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Paul L. Rosenfeld ( 1890-1946) almost single-handedly established the music of living American composers on a solid critical foundation in the period between the two world wars. Although he built a reputation chiefly as a critic of music, he was a man ofletters who ranged across all the arts with unrivaled competence and ease. Rosenfeld's contemporaries acknowledged him as a champion of that strain of modernism which celebrated the interrelatedness of the arts. His importance for the wider culture of early twentieth-century American modernism also lay in his seriousness about the arts. Rosenfeld earned forward the American democratic and romantic belief, epitomized by Walt Whitman and Alfred Stieglitz, in the capacity of art to articulate basic values that enrich and even ennoble the human person. Such an idealistic conception of the value of art was increasingly losing favor among the American literati during the 1920s, the period when Rosenfeld enjoyed his greatest influence and prestige. During this decade of"terrible honesty," American intellectuals tended to dismiss the "ideals of men" in favor of a single-minded interest in a more bitter realism. Inasmuch as they denigrated the notion that art held any kind of privileged status as a conveyor of values, they were in effect nascent postmodemists. This study ofPaul Rosenfeld's life and work examines the achievements ofPaul Rosenfeld as a critic of the arts in their relation to the wider American culture of the interwar years, and as a purveyor of modernism against the background of the first strains of postmodemism. It will also treat at length Rosenfeld's efforts as a writer, editor, and minor philanthropist on behalf of establishing a distinctively American music, literature, and painting. This cultural nationalism, I argue, is best understood as part ofRosenfeld's modernist project. To a lesser degree this thesis also deals with the changing position of the man of letters in American life. / History / D. Litt et Phil. (History)

Étudier la critique d’art de Joris-Karl Huysmans soulève des enjeux esthétiques, poétiques et idéologiques. Si elle constitue un genre à part entière, que l’auteur a pratiqué en tant que tel, la critique d’art entretient des relations de complémentarité et d’interférence avec le reste de l’œuvre. S’y élabore en effet une esthétique, qui à son tour définit une poétique : parce que le critique est également écrivain, la réflexion qu’il mène au sujet des arts plastiques – peinture, sculpture, architecture – se développe parallèlement à sa pratique d’écriture. Ses options critiques reposent sur une analogie entre les arts, s’inscrivant en cela dans une longue tradition, qui va de l’ut pictura poesis horatien aux correspondances baudelairiennes, en passant par le paragone de la Renaissance. Aussi regarde-t-il l’art en tant qu’écrivain, y cherchant tantôt la confirmation de ses idées sur la littérature, tantôt un modèle d’écriture. Mais parce que la critique engage des valeurs et des convictions, elle se fait aussi la chambre d’écho des options idéologiques de son auteur, aux plans socio-économique, politique et épistémique. Huysmans regarde l’art à travers une idéologie qui se décline en un certain nombre de valeurs et de contre-valeurs : héritier d’un siècle de romantisme, il entretient un rapport douloureux avec son temps, en délicatesse avec la pensée de son époque. Cette idéologie – à la fois anticapitaliste, antibourgeoise et antimoderne – filtre donc le regard qu’il pose sur l’art : elle détermine en partie ses jugements esthétiques, elle les oriente de façon diverse et souvent contradictoire. / In Joris-Karl Huysmans’s art criticism, aesthetics, poetics and ideology are at stake. Though art criticism is a genre in its own right, which the author used as such, it maintains close relations with his other works: they complete one each other as well as they interfere together. In his art criticism, Huysmans develops aesthetics, which define in its turn poetics: because the critic is also a writer, his thinking about visual arts – painting, sculpture, architecture – runs parallel with his writing process/practice. His critical assessments rest upon a comparison between the arts and therefore form part of a tradition which roots in Horace’s maxim ut pictura poesis, crosses the Renaissance period with the paragone and leads to Baudelaire’s correspondances. When watching a painting, Huysmans remains a writer: he’s looking for a confirmation of his ideas about literature or a model for his writing. But because art criticism puts values and beliefs at stake, it echoes the ideological choices of its author, on socio-economic, political and epistemic levels. Huysmans sees the arts through an ideology which comes in various values (et contre-valeurs): heir of a century deeply marked by romanticism, he maintains painful relationships with his time, in trouble with modern ideas. His ideology – against capitalism, bourgeoisie and modernity – filters the way he considers the arts; it partly determines and influences, in various but often opposing ways, his aesthetic judgement.

