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Pictorialism in the fictional miniatures of Albert Paris GüterslohLaue, Ingrid Elizabeth January 1987 (has links)
The purpose of this study has been to investigate and analyze the "fictional miniatures," i.e., the short prose works, of Albert Paris Gütersloh. The assumption was that a marked interrelationship exists between these and Gütersloh's painted miniatures. Given the fact that Gütersloh was both writer and painter, and since many of the questions which logically arise out of this duality either have not been addressed at all in the scholarly literature on Gütersloh, or dealt with only superficially, it was felt that the approach used in the present study had to focus, to some extent, on the artist's dual talent. The study attempts to illustrate Gütersloh's artistic nature in conjunction with an investigation of one area of artistic expression, namely the short fictional works.
The method was one of proceeding from the general to the particular, i.e., by first examining the complex phenomenon of the "painting writer," or "writing painter," as well as the widely discussed notion of "reciprocal illumination" of the arts. This, together with the detailed analysis of scholarly works on Gütersloh as well as his own theoretical writings on art was seen as part of the necessary "anatomy" of the study. Although the narrational quality of the painted miniatures has been alluded to by several other critics, the inherent similarity between Gütersloh's painted and "literary miniatures" (i.e., his short prose works) is being analyzed for the first time in this study. It aims at proving the claim that the former's overriding characteristic is their distinctly narrational quality. As such the paintings are permeated with a writer's imagination, a feature which makes their narrative component as important as the pictorial. Each of these small-scale paintings depicts some crucial point in a "story," thereby forcing the viewer to imagine a "before" as well as an "after" of each specific scene — in other words, to see these paintings in epic terms.
By isolating such elements as delineation, framing, staging, setting, and colour (both descriptive and metaphorical) among others, it could be shown that the fictional miniatures give evidence of Gütersloh's persistent inclination to think, and write, in "pictures," hence to work from a largely pictorial conception: the story-line frequently is developed as a series of static "pictures" which are given as much compositional weight as the chronologically progressing plot. It could also be demonstrated that the general phenomenon of Fantastic Realism is a pronounced feature not only of the painted but also of the literary miniatures.
The conclusion the study reaches is that Gütersloh's artistic expression, whether as writer or painter, is of a much more unified nature than has previously been argued; that both forms of artistic expression are of a complementary
nature, and that this phenomenon is exemplified most succinctly in his fictional miniatures. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate
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Twentieth Century morceaux de concours for Oboe: A Study of Works Performed from 1920-1999January 2020 (has links)
abstract: ABSTRACT
The annual concours, or examens de fin d’année, of the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) is a centuries-old tradition that began in 1797. It serves to determine each participating student’s readiness for graduation. For each competition from 1797-1999, specific pieces were assigned for each instrument. Through much of the nineteenth century, conservatory professors wrote these pieces for their students. In the twentieth century, the practice of assigning works previously written by other composers or commissioning new works by (usually) French composers became the norm. Oboists outside of France tend to associate terms such as “conservatory pieces” or “concours pieces” with pieces assigned during the nineteenth century, while generally overlooking twentieth century morceaux de concours. The purpose of this paper is to bring these forgotten pieces to light and provide background information to help oboists determine the suitability of these pieces for their own performance contexts.
Because research regarding the pieces selected during Professor Georges Gillet’s tenure (1882-1919) is already available, this paper focuses on the pieces selected from 1920-1999. A list of required pieces for oboe from 1824-2000, obtained from CNSMDP archive manager Sophie Lévy, made possible the compilation of an annotated bibliography of morceaux de concours for oboe from 1920-1999. (The annotated bibliography ends with the 1999 concours because, since 2000, oboists have been required to select their own programs.) The bibliography lists every piece that was performed, but only gives detailed descriptions of (1) twentieth century pieces that were specifically commissioned for the concours and (2) twentieth century pieces selected, but not specifically commissioned, for the concours, that are not considered to be part of the standard oboe repertoire. A brief description of trends observed within this set of contest pieces follows the bibliography, along with appendices intended to facilitate more productive use of the bibliography. / Dissertation/Thesis / Doctoral Dissertation Music 2020
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Designing New Costumes and Scenery For The Musical Notre-Dame De Paris In 2020Michelet, Calypso N 01 July 2021 (has links)
A reflection on the costume and scenic design process for the theoretical production of the musical Notre-Dame de Paris, composed by Riccardo Cocciante with lyrics by Luc Plamondon.
This record contains the steps of the design process, from the analysis of the libretto and the dramaturgical research to the final presentation of the costume and scenic design elements.
