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Représenter la féminité : l'oeuvre de Georges de Feure entre 1890 et 1910Proulx, Geneviève-Anaïs 12 1900 (has links) (PDF)
Entre 1890 et 1910 les œuvres de Georges de Feure (1868-1943) illustrent diverses représentations de la féminité. S'inscrivant tout d'abord au sein du symbolisme puis de l'Art nouveau, les œuvres créées par de Feure présentent des transformations dans le traitement du motif féminin. Participant au mouvement symboliste, Georges de Feure collabore avec le milieu artistique montmartrois et aborde les thèmes décadents du pessimisme schopenhauerien, de la supériorité de l'Idée sur la réalité et de la perversité féminine. Influencé par les poèmes de Charles Baudelaire, de Feure représente abondamment le thème de la Femme fatale et ses différentes déclinaisons iconographiques liées à la domination, la toxicité, la cruauté et le vice involontaire. Dans une deuxième partie de sa carrière, les œuvres de Georges de Feure adoptent l'esthétique Art nouveau et présentent plusieurs caractéristiques de modernité. La stylisation et le thème de l'industrialisation des arts décoratifs apparaissent comme nouveaux éléments des créations qu'il conçoit pour le Pavillon de l'Art Nouveau lors de l'Exposition universelle de Paris en 1900. Influencé par le japonisme, des caractéristiques d'élégance et d'indépendance sont désormais présentes dans ses œuvres mettant en scène le type féminin de la Femme à la mode. Le débat entourant la Femme nouvelle dans la fin-de-siècle eut des répercussions dans les affiches réalisées par de Feure. Les représentations de la Femme nouvelle apparaissent dans les affiches faisant la promotion de performances liées à la danse. Un changement de commanditaire modifie toutefois les représentations de la féminité dans les affiches. Dans les affiches artistiques conçues pour les éditeurs et galeristes de l'avant-garde, les représentations de la féminité introduisent graduellement des caractéristiques de la Femme à la mode, ce qui participe à la création d'un nouveau type féminin que nous avons baptisé Femme hybride. Rapidement la Femme à la mode l'emporte complètement sur la Femme nouvelle dans les affiches conçues par de Feure après 1900 et c'est finalement à partir de ce moment que l'œuvre affichiste et l'œuvre peint de l'artiste se rejoignent.
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MOTS-CLÉS DE L’AUTEUR : Georges de Feure, fin-de-siècle, Femme fatale, Femme à la mode, Femme nouvelle.
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Vi som inte fruktar döden : skildringen av samurajklassens hederskodex under Meijikejsarens styre i Den siste samurajenErnestrand, Henrik January 2011 (has links)
This essay deals with the political upheavals which occurred in Japan with the Meiji Restoration of 1868 and its impact on the Samurai Class. This transitional period in Japanese history is portrayed in the film The Last Samurai from 2003, and it's the comparison between this Hollywood production and the current research on the subject on which this essay focuses. Two key figures who are portrayed in the film are Nathan Algren (Tom Cruise), an American soldier from the Indian Wars of the 1860/70s who travels to Japan to quell the Samurai rebellion but ends up in captivity; only to learn their codex of honor and way of life and eventually become a Samurai himself. The other character calls himself Katsumoto (Ken Watanabe) and becomes the representative of the Samurai's struggle for their existence. Their friendship and cultural exchanges will remain a cornerstone throughout the film. Katsumoto has his historical counterpart in Saigō Takamori – also known as The Last Samurai during the times of the Meiji Restoration and its aftermath. Closely intertwined with the Samurai come ideals in which the warrior must follow specific precepts and behavior patterns both on the battlefield and in civilian life. Bushidō (“the way of the warrior”) and the ritual suicide that is seppuku (“stomach-cutting”) therefore play a significant role in the film and become a symbol of the clash between the old values of the Samurai and the inevitable process of modernization according to Western standards. The film explores both the theoretical and practical dimension of bushidō and is a tribute to the Samurai; their ideals, living and learning philosophy and to their codex of honor. It also depicts the unexpected and forbidden friendship between a Samurai and a soldier with their separate Western and Eastern values – which ultimately results in their common defeat before the new age in Japan.
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Stellenlektüre Stifter-Foucault /Fliethmann, Axel. January 2001 (has links)
Zugl.: Köln, Univ., Diss., 1999. / Bibliogr. p. 171-184. Notes bibliogr.
