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1
Johansson, Richard. "Natural language processing methods for automatic illustration of text /." Lund : Department of Computer Science, Lund Institute of Technology, Lund University, 2006. http://www.df.lth.se/~richardj/pdf/richard-lic.pdf.
Повний текст джерела
2
Água-Mel, Diana Pedra. "Richard Serra." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2013. http://hdl.handle.net/10400.5/12018.
Повний текст джерелаАнотація:
Dissertação de Mestrado para obtenção do grau de Mestre em Design de Moda, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.O presente projecto de investigação tem como principal objectivo o desenvolvimento de uma colecção de design de moda com base no pensamento projectual de Richard Serra (1939), assente na Process Art.Trata-se de um projecto de cariz prático, no qual as principais metodologias utilizadas foram a pesquisa bibliográfica dos dois temas, seguida da análise de obras específicas de Serra na área do desenho e na área da escultura. Deste processo resultou o desenvolvimento do projecto, um conjunto de seis coordenados de vestuário feminino, apresentados ao público sob forma de dois desfiles e um editorial fotográfico. O documento divide-se em duas fases. Na primeira, teórica, é investigado o movimento Process Art no contexto do pensamento projectual de Richard Serra. A segunda, prática, trata a análise de obras e consequente projecto. No trabalho foram consideradas as seguintes obras de Serra: na área do desenho Verb List (1967-68), Pittsburgh (1985), No Mandatory Patriotism (1989), The American Flag is Not an Object of Worship (1989), Blank (1978), Union (2011) e Two Corner Cut: High Low (2012); na área da escultura, The Matter of Time (2005) e Equal-Parallel: Guernica- Bengasi (1986). Em relação à Process Art, esta foi usada como parte inerente (metodologia) do pensamento projectual do design de moda até ao termo da investigação. Para além da concepção da colecção, é perceptível ao longo do documento o processo intrínseco que a constrói desde as primeiras experiências até aos desenhos finais.
ABSTRACT: This research project has as main purpose the development of a fashion design collection based on the project-thinking of Richard Serra (1939), which relies on Process Art. It is a project-oriented work in which the main methodologies used were a literature review of the two themes and the analysis of specific works of Serra in drawing and sculpture areas. This has led to the development of the collection, a set of six outfits of female clothing, presented to the public in the form of two catwalk shows and a photography editorial. The document is divided into two phases. The first, theoretical, investigates the Process Art movement in the context of Richard Serra’s project-thinking. The second part, practical, analyzes certain works of art and the consequent project. For the project the following works of Serra were considered: in the drawing area Verb List (1967-68), Pittsburgh (1985), No Mandatory Patriotism (1989), The American Flag is Not an Object of Worship (1989), Blank (1978 ), Union (2011) and Two Corner Cut: Low High (2012). In the sculpture area The Matter of Time (2005) and Equal- Parallel: Guernica-Bengasi (1986). Regarding Process Art, this was used as an inherent part (methodology) of the project-thinking until completion of the investigation. In addition to the design of the collection, is noticeable throughout the document the intrinsic process that builds from the earliest experiments to the final designs.
3
Müller-Kelwing, Karin. "Richard Schmidt." Böhlau Verlag, 2020. https://slub.qucosa.de/id/qucosa%3A75067.
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4
Törnell, Mattias. "Richard Pages Sound." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-27178.
Повний текст джерелаАнотація:
Fem låtar från Richard Pages skiva Peculiar Life har analyserats med syfte att ta reda på vad det är som ger dem dess sound. Analyserna har gjorts genom läsning av bookleten till skivan, informationssökning på internet, genom att titta på videodagbok från inspelning av skivan och genom att lyssna på låtarna. Analyserna har delats upp i kategorierna skriven information, video, utrustning och låtanalyser. Analyserna har visat att alla led i produktionen har stor betydelse för slutresultatet. Informationen som samlats in har använts till att återskapa soundet genom att komponera, arrangera, producera, spela in och mixa fem egna låtar baserat på analyserna. En undersökning gjordes med en grupp bestående av 66 gymnasieelever på estetiskt program med syfte att ta reda på om de egenkomponerade låtarna har samma sound som referensmaterialet. Ljudklipp från referenslåtarna och de egenkomponerade låtarna spelades upp tätt efter varandra varpå eleverna fick besvara en lyssnarenkät som tagits fram. De kategorier som betygsattes i enkäten var harmonier, arrangering och produktion. På enkäten fanns en förklaring av kategorierna. Resultatet från enkäten har sammanställts och analyserats och visar på ett delvis lyckat genomförande inom samtliga bedömningskategorier. Det första låtparet fick högt betyg, det andra låtparet fick medelbetyg och det tredje låtparet högt betyg.
5
BRITTO, ANA BEATRIZ RODRIGUES DE. "RICHARD SERRA: SCULPTURE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=35327@1.
Повний текст джерелаАнотація:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES
Cet article a l intention d analyser l ouevre du sculpteur nord-américain Richard Serra à partir de sa formation aux États-Unis et du contexte culturel de la deuxième moitié du XXème siècle, lorsqu il il a commencé sa carrière à New York. Cette étude propose également de mettre en valeur l importance de la materialité dans les ouevres de Richard Serra, la présence affirmative de ses sculptures, ainsi que la notion spatiale en tant que extension sociale et les liens avec son environment. Cela montre un regard contemporain en reaffirmant les aspects de l espace réel de son ouevre. Cette étude etablit des rélations entre ses sculptures et des métiers divers, ainsi, l art devient porte-parole critique de son propre temps et lieu d experimentations de nouvelles propositions artistiques. La recherce chemine à cotè de la thématique à propos du sujet de l espace qui traverse toute l ouvre de l artiste. Pour autant, la pensée de Richard Serra sur la sculpture est celle autour de l espace comme place de l experience perceptive et politique du monde. Voici le propos principale de mes arguments et ce qui conduit cette recherche.
Esta dissertação pretende analisar a obra do escultor norte-americano Richard Serra tomando como ponto de partida sua formação na América e o contexto cultural da segunda metade do século XX quando iniciou sua trajetória em Nova York. O estudo também propõe evidenciar a importância da materialidade das suas esculturas, da noção de espaço como extensão social e as articulações decorrentes da obra com o seu entorno. Isto denota uma posição contemporânea redefinindo aspectos do espaço real. O estudo estabelece relações entre suas esculturas e várias áreas do conhecimento, o que se insere no contexto histórico de arte como experiência crítica de seu tempo e experimentação de novas propostas artísticas. A pesquisa multidisciplinar acompanha, em seus desdobramentos, a questão do espaço que, de um modo ou de outro, atravessa toda a dinâmica da obra do artista. O pensamento de Richard Serra sobre escultura é um pensamento sobre espaço enquanto lugar da experiência perceptiva e política do mundo. É esta a linha de argumentação apresentada.