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Formes et réformes : la prison parisienne au XVIIIe siècle / Fors and Reforms : the parisian prison of the eighteenth centuryAbdela, Sophie 22 September 2017 (has links)
On sait bien peu de choses sur la prison parisienne du XVIIIe siècle. Si les historiens ont été fascinés par le pénitencier du XIXe, ils ont largement négligé la geôle d’Ancien Régime. La période n’a pas été entièrement ignorée, bien sûr : elle voit naître les écrits de Beccaria qui remettent en cause le régime des supplices et qui mettent en branle la réforme pénale. C’est aussi le temps du Grand Renfermement des pauvres et des asociaux dont l’Hôpital général et le dépôt de mendicité sont les plus nettes matérialisations. Mais, là encore, la prison, qui faisait pourtant partie intégrante de la procédure judiciaire de l’époque, a été écartée. Le présent travail vise à combler une partie de cette béance en explorant le monde de la prison prépénale dans le Paris du XVIIIe siècle. Bien loin de constituer un objet isolé, cette geôle ordinaire doit être intégrée à part entière dans l’histoire carcérale, celle-là même qui mène jusqu’au pénitencier.La démonstration s’articule en trois grandes parties entre lesquelles les liens sont nombreux. La première prend pour assise la structure de la prison : sa charpente, ses bâtiments, sa constitution matérielle. Elle aborde les établissements d’enfermement d’abord et avant tout comme des objets tangibles et concrets. La seconde partie quitte la structure de la prison parisienne pour plonger dans ses circuits financiers. Il s’agit d’explorer deux grandes questions : d’où vient l’argent et où va-t-il? Finalement, la troisième partie pénètre plus en profondeur le monde carcéral en ciblant les hommes qui la composent: la prison est aussi faite de relations. / We know very little about the Parisian prison of the XVIIIth century. Historians have been fascinated by the XIXth century penitentiary but they have largely neglected the Ancien Régime prison. The period was not entirely ignored, of course: it sees the birth of Beccaria's writings which question the relevance of physical punishment and set in motion the penal reform. It's also the time of the Grand Renfermement of paupers and asocials, of which the Hôpital général and the dépôt de mendicité are the clearest incarnations. However, the prison, which was an integral part of the judicial procedure, was discarded. The present research aims to fill a part of this gap by exploring the world of prepenal prison in XVIIIth century Paris. Far from forming an isolated object, this Ancien Régime jail must be fully integrated in the history of prisons which leads all the way to the penitentiary.The demonstration is articulated in three parts between which the links are numerous. The first takes as its basis the structure of the prison, its framework, its buildings, its material constitution. It addresses the detention facilities first and foremost as tangible and concrete objects. The second part leaves the structure of the Parisian prison to dive into its financial circuits. It explores two large questions: where does the money come from and where does it go? Finally, the third part penetrates even deeper in the prison world by targeting the men who compose it. The prison, after all, is made up of human relations.
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La poésie dissipée dans Notre-Dame de Paris, 1482 /Trottier, André January 1990 (has links)
No description available.
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The relationship between the collapse of the Union generale and the rise of antisemitism in France, 1882-1885 /Dever, William A. January 1969 (has links)
No description available.
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"A Spectacle of Vice": Sex Work and Moralism in the Paris Commune of 1871Guinn, Eliza 14 December 2018 (has links)
No description available.
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Fashion & ArchitectureMiller, Meredith 28 June 2016 (has links)
No description available.
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Le décor de l'Opéra Garnier : approche psychologique de l'architecture, entre classicisme et romantismeThérien, Marie-France 16 April 2018 (has links)
Grâce à son héritage beaux-arts, Charles Gamier a conçu un Opéra qui s'inscrit dans la continuité de la tradition architecturale classique. Il décorera toutefois le bâtiment en empruntant les stratégies du Romantisme afin de créer un style propre à son époque, le style actuel. Sous cet aspect, l'architecte de l'Opéra marque un renouveau en architecture. Celui-ci se façonne non pas par l'utilisation de matériaux modernes, mais par l'attention que l'architecte porte à la circulation et à l'ornementation ainsi que par la compréhension qu'il a du rôle social que doit jouer le bâtiment. Au paroxysme de la fièvre du progrès au XIXe siècle, Gamier choisit de transformer le décor intérieur en une couche sensible, avec une dimension psychologique affirmée pour les visiteurs.
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Les finances de Paris sous la Restauration : une analyse quantitativeBédard, Richard 16 April 2018 (has links)
Québec Université Laval, Bibliothèque 2013
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