Habilitationsschrift--Bonn. / Bibliography: p. [259]-269.

No description available.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1954. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 330-355).

Stewart C. Myers and Richard S. Ruback. / Bibliography: p. 21.

The modern Spanish novel of the nineteenth and twentieth centuries constitutes a very important contribution to the literature of the world. Don Armando Palacio Valdés is the modern Spanish author best known for his feminine characters in the realistic novel of that epoch. I have made a study of the Treatment of the Principal Feminine Characters in the Novels of Don Armando Palacio Valdés. Although several good books have been written on this author and his works,none gives a complete study of the feminine characters. Several critics deal with one or another woman of the novels but they do not give a general treatment. In short, there are few studies of these figures nor are there any detailed studies of the tecniques used by the author in his treatment of them. It is evident that few people have found time to read all of the novels. My study of these extremely clever portrayals of Spanish women falls into two parts. The first consists of resumes of the principal women characters in the novels of Don Armando Palacio Valdés, character by character. In these resumes, presented chronologically, the reader can see the ingenious treatment by the author of these memorable and fascinating Spanish types. He can obtain a general view of one character or make comparisons. Here also may be seen the evolution of the novelist in his method of portraying women in his early novels. What interests us especially is that through his consummate art Don Armando can present with great Spanish realism these women of a time now past, but enduringly Spanish, who still live before us in the pages of his books. The second part consists of an analysis of the treatment of the characters. Made by means of symbols and numbers, this analysis, with examples, shows the principal tendencies of Don Armando in his portrayal of feminine types. In the second part also are deductions made from the data already given. These can best be shown in outline form. A. General Observations --- Plan of Analysis. B. Analysis of the Presentation of the Women: A table of analysis of the Presentation has been given. It has been seen from that table that the character is presented most often to the reader by means of a physical description. The first general impression of the reader as to the nature of the woman is generally given by an observation on the part of the author himself. C. Analysis of the Development of the Woman: A table has been given of the development using the same system of letters and numbers. It has been seen from the table that in this section the woman is portrayed mostly by means of personal reactions which show her emotional nature or development. D. Analysis of the Complete Treatment of the Principal Characters: A table has been given of the complete treatment of each woman. From this it was observed that the most common method used by Don Armando in the Entrance of a woman character was by giving a physical description or change; that the most common tecnique in the complete treatment of the woman was through her reactions to persons or things; and that the most detailed studies are of the low women characters, while the more virtuous women are treated in a comparatively superficial manner. E. Minor Methods of Presentation; It has been shown that the minor methods of presentation of the author are gentle irony, contrast (as between the hands of one woman and another) and a description of the room of a woman as a means of showing her character. F. Moral Purpose of the Author: By means of the tragic endings of so many of the novels,Don Armando has succeeded in his professed aim — to awaken in the soul of the reader a feeling of horror at injustice in order to "re-establish equilibrium and respect for the moral law." This thesis is offered as a contribution to the literary history of the Spanish novel of the nineteenth and twentieth centuries. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

This thesis is a selected edition of thirty-six unpublished letters and fragments from Thomas Henry Hall Caine to Dante Gabriel Rossetti with an introduction and explanatory notes. The letters have been chosen to illustrate Caine's typical interests and concerns as these appear in the body of eighty-six unpublished letters and fragments contained in the Angeli Papers in Special Collections at the University of British Columbia Library. Although the letters are far from being masterpieces of epistolary art, they are of historical interest as a chronicle of the friendship which was initiated by letter. The introduction provides a background for the letters, using, in so far as possible, unpublished contemporaneous material from the Angeli and Penkill Papers. Hall Caine knew Rossetti for less than three years; for two of those years the friendship was conducted almost exclusively by letter, but for the last ten months of Rossetti1s life they lived together. The friendship began when Caine published a eulogistic article on Rossetti's poetry, and sent a copy to him. Caine was then an eager, ambitious, and very naive twenty-six year old Liverpudlian; Rossetti, a known painter and poet of fifty-one, was lonely, frightened, filled with morbid phantasies and a chloral hydrate addict. He was virtually a recluse in his gloomy London house, but Caine's letters revived his interest in literary criticism and during the last years of his life Rossetti taught Caine about literature. His "pupil's" interest and energy also helped to inspire Rossetti on his own behalf, for in 1881 he published a revised edition of Poems and a new book, Ballads and Sonnets. Very shortly after Rossetti*s death, Caine published his Recollections of Dante Gabriel Rossetti (1882), a biography of his friend which included some seventy-five fragments of the "nearly two hundred letters" he had received from Rossetti. In 1908 Caine included a large section on Rossetti in My Life, and in 1928 he produced a considerably altered version of his first biography. Caine became a prolific and popular novelist and playwright, was knighted for his war effort, and made a Companion of Honour "in recognition of his distinction in literature," but in spite of his successes, skepticism remains concerning his reliability as Rossetti's biographer. The doubts must have sprung from Caine's character—he had a romantic sensibility, a flair for seeing the simplest events dramatically, and a distinct taste for self-aggrandizement. However, although contemporaneous materials indicate that he inspired a certain wariness among Rossetti’s intimates, there are no concrete reasons to doubt his veracity in matters of fact. / Arts, Faculty of / English, Department of / Graduate