6
Burnes, John. "Playing Richard Burton." Digital Commons at Loyola Marymount University and Loyola Law School, 1995. https://digitalcommons.lmu.edu/etd/604.
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7
McShaffrey, Brandon. "DIRECTING RICHARD III." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/188107.
Повний текст джерелаАнотація:
TheaterM.F.A.
Richard III is regarded as one of Shakespeare's longest and most complex plays, with a complicated plot, and a character that is a Machiavellian villain. After a workshop of Act I as an MFA Directing Project, I was granted by Temple University to stage a full production of Richard III as my thesis. Approaching the play proved difficult for me due to my lack of experience with Shakespearean text. However, by analyzing Shakespeare's text, and approaching the adaptation with the goal to make the story as clear as possible, I desired to create a production that embodied the idea of "now." The designed team and I created a world that was a-historic pulling from classic and modern forms that provided the necessary landscape for the play to occur. Through a series of seven chapters I explain my process from conception to production. I also evaluate my growth as a director during this artistic achievement. A Director's Script, Actor's Lexicon, Program Note, Design Renderings and Production Photos support my journey to opening night of Richard III.
Temple University--Theses
8
Palmer, Erik Arthur. "Seeing Richard Avedon /." Connect to title online (ProQuest), 2008. http://proquest.umi.com/pqdweb?did=1537006421&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
Повний текст джерелаАнотація:
Thesis (Ph. D.)--University of Oregon, 2008.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 307-321). Also available online in ProQuest, free to University of Oregon users.
9
Lundius, Janna. "Richard Wagner, Parsifal." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-172846.
Повний текст джерелаАнотація:
The purpose of this thesis is to present a context and background to thepractical design aspect of my work. I considered this project to be anexperiential journey in search of a way to make Wagner's Parsifal relevantand interesting in relation to my own life and personal sensibilities. My aimwas to use the music as my guide and my hope was to reach a scenographicsolution by following my intuition. This project has been an important step inmy development as an artist and designer and I feel it has strengthened thebond between my conscious and subconscious mind, giving me theconfidence to trust my feelings and harness them to come up with innovativeinterpretations translated into inventive designs
10
Brun, Markus. ""Actus purus principii caritative diligentis" : trinitarische Theologie bei Bonaventura und ihr Ursprung bei Dionysius Pseudo-Areopagita und Richard von St.-Victor /." [S.l.] : [s.n.], 2005. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783638924177.
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11
Minden, Frank [Verfasser], and Richard [Verfasser] Götze. "Richard Götze (1890-1955) Leben und Werk / Frank Minden, Richard Götze." Hannover : Stiftung Tierärztliche Hochschule Hannover, 2013. http://d-nb.info/1179206525/34.
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12
Štollová, Jitka. "'Richard would outlive his overthrow' : post-Shakespearean representations of Richard III." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/283488.
Повний текст джерелаАнотація:
The popular image of Richard III remains, even today, deeply indebted to Shakespeare's portrayal; however, the century following the publication of Shakespeare's play in 1597 witnessed a fresh and vibrant re-evaluation of this character in a diverse range of texts from poems and history works to pamphlets. While many authors still perpetuated the negative Tudor image, original writings challenged this ingrained view and resulted in a more nuanced assessment of Richard III than the one pervading the sixteenth century. The present thesis investigates a range of seventeenth-century texts about Richard III which shed new light on the reception of Shakespeare's play, bring unique testimony to the contemporary understanding of tyranny, and capture specific social and political anxieties of the period: the end of the Tudor dynasty, the conflict between the Crown and Parliament culminating in the Civil Wars, and the execution of Charles I. These texts offer a fuller picture of the contemporary literary-political climate, while illuminating the role of historical memory in forming national consciousness, including the forging and dismantling of myths. The thesis analyses seventeenth-century responses to Richard III in historiography, legal and constitutional debates, poetry, plays, and the visual arts. The first two chapters demonstrate that historians and legal theorists during the Stuart reign and the Civil Wars proved unexpected advocates of Richard III. Challenging the traditional narrative of Tudor chronicles, they reappraised Richard's election by parliament and his moderate taxation policies and contrasted them with the controversial high-taxation programmes of the Stuarts. The third chapter offers a re-evaluation of Richard's portraits which betray hitherto unnoticed marks of ageism as a symbol of governmental inadequacy. The chapter explores visual art as a distinct incarnation of historical commentary. Chapter four examines the depictions of Richard's conscience in poems by Richard Niccols and Christopher Brooke. The final two chapters analyse two extensive poems on Richard III. John Beaumont's 'Bosworth Field' (1629) offers an original account of the battle and Richard III as a study of patriotism and leadership. Thomas Wincoll's Plantagenets Tragicall Story (1649) transforms Richard III into a vehicle of anti-Cromwellian political allegory in the time of the regicide. By reconstructing the life of Wincoll, a royalist poet from a puritan family, the chapter outlines the contradictory nexus of convictions which underlie Civil War literature. Overall, my thesis argues that Richard III evolved from the plainly negative tyrant of Tudor chronicles to a more complex figure, resulting in a more original and balanced portrayal of his character in the seventeenth century.
13
Minden, Frank Verfasser], and Richard [Verfasser] [Götze. "Richard Götze (1890-1955) Leben und Werk / Frank Minden, Richard Götze." Hannover : Stiftung Tierärztliche Hochschule Hannover, 2013. http://d-nb.info/1179206525/34.
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14
Choate, Evan Wallace. ""Unborn and unbegot" : Richard III, Edward II, Richard II, and queer history." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44878.
Повний текст джерелаАнотація:
In my thesis, I treat Shakespeare’s Richard III, Marlowe’s Edward II, and Shakespeare’s Richard II as a queer sequence of history plays, or a kind of co-authored triptych, by reading their influences on each other and focusing on the iterative elements of their writing of history. I describe in my thesis how the queer affects, desires, and pleasures in these plays are integral to a History – the shared knowledge and impressions of a British national past – from which they are and have been systematically excluded.
15
Cooper, Tim. "Richard Baxter and antinomianism." Thesis, University of Canterbury. History, 1997. http://hdl.handle.net/10092/4490.
Повний текст джерелаАнотація:
In the following pages the soteriological and literary career of Richard Baxter (1615-
1691) is charted vis-a-vis seventeenth-century English Antinomianism, an increasingly
marginalised doctrine of justification by faith alone without works through the
imputation of Christ's righteousness to the believer. Whereas historians have previously
seen this doctrine as a by-product of high Calvinism, this thesis argues that it found its
origins in Luther; and where they contend that the Antinomians (such as Tobias Crisp or
John Saltmarsh) were radical subversives, this thesis responds by demonstrating their
conservative aspirations.
