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Abstract This research report examines Maurice Ravel’s piano pieces, Miroirs (1905), as texts. These five piano pieces draw on a wide range of sources and conventions across nearly two centuries and yet are utterly integrated in their expression. In the Miroirs, Ravel exhibits a fascinating meshing of historical and contemporary influences that range from Mozart to Chabrier and Fauré. The pieces are also interestingly and very personally related to their cultural and social contexts, in that each individual piece was dedicated to a member of the Apaches, a group of young artists and intellectuals residing in Paris of whom Ravel was himself one. The research examines the significance of the Miroirs both within Ravel’s own and the broader twentieth-century repertoire.

Orientadora: Cleide Antonia Rapucci / Banca: Ana Maria Carlos / Banca: Betina Ribeiro Rodrigues da Cunha / Resumo: Este projeto de pesquisa tem por premissa maior realizar uma análise do segundo romance de Clarice Lispector, O lustre, publicado em 1946 e considerado pela crítica literária e as pesquisas acadêmicas, até o momento, como uma das obras "menores" da escritora. O estudo analisa a construção do narrador e da personagem principal Virgínia, articulados como as categorias narrativas de maior expressividade e ruptura dentro da história. A pesquisa também objetiva evidenciar as marcas de estéticas vanguardistas e modernas, sobretudo do Impressionismo, que reverberam na escritura de Lispector nesse livro. Todo esse percurso investigativo visa firmar O lustre como obra de grande qualidade estético-literária, desmistificando a opinião crítica sobre a menor relevância dessa narrativa, consolidando-o, deste modo, como um dos primeiros romances em que Clarice Lispector conseguiu com maestria transgredir e ampliar os horizontes da prosa brasileira do século XX / Abstract: This project has as its main purpose to analyze Clarice Lispector's second novel, O lustre, published in 1946 and currently considered by literary criticism one of her minor works. The study analyze mainly the development of the narrator and the main character Virginia, as the most expressive categories in the novel, as well as categories of disruption. The research has also the purpose of highlighting the avant-garde and modern aesthetics, especially of Impressionism, which reverberate in Lispector's writing this book. The whole investigation has the purpose of establishing O lustre as a work of great aesthetic and literary quality, demystifying the critical position which defends the little relevance of the book. In fact, in this book Lispector was able to transgress radically Brazilian prose in the 20th century / Mestre

Between 1837, when the first railraod were authorized by the July Monarchy, through the 1870s there were vociferous public debates on the utility of the train, large scale government funding for rail infrastructure, and notable depictions of the train in print, photography and literature. During this period there was also a notable - if currently unrecognized - dearth of painted depictions. This absence suggests that the Impressionists' paintings of the railroad in the 1870s were more than novel images of modern life, and provide evidence of the contested perception of the railroad, industrialization and aspects of modernization in the aftermath of l'année terrible that so far have been unaddressed by art historians and scholars of the nineteenth century.

<p>Henning Berger (1872 – 1924) har en plats i den svenska litteraturhistorien som en av få ihågkomna författare från 1900-talets första årtionde, vid sidan av Hjalmar Söderberg och Bo Bergman. Intresset har främst knutits till Bergers USA- och barndomsskildringar, särskilt i Där ute (1901) och Drömlandet (1909). I denna uppsats granskas teman, teknik och stil i de noveller han skrev som bosatt i Danmark under 1910-talet, och som han har förlagt till dansk miljö. Framställningen refererar till tidigare undersökningar och omdömen av framför allt Sven Lagerstedt och Fredrik Böök. I analysen används delvis en biografisk ansats med stöd av Bergers brev och uppgifter från Bergers samtida. Med den biografiska ansatsen visas på paralleller mellan Bergers liv och novellernas karaktärer, särskilt ifråga om kvinnobilder. Den förfarne novellfabrikören Berger beskrivs genom den marknadsorientering han tillämpar, bland annat i spök- och kriminalberättelser, och den klassiska novellteknik han ofta tillämpar. Vidare behandlas hans impressionistiska stilkonst, delvis i förbindelse med danska föregångare. I slutdiskussionen tas spekulativt upp hur Berger i slutet av 1910-talet synes närma sig ett ”modernare” tilltal, i samklang med den splittrade europeiska tillvaron efter första världskriget.</p>