Notre hypothèse est que la réflexion de Diderot dans les Salons ne porte pas tant sur l’image que sur le langage : la confrontation avec les œuvres d’art l’oblige à questionner la langue. Traduire l’image permet d’expérimenter les limites expressives de la langue, de saisir ses conditions d’apparition, son origine. La présente étude se donne trois objectifs principaux. Remettre les Salons au cœur des pratiques d’écriture des salonniers. La critique d’art est à envisager non seulement au regard des idées nouvelles défendues par les salonniers, mais aussi de leurs expérimentations formelles. En examinant les textes antérieurs et postérieurs aux Salons se dessine la genèse de la critique d’art comme genre littéraire. À l’autre extrémité des influences, cette étude explore les Salons en les plaçant au cœur de l’ensemble de l’œuvre de Diderot. Diderot y approfondit ses intuitions théâtrales et esthétiques, développe ses thèses sensualistes et matérialistes, sa philosophie morale, ses idées politiques et physiologiques, affine sa conception de la langue. Les Salons l’accompagnent dans son cheminement intellectuel et dépassent le commentaire des œuvres exposées. La critique d’art est laboratoire d’écriture et de pensée. Plus encore, sa critique d’art pose avec une acuité toute particulière l’un des grands problèmes du tournant des Lumières : le conflit naissant entre nature et culture, dont le langage devient l’un des lieux d’interrogation privilégié. C’est à la question du langage que nous avons choisi de nous intéresser, parce que ses fonctions sont emblématiques des tensions du texte. Le langage peut servir à communiquer avec les autres, à échanger. Mais il a également la capacité de figurer, de créer une image dans l’esprit. Il permet enfin de s’interroger sur lui-même. Une involution semble poindre dans les Salons : c’est à partir des discours sur l’art comme lieux de sociabilité que Diderot réfléchit à la langue originelle. / My thesis is entitled “La mise en question du langage dans les Salons de Diderot”. It aims at showing that Diderot’s art critic does not focus so much on image than on language, or more precisely on the fact that, when looking at a painting, Diderot is compelled to question language. In the Salons, he tries to make pictures arise from words and to give speech and voice to images. Three aspects of the relationships between image and language arise, and make up the three parts of my thesis. First of all, Diderot talks about the paintings of the Louvre’s exhibitions. The Salons are part of Grimm’s Correspondance littéraire, whose subscribers are all members of European monarchies. While he depicts paintings, Diderot always keeps in mind that these very urbane readers expect to be entertained. Speech about art need to remain close to playful conversation in order to entertain the elite. I studied Diderot’s borrowings from other art critics, thanks to the “Collection Deloynes” in which are gathered all texts from the eighteenth century about the Louvre’s exhibitions. Working on this collection enable me to prove Diderot’s influence on evolution of art criticism considered as a literary genre. The second part of my thesis focuses on the language of image. Diderot also tries to invent a language that imitates image, whose structure and phrasal progression match the dynamic of the painting. He adapts his writing to pictures until he reaches sometimes the limits of syntactic structure. Finally, Diderot questions the ability of words to convey images, which lead him to a metalinguistic reflection. Paintings are perceived as a gestural form of language which gives clues to understand the origins of language. My research consists in proving that there is a kind of “involution” of language in Diderot’s art critic. Whereas evolution led language from nature to urbanity, in the Salons, being confronted to images, Diderot seems to go the way back, from urbanity to nature.

This dissertation considers Henri Rousseau (1844-1910) as a painter and as a figure of discourse. It addresses the longstanding concern of Rousseau’s resistance to interpretation and proposes that this derives from Rousseau’s incomplete fulfillment of the professional obligations of the artist, specifically, from his failure to motivate his work through the pursuit of what modern art critics commonly called “a problem.” Rousseau did not practice painting as artists of his day did, and because of this difference—first articulated by Guillaume Apollinaire in 1908 as an absence of artistic inquiétude—he entered the discourse of art with unprecedented susceptibility to reinvention. The Rousseau we know today, the Rousseau who was a miraculous modernist in the interwar period, and the Rousseau who emerged in the context of the avant-garde in the earliest years of the twentieth century share little besides a name, and this frustrates any effort to write a coherent history of the painter and his pictures. Rather than propose once again Rousseau’s recuperation into a traditional art-historical narrative, this dissertation tells the history of a maker who produced admirable images but fulfilled few other author-functions, and it tells the history of writers who, compensating for Rousseau’s authorial deficits, produced a new artist, a new body of work, and widespread puzzlement about the place of each in the history of modern art. / text