Antinomianism provides a valuable marker with which to measure Baxter's
progress through the seventeenth century. Essentially, this thesis explains why his
personality and convictions reacted so heatedly to Antinomianism; it establishes the
pattern whereby his fear of Antinomianism waxed and waned on three occasions
throughout his life; it accounts for his fear, by linking it to the context of the 1640s,
where law and obedience seemed everywhere under threat; it assesses the nature of his
various attempts to eradicate Antinomian doctrine wherever he found it; and, finally, it
describes the effect of his encounters with Antinomianism on his own soteriology. None
of this has ever been explored in detail.
This study draws on a wide range of published and private source material, by
Baxter, the "Antinomians" and their opponents alike. It begins by surveying Baxter's
enormous historiography; it then sets Antinomianism in its historical context, before
distilling the personal reasons why Baxter found it so objectionable. Its second half
surveys Baxter's career in the light of Antinomianism, describing its recrudescence in the
later seventeenth century and Baxter's attempts to beat it back. Ultimately, it seeks to
show why Antinomianism is a valuable spotlight that throws new illumination on both
Richard Baxter and his seventeenth-century English world.
16
Russell, Andrea. "Richard Hooker : beyond certainty." Thesis, University of Nottingham, 2010. http://eprints.nottingham.ac.uk/11335/.
Повний текст джерелаАнотація:
For over four hundred years Richard Hooker has been firmly attached to the Church of England and his life and writings used to promote and preserve that institution’s self-understanding. Consensus as to his theological beliefs and ecclesiastical loyalties has, however, never been reached – even though each generation of scholars has claimed to discover the 'real' Richard Hooker. In spite of the differing, and often conflicting interpretations, there have been several constants – beliefs about Hooker and his work that have remained virtually unchallenged throughout the centuries. The aim of this thesis has been to examine three of those aspects and in so doing ascertain whether their truth is more assumed than proven. The first of these assumptions is the fundamental belief that Hooker is attached securely to the English Church and that their identities are so interwoven that to speak of one is to speak of the other. The second is that Hooker’s prose – his unique writing style and powerful rhetoric – can be ignored in the process of determining his theology. And thirdly, the widely-held belief that, as the 'champion of reason', Hooker’s faith is essentially rational and that God is perceived and experienced primarily through the intellect. Challenging the truth of each of these statements leads to an uncertainty about Hooker that, rather than negating scholarship, allows research to be liberated from the dominance of categorisation. Such a change would acknowledge that Hooker's theology transcends Anglican studies and would allow his radical thinking to reach a wider audience.
17
Sosa, Paolo, and la Puente Lorena De. "Entrevista a Richard Snyder." Revista de Ciencia Política y Gobierno, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/54098.
Повний текст джерелаАнотація:
Richard Snyder es profesor de Ciencia Política y Director del Centro de estudiospara América Latina y el Caribe de la Brown University, Providence, RI, USA. Snyder es autor de varios libros y artículos sobre temas de economía política y desarrollo, regímenes políticos y métodos de investigación en política comparada. En esta entrevista Paolo Sosa y Lorena De la Puente conversan con él sobre su recorrido en el campo de la Ciencia Política y su perspectiva sobre el desarrollo de esta disciplina en América Latina.
18
Berberich, Stefanie. "Die Philosophie Richard Rortys /." Saarbrücken : [S. Berberich], 1991. http://catalogue.bnf.fr/ark:/12148/cb354995423.
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19
Stoffle, Richard W. "Testimony of Richard Stoffle." University of Arizona Libraries, Special Collections, 2014. http://hdl.handle.net/10150/316421.
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20
Bártek, Michael. "Richard Wagner a varhany." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177695.
Повний текст джерелаАнотація:
The Czech organist Michael Bártek presents the thesis Richard Wagner and the organ. Penetration of the Work of the Genius from Bayreuth into the Music for Organ as a graduate master thesis in studies on musical faculty of the Academy of Performing Arts in Prague.
This thesis concerns itself with the relationship between Richard Wagner and the organ, a relation which is, despite no specific composition from the maestro for organ, surprisingly rich, and which seems thus far unexplored. Considering the impending bicentenary of the composer (and the 130th death anniversary), the theme deserves to be elaborated on.
The author reviews the direct relationship of Wagner and the organ, with his influences on composers for organ, as with, for example, the issue of transcription, at first more general, later more focused on Wagner.
21
Turnbull, Amy Alizabeth. "Richard stoltzman: defying categorization." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2781.
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22
Hampus, Sofia. "Lansering av The Richard Juhlin Champagne Club Introducing The Richard Juhlin Champagne Club." Thesis, Högskolan Dalarna, Grafisk teknik, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4122.
Повний текст джерелаАнотація:
Richard Juhlin är världens främste champagneexpert. Han har tillsammans med ett antal andra aktörer startat The Richard Juhlin Champagne Club. Det är en klubb för den totala champagne älskaren. De vill utveckla sin webbplats och därmed knyta an fler medlemmar till klubben. Detta arbete innebär att skapa en ny design, se över struktur och gränssnitt för sidan samt att bilder ska uppdateras och texter ska redigeras. En redesign av webbplatsen www.champagneclub.com har resulterat i ett luftigt och sofistikerat utseende med god läsbarhet. Webbplatsen är lättnavigerad och ger ett inbjudande intryck för besökaren. Webbplatsen ska hela tiden uppdateras och hållas aktuell med nyheter kring de tillhörande barerna, andra aktiviteter som medlemmar blir inbjudna till samt nya tastingnots som är The Rickard Juhlin Champagne Clubs specialitet. Dessa notes är gjorda av Richard Juhlin och fylls ständigt på allt eftersom att nya champagner provas och bedöms.
23
Tenschert, Johannes [Verfasser], Richard [Akademischer Betreuer] Lenz, Richard [Gutachter] Lenz, and Dirk [Gutachter] Riehle. "Sprechaktbasiertes Adaptives Fallmanagement / Johannes Tenschert ; Gutachter: Richard Lenz, Dirk Riehle ; Betreuer: Richard Lenz." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2019. http://d-nb.info/1201886848/34.
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24
Hottmann, Katharina. "" Die andern komponieren. Ich mach' Musikgeschichte!" : Historismus und Gattungsbewusstsein bei Richard Strauss : Untersuchungen zum späteren Opernschaffen /." Tutzing : Schneider, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014640556&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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25
Maier-Eroms, Verena. "Heldentum und Weiblichkeit : Wolframs Parzival, Gottfrieds Tristan und Richard Wagners Musikdramen /." Marburg : Tectum, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783828899131.
