Reproduction : Thèse de doctorat : Analyses littéraires et histoire de la langue : Lille 3 : 2005. / Titre provenant de l'écran-titre. Bibliogr. p. 398-414. Notes bibliogr. Index.

n/a

n/a

Texte abrégé de: Thèse 3# cycle--Lettres--Lille, 1967. / Thèse soutenue sous le titre : "L'Amour, le dialogue et le voyage dans L'Âme enchantée" Bibliogr. p. 155-157.

Texte remanié de: Diss.--Fakultät Geschichts-, Sozial- und Wirtschaftswissenschaften--Universität Stuttgart, 2000. Titre de soutenance : "Entscheidende Faktoren" in Analysen der "Invasion" 1944. Zur Entstehung und Verwendung dezisionistischer und ökonomisch-deterministischer Erklärungsmuster. / Bibliogr. p. 239-269.

CHAPTER I:a survey of the life and works of Rolland, based, for the early years of his life, on the biographies of Seippel and Zweig, and for the post-war period, on material compiled from various periodicals. CHAPTER II: an attempt to elaborate Rolland's social philosophy, which is succinctly expressed in the preface to Compagnons de Route: - the concept of dynamic change together with the conflict between spirit and being, individualism and collectivism, and between contemplation and action. Section (i) deals with the study - pursued by Rolland in the spirit of the sociologists of knowledge - of the relation of the intellectual (including the philosophical and artistic) activities of man to the society in which he lives. Under the influence of the First World War and its consequences, the author arrived at the conclusion that knowledge has a class basis. Hence in so far as Rolland espoused the interests of the modern European proletariat, one can profit to examine his philosophy in the light of dialectical materialism. Section (ii) Although, in his ontological thinking, Rolland cast aside the doctrines of materialism and idealism as mere jugglerly of words, nevertheless, deeply impressed since his student days by the monism of Spinoza, he preached the necessity for regarding matter and spirit as an essential unity. He therefore attacked the "faux idéalisme" which tended to dissociate and isolate ideas from their setting in reality; he rejected the theory of "ideas for ideas' sake'’. This philosophy of realism is incorporated in Jean-Christophe and l’ Ame enchantée. In studying social development, Rolland approached the standpoint of historical materialism; he lent importance to the collective action of the masses as an instrument in forging the structure of society. At the same time, he extolled the creative abilities of individual great men who seemed to dominate their age. At first unable to reconcile the two principles of collectivism and individualism, the author finally evolved a new type of humanism in which the interests of the One and the Many were correlated. Section (iii) traces the historical basis for the dialectical philosophy of the author. In the works of Heraclitus, Empedocles, Rousseau and Goethe, Rolland found present the principle of universal movement and change, to which he gave expression in Jean-Christophe and other literary productions. He proceeded to attribute the evolution of the world to the conflict of opposites and thus considered love and hate as two important factors impelling the development of the universe. Section (IV) treats of the epistemological theory of the author. Rolland admired the degree to which the early Greek philosophers verified their knowledge by putting it into use. Consequently he was reluctant to accept a criterion of truth which was based solely on reason or faith, on rationalism or empiricism. He endorsed the logic of Faust: "In the beginning was the deed”, and adjured the intellectuals to test their ideas in the practical activity of the working class. CHAPTER III: the position of the author in the conflict of our age. Early in his career, Rolland had abandonned the nationalist tradition of the French Revolution and had set about to strengthen the cultural bonds between France and Germany. As a result of the first World War, he realized the interdependence not only of the countries of Europe but also of those throughout the world. To this doctrine of internationalism, Rolland joined that of socialism and, in his desire to further the interests of radical elements, was led to moral support of the experiment of the Soviet Union. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

