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Ilmari Turjan näytelmät /Räty-Hämäläinen, Aino. January 1981 (has links)
Th.--Litt.--Helsinki, 1981. / Résumé en anglais. Bibliogr. de l'œuvre de I. Turja, pp. 237-240. Bibliogr. pp. 241-256. Index.
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Malraux et l'érotisme.Houde, Normand January 1972 (has links)
No description available.
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Xavier Herbert's Capricornia : ironic structure and imaginative visionMcDougall, Russell John. January 1981 (has links) (PDF)
Typescript (photocopy)
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Malraux et l'érotisme.Houde, Normand January 1972 (has links)
No description available.
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The foreign policy of Francesco CrispiWhite, Elizabeth Brett. January 1917 (has links)
Thesis (M.A.)--University of Wisconsin--Madison, 1917. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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A poesia de Cecilia MeirilesGomes, Ana Maria B. R. L. January 1969 (has links)
Iniciamos o primeiro capltulo deste trabalho justificando a necessidade de nos referirmos a alguns dados biograficos para chegarmos a tuna melhor compreens ão da personalidade e da visão do mundo do nosso poeta. Tres factores são sumamente importantes: uma infa'ncia solitSria, o conhecimento do folclore luso-brasileiro e a precoce "intimidade com a morte". Discutimos tambem a influencia dos ideals simbolistas na obra de Cecilia Meireles, desde a marcada caracteristica de trabalhos de escola dos seus primeiros livros a individualizacão do lexico e dos processos simbolistas que vinham sendo absorvidos pela poesia contemporãnea universal. Nunca completamente integrada no Modernismo brasileiro, Cecilia negou sua adesão a fase inicial do mesmo mdvimento, devido a sentir mais afinidades com o grupo espiritualista de Festa que combatia as tendSncias inconoclastas do Modernismo.
Frente a obra poetica, analisamos a posicão da autora em relacão a sua filosofia de vida e tentamos sistematizar seus temas ou complexos tematicos, que sfifo uma slntese do pensamento tradicional com a problematica contemporflnea.
Muitos temas são expressos na transfiguracão simbolica dos elementos naturais. A natureza Surn leit-motiv. O contacto do homem com a natureza manifesta-se num ambiente optimista, mas o pantelsmo não soluciona nem satisfaz a aspiragão ascetica do homem. O tema
do homem e seu destino, ligado ao complexo vida-tempo-morte, e constante. O subtema do amor apresenta urn aspecto de intelectualizacão semelhante ao pensamento expresso por Antonio Machado: o homem, devido aos seus limites no espago e no tempo, não tern possibilidades de amar outro ser. Limita-se a amar o amor.
O tempo, como tema, apresenta aspectos de tratamento barroco: uma conscigncia aguda de transitoriedade que escolhe a atitude quevedesca frente ao circunstancial, sempre na procura de valores absolutos.
Subjugado ao tenia do tempo surge o complexo espelho-face-retrato que traduz a preocupacSfo ,contemporcfnea sobre a unidade e a unicidade do "ego" atraves dos varios estãgios da vida individual.
O tema da brevidade da vida e expressado especialmente pelo slmbolo da rosa, cuja beleza transit6ria s6 pode ser perpetuada pela memoria. 0 tema do sonho versus realidade e tratado de maneira nitidamente barroca. Deus, como chave do misterio existencial, e sempre procurado e interrogado mas não chega a ser tema exclusivo.
O mar e tema proeminente na poesia de Cecilia Meireles. Este tema e explorado numa escala simbfilica que conduz sempre a depuracSto dos motivos intlteis e & procura do absolute A noite surge como integracSfo no absolute e desprendimento da condicão humana.
Quanto a analise estilistica, pomos em destaque o simbolo em seus aspectos temStico e tecnico, apontando '. os recursos que contribuem para o sucesso de algiim dos slmbolos.
Alem do simbolo, referimo-nos as caracterlsticas dos outros
procedimentos metaf6ricos, imagens visionarias e visos, que, em Cecilia Meireles, apresentam sempre uma reminiscencia logica nas suas associacoes, tendo, por isso, nuita afinidade com a metafora tradicional.
No capitulo IV apontamos outros recursos estillsticos muito frequentes na obra que estudamos como a sobreposicão temporal, especialmente a anticipacão, a sinestesia, que se manifesta numa tentativa de slntese preceptiva fazendo corresponder sons e formas, sons e cores, sons e tacto, ou materializando os sons e dando significado simbSlico as cores.
Como processos geradores de ritmo observarnos as reiteracães de som, de imagem,de significado, que criam um ritmo emotivo mais que musical, no sentido restricto do termo. São tambem de notar a repeticão anaforica, a correlacão e o paralelismo tradicional.