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26
Meier, Colleen L. "Elsa's dream inspiration and musical development in Richard Wagner's Lohengrin /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/837.
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27
Geiseler, Marie-Louise. "Zeit-Raum-Natur-Erfahrung im Werk von Richard Long." [S.l. : s.n.], 2003. http://deposit.ddb.de/cgi-bin/dokserv?idn=973394641.
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28
Schwartz, Manuela. "Wagner-Rezeption und französische Oper des Fin de siècle : Untersuchungen zu Vincent D'Indys Fervaal /." Sinzig : Studio Verl.Schewe, 1999. http://catalogue.bnf.fr/ark:/12148/cb37661523w.
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29
Hanke, Knaus Gabriella. "Aspekte der Schlussgestaltung in den sinfonischen Dichtungen und Bühnenwerken von Richard Strauss /." Bern : [s.n.], 1993. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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30
Anbari, Alan Roy. "Richard Wagner's concepts of history /." Austin, Tex. : University of Texas Libraries, 2007. http://www.lib.utexas.edu/etd/d/2007/anbaria35075/anbaria35075.pdf#page=3.
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31
Honeyman, Victoria Claire. "Richard Crossman : a critical biography." Thesis, University of Leeds, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422636.
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32
SA, RENATA CAMARGO. "RICHARD SERRA: BEGINNINGS AND CONTEXT." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7200@1.
Повний текст джерелаАнотація:
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOA tese é uma análise da obra do escultor americano Richard Serra baseada no contexto cultural de onde surgiu e nos elementos formadores desse mesmo contexto, como a herança puritana da América protestante e os primórdios de sua filosofia. O empirismo de David Hume é compreendido como fundamento para o pragmatismo, que se desenvolve a partir dos ensaios de Ralph Waldo Emerson. Partindo de tal contextualização histórico-filosófica traça as principais características presentes no modo de atuar na América, relacionando-as à obra de Richard Serra. Estuda, o modo objetivo de atuar num sistema de capitalismo avançado, e suas possíveis analogias com o projeto moderno de desierarquização do universo artístico, empreendido pela arte moderna através da chamada externalização da arte.
A critical analysis of the work of American sculptor Richard Serra, based on the cultural context in which it appeared and developed, such as the puritan heritage of protestant America and the beginnings of its philosophy. Empiricism, as the foundation of the American pragmatism, developed after the essays of Ralph Waldo Emerson, is seen through a brief study of David Hume´s Treatise of Human Nature. From this historicphilosophical background it traces the main characteristics of American way of behaving, in order to disclose the possible relations with the work of Richard Serra. The dissertation is centered on the manner by which an objective mode of behavior is crucial to advanced capitalism, and its possible analogies with the modern art project that envisages an art world less submitted to hierarchies. Enterprise made successful through the process of bringing the painting to the picture plane.
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Campos, Fernanda Critelli de. "Richard Neutra e o Brasil." Universidade Presbiteriana Mackenzie, 2015. http://tede.mackenzie.br/jspui/handle/tede/2833.
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Fundação de Amparo a Pesquisa do Estado de São Paulo
Richard Joseph Neutra (1892-1970), Austrian architect settled in the United States, left, throughout his professional life, an important legacy that is revealed both by the numerous works constructed and the academic contribution. The interest he showed to better understand the climatic and social conditions of the places marked his acting projects, and it has been crucial, especially for the variety producing projects such as schools, housing and hospitals developed in Puerto Rico - when he was appointment as consultant at the Committee on Design of Public Works by the US State Department. His work as an architect and studious has influenced new generations of architects, especially Brazilians. Much is known about the importance of his works, but little is said about his close relationship with Brazil. A fact confirmed by the publication, in Sao Paulo, of the book Architecture of Social Concern in Regions of Mild Climate, bilingual edition (English and Portuguese), by Gerth Todtman (1948). Thus, this research presents itself as a way of mapping the presence of architect Richard Neutra in Brazil. It was from the analysis of primary documents that the close relationship with Brazilian architects and intellectuals was confirmed.
Richard Joseph Neutra (1892-1970), arquiteto austríaco radicado nos Estados Unidos, deixou, ao longo de sua vida profissional, importante legado que se revela tanto pelas inúmeras obras construídas quanto pela contribuição acadêmica. O interesse que demonstrava para melhor compreender as condições climáticas e sociais dos locais onde atuava marcaram seus projetos, tendo sido crucial, principalmente, para a vasta produção de obras como escolas, moradias e hospitais desenvolvidos em Porto Rico – quando de sua nomeação como consultor do Committee on Design od Public Works, a cargo do Departamento de Estado norte-americano. Seu trabalho como arquiteto e estudioso influenciou gerações de novos arquitetos, em especial brasileiros. Muito se sabe sobre a importância de suas obras, mas pouco se fala sobre a estreita relação que Neutra manteve com o Brasil. Fato este comprovado pela publicação, em São Paulo, do livro de sua autoria Arquitetura Social em Países de Clima Quente, em edição bilíngue (português e inglês), pela Editora Gerth Todtman (1948). Sendo assim, o presente trabalho de Mestrado se apresenta como forma de mapeamento da presença do arquiteto Richard Neutra no Brasil. E foi a partir da análise de fontes primárias que esse estreito relacionamento com os arquitetos e intelectuais da área brasileiros fica comprovado.
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Schönfuß-Krause, Renate. "Ernst Richard Flemming (1866-1931)." Teamwork Schönfuß, 2020. https://slub.qucosa.de/id/qucosa%3A74831.
Повний текст джерелаАнотація:
Ernst Flemming (1866 Radeberg -1931 Berlin), Berufung als Maler und Musterzeichner an Städtische Webeschule Berlin, ab 1918 Professor und Direktor an Höherer Fachschule für Textil- und Bekleidungsindustrie Berlin, als Textil- und Bekleidungswissenschaftler führte er die Fachschule zur größten Einrichtung ihrer Art in Europa, unterstützt die avantgardistische Kunstszene der „Goldenen Zwanziger“, verpflichtet Expressionisten wie W. Kampmann (1887-1945) als Hochschullehrer und engagiert sich als Schriftführer im „Verein Deutsches Kunstgewerbe e.V.“, im „Gesamtverband Deutscher Kunstgewerbevereine“ und als Aufsichtsratsmitglied der „Renten -und Pensionsanstalt für deutsche bildende Künstler“. Er förderte maßgeblich die textile Industriekultur, stellte sein Leben in den Dienst Textiler Kunstfertigkeiten. Enge Verbindungen bestanden zu Industriellen Berlins, zu James Simon (1851-1932) als Leiter der „Deutschen Orient-Gesellschaft“, zu zahlreichen Berliner Museen und der Akademie der Künste unter Max Liebermann (1847-1935).