Henning Berger (1872 – 1924) har en plats i den svenska litteraturhistorien som en av få ihågkomna författare från 1900-talets första årtionde, vid sidan av Hjalmar Söderberg och Bo Bergman. Intresset har främst knutits till Bergers USA- och barndomsskildringar, särskilt i Där ute (1901) och Drömlandet (1909). I denna uppsats granskas teman, teknik och stil i de noveller han skrev som bosatt i Danmark under 1910-talet, och som han har förlagt till dansk miljö. Framställningen refererar till tidigare undersökningar och omdömen av framför allt Sven Lagerstedt och Fredrik Böök. I analysen används delvis en biografisk ansats med stöd av Bergers brev och uppgifter från Bergers samtida. Med den biografiska ansatsen visas på paralleller mellan Bergers liv och novellernas karaktärer, särskilt ifråga om kvinnobilder. Den förfarne novellfabrikören Berger beskrivs genom den marknadsorientering han tillämpar, bland annat i spök- och kriminalberättelser, och den klassiska novellteknik han ofta tillämpar. Vidare behandlas hans impressionistiska stilkonst, delvis i förbindelse med danska föregångare. I slutdiskussionen tas spekulativt upp hur Berger i slutet av 1910-talet synes närma sig ett ”modernare” tilltal, i samklang med den splittrade europeiska tillvaron efter första världskriget.

<p>Color, Hygiene, and Body Politics: French Neo-Impressionist Theories of Vision and Volition, 1870-1905, explores the little studied "pragmatic" dimension of Neo-Impressionist theory and practice to reveal the full social and political import of Divisionist technique. Specifically, it examines how Neo-Impressionist painters such as Georges Seurat (1859-1891), Paul Signac (1863-1935), and Camille Pissarro (1830-1903), as well as their anarchist allies, applied artistic and political tenets to their daily practices, including hygienic habits and medical treatments. Neo-Impressionist Divisionism was based on a physiological awareness that the balanced use of three optical nerves generated a sense of harmony. By examining the ethical aspects of neuro-psychological color theories in nineteenth-century Europe, this research demonstrates that this awareness was not merely a matter of optics, but a part of the prevalent socio-ethical discourse of energy efficiency. </p><p>The first chapter, "Color Perception and Mental Labor: Divisionism and the Ethic of Nineteenth-Century Neuro-psychology," examines the history of nineteenth-century neuro-psychology to address how, in the fields of art and science, color perception was identified as an action. The chapter focuses on widespread neuro-psychological notions of "reflex theory," "nervous fatigue," and "homeostasis," all of which regulated the Neo-Impressionist concept of color harmony. Illuminating the Neo-Impressionist neural ethic, this chapter focuses on the behavioral phase of the Neo-Impressionist aesthetics neglected by previous studies. </p><p>The second chapter, "Neuro-psychological Space in Color and Dynamism," explores how this behavioral discourse was visualized in Neo-Impressionist painterly space. Contrary to Kantian a priori space, prominent theorists, such as Taine, Spencer, and Ribot who influenced the Neo-Impressionists, upheld the idea of dynamic space. As the raison d'être for this new space resided in the dynamic interaction between the self and the world, action became fundamental to its formation. Color in such new spaces was the perceptual bedrock, since optical nerves defined external objects chiefly as color. This chapter underscores the connection between dynamism and color in painterly space, through which the viewer could voluntarily engage with the world. </p><p>The third chapter, "Therapeutic Color and the Neo-Impressionists' Daily Practices," delves into the Neo-Impressionists' health-related pursuits including their commitment to hydrotherapy, color therapy, and homeopathy, all associated with an ecological concern for the equilibrium between the self and the environment. This comprehensive examination reveals an overlooked behavioral aspect of Neo-Impressionist theory, which was a critical dimension of their world-view that sought to merge art and life. The first section examines the artists' commitment to bathing and hydrotherapy through an analysis of the art and writings of Camille Pissarro and his anarchist allies. The second part examines the theory of color therapy developed by Dr. Paul Ferdinand Gachet, and his impact on the Neo-Impressionists. In the final section, I consider the broader implications of the Neo-Impressionist embrace of homeopathic practices with reference to a theory of ecological equilibrium.</p> / Dissertation

Illustrations not reproduced. The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 25, 2010). Thesis advisor: Dr. Kristin Schwain. Includes bibliographical references.

Thesis (Ph. D.)--Princeton University, 1988. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 325-380).

This essay accounts for the lives of atist couple Carolina Benedicks Bruce (1856-1935) and William Blair Bruce (1859-1906). The perspective emerges from both Griselda Pollock’s theories on female artists as from Yvonne Hirdman’s gender contract. The essay is made out in the form of a biography, with focus on aspects of gender roles, class and identity. The material consists of letters written by the couple and their families, as well as Carolina’s diaries.    Carolina Benedicks Bruce was born into the wealthy Benedicks family  from Stockholm and Gysinge. At Grez she met William Blair Bruce in 1885. William was born in Hamilton, Ontario, Canada, and was sent to France by his family for artistic education in his twenties. They built a home together at Gotland; Brucebo. They conducted themselves liberally to the current norms of gender roles, class and identity aspects of the time. They created their own path, to be able to do what they were passionate about.