Tage Aurell (1895-1976) var en originell författare som fick ett senkommet erkännande på 1940-talet. Kortromaner han gav ut på 1930-talet gick inte hem vare sig hos kritiker eller läsare. Varför? Min uppsats syftar till attklarlägga vad det var som gjorde Aurell så egenartad. Det sker genom en noggrann läsning och undersökningav hansroman Martina från 1937. Det skerockså genom att berättelsen analyseras med hjälp av begrepp somlitteraturforskarna Wayne CBooth, Seymor Chatman och Gerald Prince lanserat och diskuterat. Jag vill också pröva vad för slags bok Martinaär. En roman, en novell, en berättelse på prosa? Genretillhörigheten är inte självklar. Arbetet har lett fram till följande slutsatser: Martina är snarareen novell än en roman. Aurell är modernist men ingen vanlig modernist med intresse för den stora staden och livet där. Hans miljö är landsbygden. Inspirerad av främst Gustave Flaubert och Herman Bang är han också impressionist och har en berättarteknik som är karakteristisk för denna riktning: en berättare som håller distans, fri indirekt anföring, scenfragment, glimtar och antydningar, till exempel.Inget psykologiserande. Protagonisterna får avslöja sig genom handlingar och repliker. Närheten till dramat är påfallande. Aurell skrev kortprosa och var extremt sparsmakad med orden när andra med framgång skrev tjocka ordrika romaner. Han ville inte skriva många böcker, bara några små, men de böckerna skulle vara bra, sade han själv.

Thesis (Ph. D.)--Duke University, 2008.

Thesis (Ph. D.)--Yale University, 1973. / Typescript (photocopy). Ann Arbor, Mich. : University Microfilms International, 1981. 21 cm. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 217-239).

Thesis (M.A.)--Pennsylvania State University, 2008. / Mode of access: World Wide Web. Thesis advisor: Charles Youmans.

Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her accomplishments in a generalized history of the French Impressionist movement. I analyzed nine of Morisot's paintings and applied feminist theory, including third-wave feminism (post-1960's). My research was angled to approach and understand Morisot's artwork as a contemporary woman would at an exhibition.

Throughout the history of music there have been numerous composers who were well-known in their lifetimes yet faded from public performance and memory after their deaths. Some were remembered many years later and became the most prominent composers in western music. Others did not receive any such resurgence of interest. Gabriel Dupont (1878-1914) was a rising star in French music when he passed away at the age of 36. His operas, piano music and songs were widely known during his life, but he was virtually forgotten by the end of the 20th century. Since around 2000, there has been a growing interest into the life and music of this figure. Dupont has become more well-known to French audiences but less so to audiences elsewhere. This project aims to change that and spread awareness of Dupont in the United States. The twenty-four mature piano pieces by Dupont are significant contributions to French piano music and deserve such a recognition. This thesis is in two parts: 1) a complete studio recording of Dupont's piano music, including the world premiere of two sets of pieces he wrote in his youth, and 2) an accompanying paper exploring the life and music of Dupont.

Although many biographical studies are available on Jacques Ibert, few contain significant analytical commentary. In this study I examine three movements from Ibert’s Histoires for piano which was composed between 1920 and 1921 and was premiered in 1923. The three movements are “La menuese de tortues d’or,” “Le petit âne blanc,” and “La marchande d’eau fraîche.” I primarily use Schenkerian analysis to identify characteristics of Ibert’s compositional language. Significant aspects of impressionism and Debussian influence are also identified as related elements to my analysis. Many expected elements of Schenkerian theory are absent in Histoires. The conclusions of this study are consistent with those of other analysts who apply Schenkerian methodology to impressionist music such as Richard Parks, Adele Katz, Felix Salzer, and Edward Laufer.

I. Statement of Research Problem. The research was an exploration into the broken color technique within the paintings of the Impressionists and Neo-Impressionists and the application of their techniques within the painting experiences of the adolescent student. II. Resume of the Data. The application of pure pigment directly, without blending, constitutes one of the major aims of the Impressionists and Neo-Impressionists. The breaking of color was done in many methods by juxtaposition of hues and values in various combinations to give the desired effect; it was applied through a wide range of brush techniques such as comma-shaped, spots, hatchings, and a multitude of undefinable forms. Historical Data. The emphasis upon color in painting has a heritage stemming from the city of Venice during the Renaissance. The Venetian artists began what is known today as the painterly direction of painting. Many artists thereafter portrayed this painterly mode such as Caravaggio, Rubens, Constable, and Delacroix. It was, however, during the latter half of the nineteenth century in France that the painterly style reached new heights through the art of the Impressionists. The Impressionists sought to capture the momentary effect of light upon their canvases through many diverse methods of broken color. The Neo-Impressionists felt Impressionism was too unstructured; therefore, they based their method on a scientific approach. Colors were broken into small dots and placed contiguous to one another. Through optical fusion, these dots would fuse into a new and more vibrant hue. Painting Data. Data was gained from the involvement into actual painting where the broken color techniques were explored. Some of the factors are that media having a rapid drying quality (such as acrylics or casein) are superior to the slower drying oils; that the various methods of brush strokes used in the application of pigment created a varied broken effect; and the use of pure hues aids in the freshness of color passages. Educational Data. Within art education a knowledge of the aspects of broken color will aid the art educator in presenting a painting program in which the student will become involved in exploring new dimensions in color perception. III. Data Obtained. The data was obtained in three principle ways: the readings relevant to the subject, the involvement into specifically related paintings, and the application of broken color techniques within the adolescent art program. Readings. The readings involved the general history of the period, biographies, and texts relating to aspects of color. Paintings. Several large paintings were undertaken with specific objectives. Four major paintings were done in the divisionalist method, each with selected subject and light conditions. Others were painted by the direct application of pure pigment with landscape and figures as the motif. Classroom application. The techniques of breaking color were presented to several groups of adolescent art students. They were encouraged to explore divided color utilizing various media. IV. Summary. Research in the broken color technique should create a greater visual awareness of the richness of color. Through the juxtaposition of color the eye would be put to work mixing colors; the observer, therefore, will take a more active role in the perception of all images on the retina of the eye. The emphasis upon color in painting had a long heritage; it was fully exposed in the broken color style of the Impressionists. Neo-Impressionism also added new vistas in the perception of color. This period of painting contributed greatly to the contemporary arts. Therefore, it is an important era to be explored by art students today to develop more insight into the nature of color within painting.