One of the most decisive careers in the history of twentieth-century painting is that of Piet Mondrian. Not only did he singularly commit himself to the development of non-figurative art and take this development further than any contemporary, but he also was able to formulate an articulate theoretical program upon which his aesthetic decisions were founded. The neo-plastic art by which Mondrian is best known, executed between 1920 and his death in 1944, is only the climax of a long development which began with his break away from a regional landscape painting about 1908, and crystalized in the formulation of his neoplastic aesthetic between 1914 and 1920. This essay will trace this development in an effort to reconstruct the impulses, the decisions, and the resolutions which led to the birth of a pure non-figurative painting. The impulse of this evolution is rooted in Mondrian's personal, obsessive search for the unity of a philosophical and formal ideal. About 1908, he felt the need to express a philosophic ideal, or a ‘content' which was incompatable with his early regional style. This led him to move at first hesitantly, then with complete freedom, into contemporary developments in abstraction in the search for a form which would satisfy the demands of a content. As he expanded upon the formal innovations of cubism from 1911 to 1914, he began to realize a totally unique mode of picture-building which would not 'express' the content but 'be' the content:- not only the physical embodiment, but also the creative function of the philosophic ideal. This ideal began with Theosophy, but married to his art, it became neo-plasticism. This evolution of form, which this essay will concentrate upon, was achieved essentially through the development within the medium of painting itself, and through the recognition of the absolutely essential, non-arbitrary, non-metaphorical components of a painting. The 'content' becomes implicit through the concentrated but intuitive ordering of these components according to both the plastic laws of the universe and the plastic laws of the medium itself. Despite the theoretical and philosophical inclinations shown in his abundant writings, he was above all a painter, and his most immediate concern was always to come to terms with the means of expression. When his painting began to take upon an abstraction that could almost be considered as being non-art, his theorizing took on a greater importance as a philosophical substantiation for an unfamiliar non-figurative image. His neo-plastic philosophy, fully articulated by 1920, recognized above all the plastic laws of painting, and thus the non-figurative image, but it also kept within this formal exingency that ideal residing outside and beyond art which has guided artists throughout history:- the recognition of the universal laws of creation. The uncompromising nature that led Mondrian to a perfected art, an ultimate and complete synthesis of form and content, forced him to eliminate the most sanctified traditions of art. But rather than destroy art, he gave it a new life. He revealed an arena of expression that had never been apparent or possible to artists of any previous age, and which is the heritage of contemporary art today. Within the context of this essay, a study in the evolution of form, it might seem irrelevant to comment upon matters of taste, something which Mondrian himself considered irrelevant to his immediate aims, but now that his accomplishment and his theoretical assumptions are taken for granted, it is mandatory that the quality of his work not be overlooked. He will be remembered in the future not so much for the fact that he was a pioneer of non-figurative art, something ultimately important only for his own generation, but rather for the power of beauty he evoked within an imagery that claims nothing more than an absolutely exclusive perfection, a sensibility rare in any period of art history and which he shares in this century with Giorgio Morandi, Barnett Newman and Ad Reinhardt. Not all of his work is successful. Mondrian was at his best when he worked in depth with a preordained, self-effacing system, not when he was working with forms that demanded a capricious sense of invention. He was a penetrator, not an expander; his sense of form was analytical, not synthetic. When he strayed away from an art that expressed his innate sensibility for form into an area where form is sacrificed for the idea, such as happened in his 'stylist' period of 1911, his work was considerably weakened. Also less successful are his earliest cubist pictures, awkward in the new style, and the 'plus-minus' pictures of 1914-1915, which attempt an expression of space which cubism could never handle. The majority of his works, however, are unqualified masterpieces, and one feels the temptation to view him as a twentieth-century Vermeer. This leads one to sense that the spiritual power that lurks within the constructive obviousness of Mondrian's art, lurks, with equal strength, within the prosaic realism of Vermeer's art. Both artists are concerned ultimately with a sense of order which finds its metaphysical source in the physical world, and both communicate this sense of order through an expression of tensions of space. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

The Alpha and Omega series was executed in 1908, during Munch's hospitalization in a psychiatric clinic where he was receiving intense treatments for a mental breakdown. The subject matter and the iconography of the Alpha and Omega series is closely interrelated with Munch's most significant works, the Frieze of Life series, with which he was preoccupied between the years 1892 to 1902. The two main issues of the Frieze of Life series which deal with the relationships between man and woman and. the aspects of life and death, are closely associated with Munch's philosophy on life, love and death as it was formulated from his personal experiences. Between the years 1902 to 1908, Munch no longer painted works which were thematically or iconographically related to the Frieze of Life series. These years are stigmatized as his wandering years which were spent travelling around Europe. He purposely stayed, away from Norway, because during this period, he tried to avoid any confrontation with memories of past experiences which he feared might affect his mental and physical stability. Finally in 1908, he suffered a severe mental crisis and admitted himself to a psychiatric clinic in Copenhagen. With his doctor's encouragement, Munch carried out his previous plans of putting together a portfolio made up of a poem about man and woman, and Illustrated by a series of lithographs; in this work, he once again dealt with the philosophical issues of life, love and death. Through the revaluation of Munch's philosophies which were closely interrelated with his inner feelings and anxieties, his doctor believed that Munch would be able to bring under control all his frustrations and thus recover from his mental illness. An examination of the social and philosophical milieu in which Munch lived and worked, will enable one to comprehend his philosophy on life, love and death as it was derived from his personal experience. An analysis of the works which constitute the Frieze of Life series will later be used for comparison between the Frieze and the Alpha and Omega series. Through the revaluation of his philosophies as they were recreated in the Alpha and. Omega cycle and through the final conclusion of the cycle, in which he sought vengeance on woman for the harm she had caused him, he summarized all his philosophical notions concerning life, love and. death. After the completion of the Alpha and Omega cycle, and after his recovery, he seldom, if at all, executed works which were related to the main issues of the Frieze of Life series. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

No description available.

No description available.