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Aubry, Brigitte. "Richard Hamilton : une peinture hybride." Rennes 2, 2004. http://www.theses.fr/2004REN20026.
Повний текст джерелаАнотація:
Cette recherche trouve son origine dans un double constat : une présence irréfutable de l'œuvre de l'artiste anglais Richard Hamilton dans l'histoire de l'art, et la réception dont elle jouit dans ce cadre précis ; l'absence caractérisée de toute étude monographique approfondie permettant d'aborder sa production picturale dans son ensemble. Les peintures ont "disparu" au profit d'une thématique ou d'un sujet Pop. Nous les replaçons au centre de l'analyse et mesurons la validité de cette approche. Richard Hamilton a été considéré comme un "peintre de la vie moderne" au sens baudelairien. Mais s'emploie-t'il vraiment à représenter la société dans laquelle il vit ? Ne s'agit'il pas davantage du rapport que la peinture entretient avec une époque, soit ce qu'elle en donne véritablement à voir ? Peindre ce qu'est "être aujourd'hui" caractérise la quête de cet artiste. Mais que considère-t'il de signifiant à un moment donné ? Et comment s'établit cette rencontre "réflexive" de l'œuvre avec son présent ? Nous décrivons et analysons l'élaboration de la "structure Hamilton", sa transformation en véritable "programme", ses effets opératoires comme ses enjeux, dans un mouvement parallèle à l'examen de certaines données du contexte épistémologique et des conjonctures artistiques de la période 1950-1990. .This study is based upon a double acknowledgement : an irrefutable presence of the British artist Richard Hamilton's work in the history of art, and its reception in this specific context ; the characteristic lack of any profound approach to allow us to assess the whole of his painted work. Previously the paintings had "disappeared" in favour of a Pop theme. We refocus on the paintings for the analysis and consider the validity of such an approach. Richard Hamilton has been seen as a "painter of modern life" in the Baudelaireian sense. However does he really tend to represent the society in which he lives or is he not more concerned with the connexion between a painting and its particular period, how his work reflects on its epoch ? Painting "being today" characterizes the quest of this artist. What does he regard as significant for a certain moment ? How does the "reflexive" union of the work with its present occur ? We describe and analyse the development of "Hamilton's structure", its transformation as real "programme", its effects as well as the stakes involved, in a parallel move to the examination of information related to the epistemological context and the artistic circumstances of the period 1950-1990
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Giessel, Matthew. "Richard Wagner's Jesus von Nazareth." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3284.
Повний текст джерелаАнотація:
In addition to his renowned musical output, Richard Wagner produced a logorrhoeic prose oeuvre, including a dramatic sketch of the last weeks of the life of Jesus Christ entitled Jesus von Nazareth. Though drafted in 1848-1849, it was published only posthumously, and has therefore been somewhat neglected in the otherwise voluminous Wagnerian literature. This thesis first examines the origins of Jesus von Nazareth amidst the climate of revolution wherein it was conceived, ascertaining its place within Wagner’s own internal development and amongst the radical thinkers who influenced it. While Ludwig Feuerbach has traditionally been seen as the most prominent of these, this thesis examines Wagner’s sources more broadly. The thesis then summarizes and analyzes Jesus von Nazareth itself, particularly in terms of Wagner’s use of biblical scripture. The thesis demonstrates how his not infrequent misuse thereof constitutes one way in which Wagner transmogrifies Jesus as mutable lens through which his own ideology of social revolution is reflected. It also attempts to provide a critical assessment of the relative dramatic merits of Jesus von Nazareth and looks into Wagner’s ultimate decision not to complete the work. The thesis then briefly summarizes the changes that occurred in Wagner’s mature Christological outlook subsequent to his drafting of Jesus von Nazareth, attempting to concisely demonstrate some developments beyond Wagner’s well-known encounter with the philosophy of Arthur Schopenhauer. The thesis concludes with an evaluation of how Jesus von Nazareth informed Wagner’s general religious outlook and the extent to which this worldview is a productive one.
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Wilson, Nicholas John <1986>. "Richard III - Story versus History." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4284.
Повний текст джерелаАнотація:
This is a study, a journey through time, back to the years of the War of the Roses, as seen from both a contemporary point of view and from that of those who had lived in that troubled period, but to which they related with detachment and humor, in the wake of that new period of calm that they were beginning to experience.
The starting point of this research will be the analysis of the most famous proof of the existence of Richard III: Shakespeare’s play.
The work will be analyzed from a critical point of view, through themes, characters, sources and literary genre.
Additional care will be given to the key points of Shakespeare's work, recognizing those that will be the fixed points of all future works.
However, the main purpose of this project is mainly to understand how the figure described by this "play" relates to who King Richard III actually was and who was really behind the creation of this character, be it Shakespeare or someone else.
To do so we will analyze the main historical sources that we now have, with particular attention to drawing a clear line between history and literature, thus bypassing those false prejudices that often have contaminated historical evidence.
Considered to be a cripple, murderer and a symbol of absolute evil, what truth lies behind the "mask" that Shakespeare and others before him forced him to wear?
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Silva, Sofia <1990>. "Walter Richard Sickert e Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8175.
Повний текст джерелаАнотація:
Nel presente lavoro di tesi si studia il rapporto tra il pittore e critico d’arte inglese Walter Richard Sickert (1860-1942) e Venezia.
Sickert, allievo di James Abbott McNeill Whistler, trascorre a Venezia quattro lunghi soggiorni a cavallo tra XIX e XX secolo, producendovi un consistente numero di opere.
Grazie alla costante stesura di scritti critici e articoli, che costituiscono una delle principali fonti per questo elaborato, Sickert rappresenta una delle voci più veritiere sulla vita, il gusto e la tecnica di Whistler e lascia singolari testimonianze della Venezia d’inizio secolo osservata sotto la lente di quello che egli stesso definisce ‘strange occasional compound’: il writer-painter.
Attraverso la lettura dei testi sickertiani e di alcune lettere inviate agli amici, la tesi ricostruisce il rapporto tra Sickert, gli artisti italiani a lui contemporanei e gli antichi maestri veneti, ma anche toscani e lombardi, cui guardava assiduamente e sulla cui fortuna nell’Inghilterra del tempo restituisce un formidabile spaccato. Uno sguardo onnivoro, quello di Sickert: da Canaletto al futurismo.
