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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 41 to 45 of 45 (0.012 seconds)| 41 |
Entre empire et nation : gravures de la ville de Québec et des environs, 1760-1833Parent, Alain 11 April 2018 (has links)
Cette étude des gravures et aquatintes publiées de la ville et des environs de Québec au cours de la période 1760-1833 soutient que la représentation picturale que les Britanniques se font de la colonie se constitue dans le contexte du projet impérial britannique et des débats qui secouent la Grande-Bretagne. Le phénomène fondamental de la représentation (visuelle, dans ce cas) est abordé principalement à partir de la notion d'intentionnalité qui accorde une grande importance aux conditions d'apparition des estampes. Le contexte culturel, social et géopolitique de la Grande-Bretagne à l'époque éclaire dès lors l'interprétation des séries d'images comprenant la ville de Québec réalisées d'après Hervey Smyth (1760-1761), Richard Short (1761), James Peachey (1786), George Bulteel Fisher (1796) et James Pattison Cockburn (1831-1833). Ces oeuvres traduisent une préoccupation durable pour la maîtrise des lieux, imputable à la volonté de contrôle d'un empire multi-ethnique. Elles révèlent parfois les perceptions des différents groupes sociaux qui composent la société britannique. D'abord animées par un patriotisme ravivé par la guerre contre la puissance catholique et française dont l'influence culturelle est perçue comme une menace pour la nation, les années 1760 président à des images conquérantes et fortes qui valorisent, du moins en Grande-Bretagne, des valeurs de liberté, d'héroïsme, d'anti-catholicisme et de masculinité. La période suivante, celle des années 1780-1800, voit paraître peu d'estampes de la ville de Québec sur le marché londonien. Les quelques images publiées incorporent cependant des "manières de voir et de vivre" qui favorisent également la mise à distance de l'objet urbain, une tendance qui se maintiendra ultérieurement. Vers 1830, au moment où la société bourgeoise britannique est bien implantée, l'image de la ville de Québec traduit les préoccupations contemporaines de loisir, de tourisme, d'ordre social et d'expérience esthétique. En tout temps, l'image de la ville de Québec se trouve prise dans les rets de la Grande-Bretagne dont elle symbolise à la fois les ambitions et les craintes sur le plan géographique.
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Vision, fiction and depiction : the forms and functions of visuality in the novels of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny BurneyVolz, Jessica A. January 2014 (has links)
There are many factors that contributed to the proliferation of visual codes, metaphors and references to the gendered gaze in women's fiction of the late-eighteenth and early-nineteenth centuries. This thesis argues that the visual details in women's novels published between 1778 and 1815 are more significant than scholars have previously acknowledged. My analysis of the oeuvres of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney shows that visuality — the nexus between the verbal and visual communication — provided them with a language within language capable of circumventing the cultural strictures on female expression in a way that allowed for concealed resistance. It conveyed the actual ways in which women ‘should' see and appear in a society in which the reputation was image-based. My analysis journeys through physiognomic, psychological, theatrical and codified forms of visuality to highlight the multiplicity of its functions. I engage with scholarly critiques drawn from literature, art, optics, psychology, philosophy and anthropology to assert visuality's multidisciplinary influences and diplomatic potential. I show that in fiction and in actuality, women had to negotiate four scopic forces that determined their ‘looks' and manners of looking: the impartial spectator, the male gaze, the public eye and the disenfranchised female gaze. In a society dominated by ‘frustrated utterance,' penetrating gazes and the perpetual threat of misinterpretation, women novelists used references to the visible and the invisible to comment on emotions, socio-economic conditions and patriarchal abuses. This thesis thus offers new insights into verbal economy by reassessing expression and perception from an unconventional point-of-view.
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The battle of changing times : picaresque parodies from Bruegel to GroszCornew, Clive 11 1900 (has links)
This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on
visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction
between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of
human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships
between the above themes are chronologically traced in various disguises in pictures by representative
picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and
Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the
high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes
at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts & Musicology / Thesis (D.Litt. et Phil.)
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Political Atheism vs. The Divine Right of Kings: Understanding 'The Fairy of the Lake' (1801)Post, Andy 30 April 2014 (has links)
In 'Political Atheism vs. The Divine Right of Kings,' I build on Thompson and Scrivener’s work analysing John Thelwall’s play 'The Fairy of the Lake' as a political allegory, arguing all religious symbolism in 'FL' to advance the traditionally Revolutionary thesis that “the King is not a God.”
My first chapter contextualises Thelwall’s revival of 17th century radicalism during the French Revolution and its failure. My second chapter examines how Thelwall’s use of fire as a symbol discrediting the Saxons’ pagan notion of divine monarchy, also emphasises the idolatrous apotheosis of King Arthur. My third chapter deconstructs the Fairy of the Lake’s water and characterisation, and concludes her sole purpose to be to justify a Revolution beyond moral reproach. My fourth chapter traces how beer satirises Communion wine, among both pagans and Christians, in order to undermine any religion that could reinforce either divinity or the Divine Right of Kings. / A close reading of an all-but-forgotten Arthurian play as an allegory against the Divine Right of Kings.
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The battle of changing times : picaresque parodies from Bruegel to GroszCornew, Clive 11 1900 (has links)
This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on
visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction
between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of
human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships
between the above themes are chronologically traced in various disguises in pictures by representative
picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and
Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the
high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes
at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts and Musicology / Thesis (D.Litt. et Phil.)
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