In the late summer of 1888, Vincent van Gogh undertakes to paint a number of canvases intended to decorate the Yellow House, his rented accomodation in Aries. Between mid August 1888,when this project is initiated in anticipation of sharin the Yellow House with Paul Gauguin, and October 23 or 24, 1888, when Gauguin arrives in Aries from Pont Aven, seventeen size 30 canvases for this decoration are painted. In describing two of these canvases to Theo van Gogh, Vincent expli-citely states that much of the meaning of his subject matter is to be conveyed by the use of suggestive or expressive colour. Several other times during the period in which the decoration is Vincent's major concern, a reference is made in the letters to Theo, to a concern with exploring the suggestive and expressive possibilities of colour. This thesis examines the nature of Vincent's concept of suggestive colour and it's role in the decoration canvases for the Yellow House As neither aspect of this topic have been examined in the van Gogh literature, this thesis is divided into two parts. In Part One, the concern with suggestive colour is shown to have it's roots in Nuenen in 1884 and 1885 where Vincent was introduced to several art texts that attributed the impact cfDelacroix' paintings to his understanding of the colour laws, in particular the various effects achieved through the juxtaposition or admixture of complementary colours. An analysis of Vincent's writings at this time shows that he gives a symbolic significance to his use of complementary admixtures and uses such colours to convey a particular aspect of his subject matter. While Vincent's palette and technique change radically in Paris and Aries due to Vincent's contact with impressionism and neoimpressionism and the exaggerated colour effects of the Japanese print, the re-emergence of a concern with the suggestive properties of colour which is announced in the early summer of 18 88, is based to a large extent on the significance given to complementary relationships formed in , s-Nuenen. An analysis of the colour structures in several canvases executed in July and early August of 1888, in light of the special role given to complementary relationships, shows that Vincent intended his use of complementary colours to convey much of the meaning of his images. Part Two examines the decoration canvases for the Yellow House. A study of Vincent's letters reveals the Yellow House as an essential part of Vincent's vision of a studio in the south that would give asylum and refuge to artists in need. This studio was to provide for artists of the present and the future, as Vincent sees his own role as a painter as a link in a chain of artists working with colour. By establishing a studio that is to remove the threat of poverty and hardship from artistic life Vincent hoped to create a stable and serene environment, enabling artists to work productively/ in turn effecting an artistic renaissance and a new art of colour. Examined individually within this - context several of the decoration canvases are shown to refer to ijhi.s vision, suggesting a thematic link for the series as a whole. Suggestive colour continues as a major concern during the period in which the decoration canvases are painted. Vincent sees complementary harmonies and contrasts as able to convey "l'idees poetiques" and uses such colour relationships in several of the canvases of the series to convey important aspects of meaning. The decoration for the Yellow House thus emerges as a crystallization of Vincent's vision of an association of artists working towards a renaissance, and as a major effort to formulate an expressive art in the summer and fall of 1888. Both aspects establish the series as an important development in the evolution of Vincent's art and theory. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

No description available.

Akademisk avhandlung--Göteborgs högskola. / Extra t.p., with thesis note, laid in. "Källor och litteratur": p. 398-410.

Diss.--Philosophische Fakultät--Bonn--Universität, 1991.