Il primo capitolo dell’elaborato è dedicato allo studio dell’opera veneziana di Sickert in relazione a quella di Whistler e dei maestri veneti, il secondo capitolo si rivolge all’analisi degli scritti sull’Italia e Venezia, il terzo indaga la fortuna dell’opera sickertiana; vi compare infine un breve sunto sulle partecipazioni di Sickert alla Biennale.
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Kreckel, Manfred. "Richard Wagner und die französichen Frühsozialisten : die Bedeutung der Kunst und des Künstlers für eine neue Gesellschaft /." Frankfurt am Main ; Bern ; New York : P. Lang, 1986. http://catalogue.bnf.fr/ark:/12148/cb34921288x.
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Nägele, Verena. "Ludwig II. und Richard Wagner : real- und kulturpolitische Konsequenzen einer ungewöhnlichen Beziehung /." Zürich : Druckerei Stiftung Zentralstelle der Studentenschaft, 1995. http://catalogue.bnf.fr/ark:/12148/cb35832628k.
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Fernández, Membrive Miguel. "Richard Rorty: antiuniversalismo en doble perspectiva." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/130827.
Повний текст джерелаАнотація:
Con esta tesis quiero contribuir a los estudios existentes sobre la filosofía de Richard Rorty, y en este sentido propongo un tipo de hermenéutica de su pensamiento a través de la clave transversal de su reacción crítica al universalismo moral. Lo que pretendo precisar es cómo entiende Rorty que puede problematizarse el alcance universal en el ámbito de la moralidad, cuál es la noción de universalidad que implica y rechaza en su propia comprensión de este problema, y de qué forma argumenta su rechazo. Para ello sigo la hipótesis de que Rorty sugiere una comprensión ambivalente del problema del alcance universal, de acuerdo con la cual también propone dos perspectivas críticas sobre el mismo que deberían abarcarse pero a la vez distinguirse en toda tentativa de estudio de su pensamiento moral. Asimismo y en continuidad con esto último, trato de mostrar que ambas perspectivas sobre todo asumen como posición antagónica, y por ende como blanco de su crítica, una noción de alcance universal en la acepción de exigencia o presunción de incondicionalidad; por lo cual discuto finalmente que los argumentos críticos de Rorty afecten a cualquier otra posible comprensión de la noción de universalidad.
En el desarrollo que responde al problema y a la hipótesis anterior, comienzo por proponer una lectura sistemática de la filosofía moral de Rorty como una reacción crítica frente a la manera en que las doctrinas morales universalistas pretenden o presumen subsanar las consecuencias –relativas a las relaciones sociales- derivadas de la actitud moral etnocentrista. Según lo da a entender el propio filosofo estadounidense, el universalismo moral habría venido asumiendo como principal estrategia de respuesta al “etnocentrismo moral” la tarea de descubrir y constatar contenidos morales vinculantes, y esto bajo el no menos importante supuesto de que tales descubrimientos o constataciones resultan suficientes para propiciar disposiciones morales igualmente vinculantes.
Una vez establecido lo anterior, demuestro que el filósofo estadounidense elabora su réplica antiuniversalista bajo esas dos perspectivas distintas, lo que explica que en algunas ocasiones parezca que aconseja una ética de la conversación y de la justificación intersubjetiva, y en otras que más bien sugiere una ética sentimentalista, basada en la capacidad de simpatía o de compasión, con efectiva incidencia sobre las motivaciones morales.
Considero, pues, que en cada uno de los registros y perspectivas anteriores la exigencia o presunción de alcance moral universal, es enfocada de diferente manera por Rorty, y también críticamente discutida con argumentos específicos. Con esto me refiero a que el filósofo estadounidense remite a diferentes usos semánticos de la noción de universalidad, y a que, por referencia a ellos, es que elabora también su propia contestación crítica. Distingo en este sentido dos enfoques y usos bajo las rúbricas “perspectiva de la validez” y “perspectiva de los destinatarios”. En la primera entiendo que lo que se privilegia es el problema del conocimiento moral; en la segunda que lo destacado es la pregunta por la motivación de la acción moral o solidaria. Para mostrar lo propio de la primera perspectiva, reservo un lugar especial al debate que Rorty mantuvo con Jürgen Habermas; para distinguir la segunda, otorgo al pensamiento moral de David Hume un papel protagónico.
Una vez que a través de este desarrollo he decantado la demostración de la hipótesis original, en la conclusión finalmente la enfatizo, intento precisarla aún más y sobre todo la discuto con distancia crítica en algunos de sus aspectos. Como lo adelanté al principio, tal hipótesis es doble: que pueden y han de distinguirse esas dos perspectivas en el tipo de reacción crítica a la noción de alcance moral universal diseminada por los diversos escritos de Rorty, y que ambas perspectivas coinciden en traslucir un rechazo a cierta noción de alcance universal equiparada con una exigencia o presunción de incondicionalidad.In this thesis I propose a specific hermeneutics of Richard Rorty’s ethics, approaching the topic from his critical reaction to moral universalism. What I attempt to point out is how Rorty thinks that universal scope can be problematized in the sphere of morality, what notion of universality he implies and rejects in this own understanding of this issue, and what arguments he uses to justify his rejection. I put forward the hypothesis that Rorty is suggesting an ambivalent understanding of the problem of universal scope, which leads him to propose two critical perspectives on the issue; these two perspectives must be considered in any attempt to study Rorty’s moral thinking, but at the same time it is important to distinguish between them. Consequently I try to show that both perspectives assume above all a counterposition consisting of a notion of universal scope in the sense of a demand or assumption of inconditionality. On this basis I finally question whether Rorty’s critical arguments affect any other possible understanding of the notion of universality. In developing a response to this problem and this hypothesis, I start out by proposing a reading of Rorty’s moral philosophy as a critical reaction to the way universalist moral doctrines set out to correct the consequences that the ethnocentric moral attitude has had in terms of social relations. Once this is established, I demonstrate that the US philosopher puts together his anti-universalist reply with two distinct perspectives, which explains why sometimes he seems to be promoting an ethics of conversation and inter-subjective justification, and other times he tends toward a sentimentalist ethics based on the capacity for empathy or compassion, with an effective impact on moral motivation. In the thesis I distinguish between these two approaches by using the headings “validity perspective” and “recipient perspective”. The former highlights the issue of moral knowledge; the latter, on the other hand, places the issue of motivation for moral action or solidarity in the foreground. In examining the key features of the former perspective I focus on Rorty’s debate with Jürgen Habermas; for the latter I assign the leading role to David Hume’s moral thinking. Once the demonstration of the original hypothesis is sufficiently developed, I use the conclusion to emphasize it, to clarify it further, and above all to discuss some of its aspects with greater critical distance.