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PROGRESSIVES IN SEARCH OF A USABLE PAST: THE ROLE OF A NATIVE TRADITION OF IDEALISM IN THE SOCIAL NOVELS OF DAVID GRAHAM PHILLIPS, WINSTON CHURCHILL, AND ROBERT HERRICK, 1900-1917Crapa, Joseph Robert, 1943- January 1975 (has links)
No description available.
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THE JAPANESE ARMY IN MANCHURIA: COVERT OPERATIONS AND THE ROOTS OF KWANTUNG ARMY INSUBORDINATIONWeland, James Edwin, 1935- January 1977 (has links)
No description available.
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Divine and sublime creativity : a comparison of Schenkerian and Ciceronian principlesMansoori-Dara, Reva 11 1900 (has links)
As is clear from the title, this thesis presents a comparison of Schenkerian
and Ciceronian principles. The thesis will focus mainly on the characteristics of
the creative process essential for producing a sublime and intellectual work.
Admittedly comparing a Roman lawyer/philosopher (Cicero) to a 20th century
musician/theorist (Schenker) will bring forth many obstacles and will suffer from
numerous imperfections. Stressing the commonalties between two men of time
frames too far apart is an arduous task. I found it most helpful to go about this
problem through three stages: first, by presenting an overview of the lives,
historical circumstances, and careers of the two mentioned figures; second, by
presenting a basic comparison of the two branches of thought; and third, by
dealing with some of the more complicated philosophical issues for a better
understanding of the two doctrines.
Since many of the Schenkerian and Ciceronian principles are heavily
rooted in Platonism, an overview of Plato's theory of 'forms and ideas' is
presented to guide the reader toward a better grasp of the concepts. The reader
may, however, be uncertain regarding the objective of this thesis: is this a
comparison of the two philosophies or an evaluation of them? Of course, in order
to achieve a satisfactory comparison, one must first understand the two
philosophies; this demands an explicit analysis which, in my view, is a form of
evaluation. I have also shown and questioned some of the ambiguities of the two
philosophies without offering any solutions. This will perhaps help the reader to
understand the path I had to take in completing this thesis. I have included these
philosophical remarks in the endnotes. Furthermore, Schenkerian philosophy
reveals many other important influences other than Platonism; although not the
focus of this thesis, numerous references to great thinkers such as Nietzsche,
Spinoza, Hanslick, and Freud illustrate this point.
Much of the presented bibliographical material on the life of Cicero can be
found in the On the Commonwealth and On the Laws. Furthermore, Michael B.
Fuster's Masters of Political Thought has been used as a source of reference for a
great portion of the philosophical interpretations.
Much of what I have presented on Schenker and Schenkerian literature has
been gathered through my studies and conversations with Dr. Benjamin, my
advisor: the most reliable source with whom I am acquainted. This is perhaps the
reason for not including any other philosophical writings on Schenkerian
literature in the bibliography.
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Thomas D'Arcy McGee, a biographyBurns, Robin B. January 1976 (has links)
No description available.
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The Phantom of the Opera : prehistory, birth and afterlifeBell, Joseph James January 2010 (has links)
This thesis aims to provide a critical account of Gaston Leroux’s Le Fantôme de l’Opéra (1910), which has become one of the most enduring and visible of modern myths. Leroux’s text discloses anxieties about a rapidly changing world, and these anxieties manifest themselves artistically in a simultaneous fascination and horror with the emerging episteme. Leroux’s story subsequently took on a life of its own in popular culture, yet, this thesis argues, many of these adaptations remain bound up in the same issues of futurity and dichotomies of masculinity, as well as concerns about the role of the artist in determining the values of his society.
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Man of controversy : Lord Cardigan and the Charge of the Light BrigadeWomack, Steven D. January 1976 (has links)
This thesis has examined the military career of a nineteenth century English peer, the seventh Earl of Cardigan, from his early years as a cavalry officer, moments of personal and national controversy surrounding his methods of command, and his military activities during the Crimean War of 1854-1856. A detailed study has been made of Lord Cardigan’s military service as a cavalry commander and the controversy concerning his command, especially in regard to the Crimean War, his leadership as commander of the Light Brigade, and the events that took place during the Battle of Balaclava October 25, 1854.
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Victorian war correspondents G.A. Henty and H.M. Stanley the 'Abyssinian' Campaign 1867-1868 /Hoover, Nora K. Garretson, Peter P. January 2005 (has links)
Thesis (Ph. D.)--Florida State University, 2005. / Advisor: Dr. Peter P. Garretson, Florida State University, College of Arts and Sciences, Dept. of History. Title and description from dissertation home page (viewed June 13, 2005). Document formatted into pages; contains v, 150 pages. Includes bibliographical references.
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