical understandings of licensing and censorship have been clouded by Featley’s attempts to conceal that an increasingly influential anti- Calvinist movement was seizing control of the licensing system and marginalizing Calvinist licensers in the 1620s, this chapter (along with chapter 7) addresses the broader methodological issues of how to weigh and evaluate various vantage points. Chapters three and four analyse the publications resulting from Featley’s debates with prominent Catholic and anti-Calvinist leaders. These chapters examine Featley’s use of patristic tradition in these disputes, the pastoral motivations that underpinned his polemical exchanges, and how Featley strategically issued these polemical publications to counter Catholicism and anti-Calvinism and to promulgate his own alternative version of orthodoxy at several crucial political moments during the 1620s and 1630s. Chapter five focuses on how, in the 1620s and 1630s, the themes of prayer and preaching in his devotional work, Ancilla Pietatis, and collection of seventy sermons, Clavis Mystica, were complementary rather than contradictory. It also builds on several of the major themes of the thesis by examining how pastoral and polemical motivations were at the heart of these works, how Featley continued to be an active opponent—rather than a passive bystander and victim—of Laudianism, and how he positioned himself politically to avoid being reprimanded by an increasingly hostile Laudian regime. Chapter six explores the theme of ‘moderation’ in the events of the 1640s surrounding Featley’s participation at the Westminster Assembly and his debates with separatists. It focuses on how Featley’s pursuit of the middle way was both: a self-protective ‘chameleon- like’ survival instinct—a rudder he used to navigate his way through the shifting political and ecclesiastical terrain of this period—and the very means by which he moderated and manipulated two polarized groups (decidedly convictional Parliamentarians and royalists) in order to reoccupy the middle ground, even while it was eroding away. Finally, chapter seven examines Featley’s ‘afterlife’ by analysing the reception of Featley through the lens of his post-1660 biographers and how these authors, particularly Featley’s nephew, John Featley, depicted him retrospectively in their biographical accounts in the service of their own post-restoration agendas. By analysing how Featley’s own ‘chameleon-like’ tendencies contributed to his later biographers’ distorted perception of him, this final chapter returns to the major methodological issues this thesis seeks to address. In short, by exploring the various roles he played in the early Stuart English Church and seeking to build on and contribute to recent historiographical research, this study sheds light on the links between a minister’s pastoral sensitivities and polemical engagements, and how ministers pursued preferment and ecclesiastically positioned themselves, their opponents, and their biographical subjects through print.