As urban development in the 20th century has become the issue of global concern, more and more new territories have been occupied due to high intensity of the development. International conferences devoted to the regulatory issues of city development held within the current decade (such as HABITAT II held in Istanbul, 1996, ATHENS’98 – in Athens, 1998, URBAN 21 – in Berlin, 2000, and a conference in Brussels, 2001, etc) emphasized the majority of developmental aspects including the great focus on the necessity to further form urban structures with the priority of internal city development looking for more effective and more universal functional uses of the territories, restoration of the existing downtown areas and preservation of their original character. As other post-soviet countries, Lithuania has been also facing the need to reorganize various spheres including urban development. Urban territories have been dangerously expanded, especially during the soviet period, due to the increased general city building-up areas, mostly expressed by the territorial expansion rather than gradual and consistent development (by the use of internal reserves of the city). After the restoration of Lithuanian independence, privatisation, changed character of housing construction, return of land and real estate to the previous owners and increasing value of land under the free market conditions remarkably modified the nature of urban development in Lithuania, at the same time revealing the... [to full text]

Bakalauro darbo pirmame skyriuje išanalizuoti neigiami žmonių jausmai, išnagrinėti įvairių autorių (medikų, sociologų, mokslininkų) publikuojami straipsniai pykčio ir agresijos tema. Išanalizuotos neigiamų emocijų kilimo priežastys, jų išreiškimas ir valdymas. Antrajame skyriuje pateikta įvairių dizainerių kūrybos pavyzdžių, interpretuojančių neigiamas emocijas. Išanalizuoti seserų Mulleavy (Rodarte) sukurti darbai, kuriuose atsispindi pyktis ir agresija. Menininkės sukurtuose modeliuose tiesiogiai agresijos ir pykčio neinterpretuoja, jos pasitelkia šiuos jausmus tik kaip pagalbinę priemonę, suteikiant kolekcijai savitumo. Kaip analogas kuriamai kolekcijai pasirinkta seserų Mulleavy kolekcija „NYC mados savaitė - 2010 vasara. Rodarte“. Eskizuota, siekiant, kad modeliai būtų išraiškingi, atspindėtų pykčio emocijas, tačiau patys savaime nebūtų agresyvūs. Trečiame skyriuje aiškinama kolekcijos idėja, pateikiami modelių eskizų ieškojimai, technologiniai mėginiai, dekoro detalės. Atsižvelgiant į modelius, parinkti audiniai, audinių struktūra ir atspalviai. Norint geriau perteikti kolekcijos idėją, drabužių demonstravimui numatytos skirtingo ūgio manekenės. Pristatomą kolekciją sudaro 14 suprojektuotų modelių, iš jų – pasiūti keturi. Modeliams parinkti tamsių atspalvių, blizgūs audiniai. Kampuotos formas ir aštrūs kampai, suteikia modeliams piktų žodžių ir grėsmingų žvilgsnių nuotaiką. Spiralės ir atsišakojimai - tarsi įsiliepsnojęs kivirčas ir besistengiančios lauk išsiveržti... [toliau žr. visą tekstą] / First section of bachelor's work analysis negative people emotions, explores various articles and books from all kind of specialists in subject of anger and aggression ( doctors, scientists, socialists ). It also searches for sources of anger and for ways to deal with them. The second section provides examples of the works taken from designers, whom art are filled with anger and emotions. Works of sisters Mulleavy (Rodarte) were analyzed. Artists never intended to show anger and aggression directly, they only used those feelings as an alternative tool in order to create original collection. As an analog for collection, which is under creation, sisters Mulleavy collection “NYC fashion week - 2010 summer. Rodarte“ was chosen. The sketches was created in order for models to be expressive , to reflect the emotions of anger, but still not to be aggressive within. The third section explains the idea of collection, the search for models, sketches, technological samples and elements of decor. Fabrics, theirs structure and tone was chosen according to sketches. In order to better convey the idea of collection, different height models was chosen. 14 models was designed for collection , however only 4 sew .Dark colors, shiny fabrics was chosen for models. Square shapes and sharp corners, gives models angry words and aggressive gazes mood. Spirals and ramifications is like everyday quarrels and negative emotions trying to escape from them. In order to show that several types of... [to full text]