I detta arbete analyseras Claude Debussys stråkkvartett op.10 i g-moll från 1893. Stråkkvartetten skrevs tidigt i Debussys karriär då han ännu inte förknippades som impressionistisk kompositör. Med frågeställningen Impressionism eller romantik analyseras verket utifrån motiv, form, tematik, satsstruktur, harmonik och instrumentering. Det romantiska formatet i kombination med ett nytt impressionistiskt tonspråk gör verket unikt i sitt slag. Debussy använder sonatform i första satsen men lyssnarens intryck är inte ett verk av romantisk karaktär. Musikens oavbrutna flöde kan förklaras med användning av heltonsskala, kyrkotonarter, staplade dimackord, septim-och nonackord utan förberedelser eller upplösning. Arbetets resultat visar att verket är både romantiskt och impressionistiskt. / In this study, Claude Debussy's string quartet op.10 in G minor from 1893 was analyzed. The string quartet was written early in Debussy's career when he was not yet considered as an impressionist composer. With the question Impressionism or romanticism, the work is analyzed based on motif, form, theme, movement structure, harmony, and instrumentation. The romantic format combined with a new impressionistic sound makes the work unique. Debussy uses sonata form in the first movement, but the listener's impression is not a work of romantic nature. The music's uninterrupted flow can be explained using whole-tone scales, church modes, stacked diminished chords, seventh and ninth chords without preparation or resolution. The results of the study show that the work is both romantic and impressionistic.

Cette thèse a pour objet la réception de l’avant-garde artistique dans la presse politique pendant les trente premières années de la Troisième République en France. Dans la perspective d’analyser la politisation non de la scène artistique mais de sa perception, nous nous proposons d’étudier la notion d’avant-garde artistique à travers le prisme du politique, de rechercher ce que les contemporains politisés des artistes considèrent comme un art à l’avant-garde. Nous nous sommes intéressés à la période longue, de 1874 à 1905, de l’impressionnisme au fauvisme. La première exposition du groupe impressionniste intervient sur la scène parisienne après la proclamation de la Troisième République le 4 septembre 1870, l’échec de la tentative de restauration monarchique de l’automne 1873 mais avant le vote de l’amendement Wallon le 30 janvier 1875 qui officialise la République. Sa réception s’inscrit dans le contexte de l’instauration puis de l’enracinement de la République en France, du passage des républicains de l’opposition au gouvernement. L’analyse de la réception des mouvements artistiques qui se développent à la fin des années 1880 permet quant à elle d’appréhender la perception du paysage artistique par le monde politique, de la gestion de l’État par les républicains modérés à l’accession au gouvernement des radicaux, intransigeants des années 1870. La presse politique, qui n’a pas vocation à discourir sur l’art mais constitue un miroir quotidien présentant une hiérarchie des événements dont elle garde la trace, nous est apparue un médium très pertinent afin de mettre à jour les réactions des spectateurs politisés dont les articles contiennent en filigrane les empreintes. / In this thesis we study how the artistic avant-garde was perceived by the political press in France during the first thirty years of the Third Republic. We propose to question the notion of avant-garde by studying it through the political prism, trying to ascertain what the artists’ politically aware contemporaries used to consider avant-garde art. We do not focus on the political commitments of the artists, but on the way their art was perceived. We chose to consider a rather long period of time, ranging from 1874 to 1905, from Impressionism to Post-impressionism. The first exhibition of the impressionist group took place just after the Third Republic was proclaimed, on the 4th of September 1870, and the unsuccessful attempt to restore the Monarchy in 1873, but before the Wallon amendment voted in 1875, which formalized the establishment of the Republic. We study its reception both in the wake of the establishment of the Republic and as this political regime settles in France, when the Republicans cease to be part of the opposition and start leading the country. Analysing the reception of the art movements emerging in the late 1880’s allows us to grasp how the political audience reacted to the artistic production from the Moderate Republican government to the Radicals’ – formerly called intransigeants in the late 1870’s. Although the purpose of the political press was not to discuss art per se, it still reported artistic and political events, hierarchically presenting them on a daily basis. Acting as a powerful tool to explore the expectations and reactions of its intended politically aware readers, the political press remains a very relevant source for art historians.