As caracterlsticas individualistas da linguagem poetica de Cecilia Meireles são acentuadas pelo uso de adjectivos abstractos, de substantivos de carScter pouco material e de verbos em sucessoes que desenvolvem um dinamismo ora ascendente ora descendente.
No ultimo capitulo tentamos situar o Romanceiro da Inconfidgncia na evolucão das criacoes epicas do Modernismo. Tracamos a afiliacão do Romanceiro nas tradicoes hispãnica do romance e folclorica da sociedade brasileira. Referimo-nos ao abandono das tradigftes da epopeia greco-latina e camoniana, devido as novas filosofias do humano e do her6ico, a aceitacão do prosaico como
elemento artistico e a despreocupacão pela dif erenciagSto entre os generos litergrios que se observa na literatura contemporSnea.
Contra o panorama das tentativas epicas modernistas, mais ou menos a volta de temas de viagens marltimas ou de exploracSto do interior, o Romanceiro canta a essSncia da nacionalidade ou seja a consciencia de se ser brasileiro, desenhando a evolucSto do sentimento de nacionalidade desde as suas primeiras manifestacoes. Por isso o consideramos a tentativa epica mas adequada e mais intrinsecamente brasileira da sua epoca. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate
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Alberto Giacometti : an art of impasseMasgaard, Roald January 1967 (has links)
Within Giacometti’s concepts of what art must do, his own art has reached an impasse. He defines art as a means to see better and considers it a method of research into the nature of the exterior world. When the truth of this nature has been discovered and totally re-created on canvas or in sculpture, only then is his art complete. Instead of greater knowledge, however, his visual researches have only yielded more uncertainty and mystery; and the qualities of the exterior world have escaped him until he is in despair of ever reproducing them. He finds himself in the situation, consequently, of trying to represent in art that which he has no knowledge of. It is the terms and manifestations of this impasse that the present paper purports to discuss.
As prefatory background to the discussion proper, I have proposed the contrasted images of the acrobat and the clown, a metaphorical framework suggested in criticism of Samuel Beckett, who, in literature, has reached an impasse comparable to Giacometti's in art. The acrobat represents the artist who, like Giacometti, despite an impasse pursues his impossible goal relentlessly, glad of the most miniscule achievement. The clown, on the other hand, accepts the failure of his art and creates a new art whose basis is failure. The clown acts as a foil to the acrobat. I note also the critics' failure to consider Giacometti in relation to his tradition, an unpardonable omission because the crisis in his art is as well an indication of a crisis within the tradition.
When Giacometti defines art as a means to see better, he refers to no simple physical act of recording sensation. Seeing is a highly critical procedure which strips vision of the veil of culture which tradition has placed between the eye and the model, and frees the mind of outmoded forms and conventions of perception which have become irrelevant to the total experience and organization of the artist. Having performed this operation, the artist is free to observe the true nature of the exterior world and record its likeness in art.
Giacometti's rigidly controlled seeing, however, has not revealed the desired knowledge, but has instead yielded the experience of the distance which forever separates the artist from everything he wants to depict. Instead of being able to re-create the human face and figure, Giacometti has only succeeded in producing those slim, attenuated, emaciated figures whose human characteristics disappear as we approach them, and whose gaze stares emptily and impenetrably into space, revealing nothing. His art has become a testimony to the common experience of contemporary thought: man's alienation and isolation. This is basically what denies the artist the intimate rapport with his model necessary in order to re-create its likeness. As contemporary science and philosophy have been limited in their researches by human finitude, so has Giacometti's art. His minuscule bit of knowledge is but a speck on the infinite scale of things; and partial knowledge is not truth.
Finally the awareness of human finitude within art is traced through its development in the nineteenth century. The difficulty of realizing on canvas what he saw in nature became particularly evident to Cezanne in an age when, deprived of all relevant established traditions of art, he had to discover for himself a new artistic language and imagery. Cezanne began to suspect the impossibility of doing art which sought after truth, but he still had reference to metaphysical concepts as to the nature of the external world which made his success in art at least conceivable. Giacometti is deprived of such concepts and his contemporary sensibility denies his ever achieving a basis of certainty. Art for him will always be a tentative gesture in the direction of completion, but completion is inherently impossible. These are the terms of the impasse in Giacometti's art. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate
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Andre Malraux and communism : a study in political mythBeahan, Gary William January 2011 (has links)
Digitized by Kansas Correctional Industries
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'Our wayward and backward sister colony': Queensland and the Australian federation movement, 1859-1901McConnel, Katherine Unknown Date (has links)
No description available.
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Some implications of Heisenberg's theory on predictability in sociologyShaw, Robert H. January 1968 (has links)
There is no abstract available for this thesis.
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