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Figuerola, Cabrol M. Carme. "Jean-Richard Bloch: pensamiento y creación." Doctoral thesis, Universitat de Lleida, 1999. http://hdl.handle.net/10803/8180.
Повний текст джерелаАнотація:
La tesis tiene como objeto de estudio el pensamiento de Jean-RichardBloch, un autor algo descuidado por la crítica literaria pese a que ejerció un
papel destacado en el cenáculo intelectual de la primera mitad del siglo XX.
El análisis se inicia mediante un recorrido biográfico que sitúa al escritor en
el contexto histórico literario del momento e incide en la repercusión que los
acontecimientos sociales tuvieron no sólo en su vida sino en su
pensamiento.
Los capítulos siguientes abordan los principales temas que acaparan la
atención de J.-R.B. a lo largo de sus ensayos, comparándole
reiteradamente con sus contemporáneos para juzgar con mayor justicia su
originalidad.
En arte Bloch se manifiesta favorable a que el artista se comprometa con
los problemas de su entorno y protesta así, contra las ideas preconizadas
por Gautier en el siglo XIX. El arte se convierte en un órgano capaz de
regenerar las afecciones socioeconómicas de una civilización cuyos ideales
están en crisis. Esta última premisa domina su trayectoria: las dos guerras
mundiales, el affaire Dreyfus marcan hitos importantes y conducen a Bloch
a posturas no siempre de acuerdo con sus pretendidas tesis de izquierdas.
Pero pese a la derrota moral que la historia le inflige, el pensador no cede
en su intento de descubrir un nuevo ideal capaz de guiar a su sociedad por
un sendero mejor. En esa búsqueda se incluye su recurso al mito
napoleónico que simboliza, a su entender, un prototipo del individualismo
correspondiente al pasado. En ese sentido se orienta su mirada a la
entonces U.R.S.S. o a fenómenos nuevos como el deporte y la tecnología.
Por último, la tesis estudia el comportamiento de Bloch frente a la guerra
civil española: su viaje a esas tierras, su posterior relato del mismo y las
acciones emprendidas para favorecer el triunfo del Frente Popular.
En definitiva, a través del corpus ensayístico la tesis aborda las opciones de
un hombre que se enfrenta a retos difíciles y cuyos criterios oscilan entre la
herencia legada por el siglo XIX y las tendencias modernas, progresistas, en
ciertas ocasiones, visionarias casi, que le permiten intuir problemas todavía
vigentes en nuestra civilización.
This doctoral dissertation examines the philosophy of Jean-Richard Bloch,
somewhat slighted by literary criticism despite his outstanding role in the
intellectual circles of the first half of the twentieth century.
The analysis starts with a biographical account that situates the author in
the historical and literary context of the period, insisting upon the impact of
these events both in his life and his ideas.
The following chapters tackle the main issues that capture the author's
attention in his non-fiction work, repeatedly contrasting it with that of his
contemporaries with the purpose of achieving greater objectivity as regards
the originality of his production. As regards art, Bloch manifests a
predilection for an artist who is concerned with the problems around him,
thus protesting against the opinions circulated by Gautier in the nineteenth
century. Art becomes thus capable of regenerating socioeconomic afflictions
in a civilisation plunged into a crisis of ideals. This last premise dominates
his literary career: the two World Wars and the Dreyfus affair mark turning
points and lead Bloch into taking stands that sometimes deviate from his
alleged leftist ideology.
Despite the moral defeat that history inflicted upon him, Bloch persists in
attempting to discover a new ideal that is capable to lead his society in a
better direction. In that quest he falls back on the myth of Napoleon which,
according to the author, symbolises a model of individualism that belongs to
the past, and looks up to the former Soviet Union or to new phenomena like
sports or technology.
Finally, this doctoral dissertation is concerned with Bloch's reaction to the
Spanish Civil War: his trip to Spain and his ensuing account of it, as well as
his actions to favour the victory of the Popular Front.
To conclude, this dissertation uses Bloch's non-fiction corpus in order to
analyse the available options of a man confronting complex challenges. His
principles fluctuate between the nineteenth century legacy and modern
tendencies, liberal and almost visionary on occasion, which allow him to
discern issues that are still applicable to the present time.
43
Hammer, Kate. "Reading Richard Schechner : allegories of performance." Thesis, University of Surrey, 1998. http://epubs.surrey.ac.uk/842921/.
Повний текст джерелаАнотація:
'Reading Richard Schechner' explores the theatre, theory, and academic leadership of a key figure in American theatre studies, engaging critically with Schechner's contributions, in order to assess their value for future theatre research. Chapter One considers how Schechner's theatre participated in social change and situates Schechner's analogy of theatre to ritual within an avant-garde theatrical tradition. Chapter Two models Schechner's career in terms of a singular performance project which moves from its early focus on theatre production, through performance theory, leading finally to his leadership of Performance Studies as an institutionally validated area. I examine the interplay between Schechner's theatre and his growing interest in anthropology, identifying the ways in which anthropological discourse supported his authority as a theatrical auteur. These chapters include case studies of his productions Dionysus in 69 and The Tooth of Crime. Chapter Three develops the relation between creative authorship and academic authority by introducing two key concepts. Sociologist Pierre Bourdieu's concept of symbolic capital characterises the rewards for successful and authoritative authorship which, I argue, Schechner has pursued. Allegory articulates the historical relation between creative authorship and socially empowered authority. The logic of Schechner's performance paradigm is analysed as an allegorical structure, following Joel Fineman's definition. Chapter Four concentrates on the ways in which, over time, Schechner has repositioned theatre as subordinate to the broad spectrum he defines as performance. I give grounds for rejecting Schechnerian performance as a viable paradigm for theatre's study. Furthermore, I reinterpret it as an enterprising intermedia arts project aiming to disrupt the institution from within. To deauthorise Schechnerian performance in this way is also to reauthorise it, by returning its ostensibly objective structures to their origin in creative acts. To this end, I conclude by sketching a portrait of Richard Schechner as an author of avant-garde theatre and theory.
44
Farrar, Peter Nelson. "Richard Cobden, educationist, economist and statesman." Thesis, University of Sheffield, 1987. http://etheses.whiterose.ac.uk/1882/.
Повний текст джерелаАнотація:
The aim of the thesis is to show that Richard Cobden (1804-1865) deserves to be given a significant place in the history of political, economic and social thought and also full credit for a range of statesmanship which went far beyond his well known part in the repeal of the Corn Laws and the Anglo-French Commercial Treaty of 1860. Historians have not sufficiently recognised that Cobden sought to make fundamental changes in British society and that he tried to initiate them by piecemeal constitutional methods. He also believed that the British example would have a powerful influence on other countries and thus contribute to a new world order. Cobden had a coherent, although unsystematised, philosophy, based on certain major assumptions. They were, firstly, that social progress depends on the interaction of economic, moral and religious and educational factors; secondly that progress towards a real political democracy depends on progress in the former areas. A special problem in explaining Cobden's philosophy is the fact that the ideas of two important thinkers with whom he was associated, George Combe (1788-1858), phrenologist (psychologist) and Frederic Bastiat (1801-1850), economist, have been belittled and neglected since Cobden's death. Therefore, the analysis of Cobden's thought necessitated an effort to "rehabilitate't these two thinkers. Cobden's efforts to transform British politics and society were only partially successful in Britain's adoption of free trade, a policy not properly understood by most statesmen and commercial men. His work for common schools, international schools, lyceums and educative popular newspapers was a failure and soon forgotten; his efforts to reform British foreign policy and implement arms control also failed. After his death, his followers failed to develop satisfactorily his ideas for application to social and international problems. These ideas still have considerable potential.
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McAlister, Arlene. "Edition of Richard Bernard's Ruths Recompence." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7734.
Повний текст джерелаАнотація:
This thesis consists of annotations and an introduction which constitute an edition of Richard Bernard’s Ruths Recompence (1628). This edition aims to provide a more modern and accurate (though clarified) text than the nineteenth-century edition edited by Alexander Balloch Grosart (1865). It also sets out to offer a more comprehensive interpretation with an emphasis on a subject prominent in Bernard’s commentary passed over in silence by Grosart, that is, the issues relating to women’s conduct raised by Ruth’s approach to Boaz alone by night in Ruth chapter 3. The text of this edition has been produced by applying Optical Character Recognition to a copy of the 1628 edition in my possession. In presenting the text, an editorial policy has been consistently followed, which is described in the Textual Introduction. The main objective is to reproduce the original as closely as possible at the same time as making the work accessible to the modern reader. In the early modern period much was written about women’s conduct and how they ought to behave. Ruths Recompence provides a specifically puritan perspective on this issue. In the introduction, various kinds of literature about women in the early modern period, such as conduct books and lives of women, are surveyed in order to show the context in which Bernard addressed the conduct of Ruth and Naomi. The editorial framework also analyses Bernard’s developing and to some extent censorious evaluation of the women’s behaviour. Another subject relating to women’s conduct addressed, chiefly in the introduction, is breast-feeding. Bernard’s views are related to those expressed by the preceding commentator on Ruth, Edward Topsell, and by a contemporary woman – the Countess of Lincoln. The editorial framework draws on the work of commentators on Ruth preceding Bernard, in the ancient and medieval as well as the early modern periods. This reference to previous commentators is a significant part of the edition because it shows where Bernard’s views are original. In the introduction biographical information about Bernard himself, in particular, and also the earlier commentators is provided. A tradition of commentaries on Ruth is thus depicted. It is argued that Bernard’s significant contribution to this tradition is his application of his own theory of preaching, set out in his The Faithfull Shepheard (first edition 1607), to Ruths Recompence. The present edition interprets various other aspects of the commentary, in particular, those relating to Bernard’s theological position as a puritan clergyman who was involved with separatism early in his career but later published attacks on separatists and conformed uneasily with the Church of England. In the commentary, he criticises Roman Catholicism, and expresses views on providence, predestination and the Anabaptists. These subjects are commented on in the editorial framework. Other subjects to which this edition draws the reader’s attention include Bernard’s repeated reference to hierarchy in society and his admiration of the simple, primitive legal system depicted in Ruth. The introduction concludes with a glance at modern feminist scholars’ writing on Ruth. The present edition aspires to make a contribution to feminist interpretations of the early modern period, and it can be recognised that many of the feminist features perceived in the biblical narrative by modern scholars are far from the concerns of Bernard, who was in most respects a typically patriarchal clergyman of his time.
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Brookes, Anne. "Richard Symonds in Rome, 1649-1651." Thesis, University of Nottingham, 2000. http://eprints.nottingham.ac.uk/11404/.
Повний текст джерелаАнотація:
This thesis is a study of the notebook (British Library Egerton MS 1635) compiled by Richard Symonds (1617-1670), royalist exile and virtuoso, during his visit to Rome between 1649 to1651. The first volume of the thesis provides an analysis of the chronology of notebooks that Symonds wrote at the time and his methods of study, as well as a detailed reconstruction of his visits to a number of collections. The second volume consists of an annotated transcription of Egerton MS 1635, and an extract from British Library Additional MS 17919 which relates to Symonds's visit to Palazzo Barberini. Symonds's visits to the Borghese, Farnese, and Giustiniani collections in Rome allowed him to study at first hand major sixteenth-century works by Titian, Raphael, Caravaggio and the followers of the Carracci. He also visited four less important collections (which all had some renowned paintings) at Palazzo Mattei, Palazzo Spada, Palazzo Mazzerino and Palazzo Sachetti. In addition, Symonds made notes on Palazzo Barberini although he was only taken on a brief tour of this collection. Symonds's study of antique sculpture is revealed in his notes on the important collection he saw at Villa Medici, and two smaller ones belonging to Ippolitto Vitelleschi and the Pighini family. Symonds also encountered the circle of antiquaries and connoisseurs in Rome, which included Francesco Angelom, and among the artists he met were the painters Giovanni Angelo Camni (who served as his mentor) and Nicolas Poussin. Symonds was not only interested in art, architecture, and antiquities, but also the social and religious customs that he encountered, as well as early ventures into science and medicine. The taste and knowledge that he acquired in Rome is reflected in the paintings that he selected to record and admire, of which the vast majority were works by Titian, Raphael and the Carracci. A thorough investigation of Egerton MS 1635 establishes that Symonds's knowledge of Italian art was exceptional for an Englishman of the time.
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Baragwanath, Nicholas. "The secret harmony of Richard Wagner." Thesis, University of Sussex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363357.
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Singer, Fanny Louise. "Immaculate conception : Richard Hamilton's digital prints." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608133.
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Meisenheimer, Richard [Verfasser]. "Zur Kenntnis von Carbosilantensiden / Richard Meisenheimer." München : Verlag Dr. Hut, 2016. http://d-nb.info/1111160503/34.
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Němcová, Iva. "Richard Strauss: Salome - komplexní scénografický projekt." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96938.
Повний текст джерелаАнотація:
Thesis is divided into two main parts. The first considers
contemporary opera against the backdrop of its historical foundations.
I introduce examples from the past and discuss their underlying ideas
and contexts. I then analyze these works as they apply to my own
scenography. The second part addresses my creative process, the
practical issues and solutions associated with the concrete
implementation of a fully realized opera.