No description available.

“If This Shop Could Talk: A Discursive Analysis of The Liberatory Function and Development of African American Beauty Salons and Culture” explores the intersection of political consciousness, aesthetics, and community development engendered in quintessential and atypical locales of African American beauty culture with an emphasis on the African American beauty salon as a discursive space. As it seeks to expand limited understandings of African American beauty culture, this analysis employs Afrocentric, Black Feminist, and Womanist theoretical perspectives as it traverses temporal and geographic boundaries. As proclamations of Black pride and beauty are juxtaposed in present day society against a multitude of headlines that detail stories of discrimination based upon hair, this work addresses matters of how and why Africana women assert such prideful proclamations amidst injustice. How do African American women know that there is power in beauty? Why do African American women believe such a thing? Why do African American women engage in beauty culture and beauty salons? This work focuses on 20th through 21st century America, by exploring Black beauty culture concepts and byproducts including trends, styles, community activism, and consciousness as connected to African history in Kemet, African history in West Africa prior to the Transatlantic slave trade, and African history in America between the 16th and 21st centuries. This work employs discourse analysis and Afronography to reveal and assert the existence of a unique epistemology within Africana women’s beauty culture that has been employed in the subversion of oppression and the assertion of Black female identity in America. An Afronographic research study accompanies this analysis and represents qualitative findings from interviews conducted with women who identify as persons of African descent and members of intergenerational family beauty practice, where women in their families preceded them in beauty service provision. The researcher’s perspective is also included throughout the work as she is a licensed cosmetologist and member of an intergenerational family of beauty practice. Ultimately, this work suggests that there is a unique, significant, and sacred agency that exists in the phenomena, traditions, history, and locations of African American beauty culture which has generated aesthetic creations in hair, skin and nails that rhetorically shift paradigms, in addition to words, actions, and feelings that foster an epistemology that can aid in the liberation of Africans in the United States and abroad. / African American Studies

[pt] Este estudo teve como objetivo analisar a psicodinâmica do trabalho de manicures em salões de beleza, além de identificar as vivências de prazer e sofrimento no trabalho e estratégias defensivas utilizadas por essas trabalhadoras para lidar o sofrimento. O estudo teve um delineamento qualitativo e contou com a participação de doze manicures que trabalham em salões de beleza. A coleta de dados foi realizada através de entrevistas do tipo semiestruturado com um único respondente. Os dados foram submetidos à técnica de Análise dos Núcleos de Sentido (ANS), proposta por Mendes (2007). Nas vivências de sofrimento de manicures em salões de beleza, destacaram-se a sobrecarga de trabalho; o custo físico causado pelos riscos ocupacionais da profissão; o ônus financeiro resultante da compra e da manutenção dos materiais de trabalho; e o desgaste emocional provocado por algumas clientes durante os atendimentos. As vivências de prazer no trabalho indicaram ser resultantes do reconhecimento do trabalho da manicure, por parte dos clientes; da identificação das manicures com as tarefas que executam; e da existência de relações de solidariedade e companheirismo no coletivo de manicures. Foram identificadas três estratégias defensivas individuais, autoaceleração, racionalização e compensação, e uma estratégia de defesa coletiva, relacionada a cooperação. Como consequências observou-se que a precarização do trabalho das manicures entrevistadas tende a potencializar os danos à saúde física e mental dessas trabalhadoras. / [en] This study aimed to analyze the psychodynamics of the work of manicurists in beauty salons, in addition to identifying the experiences of pleasure and suffering at work and defensive strategies used by these workers to mediate suffering. The study had a qualitative design and had the participation of twelve manicurists who work in beauty salons. Data collection was performed through semi-structured interviews with a single respondent. The data were submitted to the technique of Nucleus of Sense Analysis (ANS), proposed by Mendes (2007). In the experiences of the suffering of manicurists in beauty salons, work overload stood out; the physical cost caused by the occupational risks of the profession; the financial burden resulting from the purchase and maintenance of work materials; and the emotional exhaustion caused by some clients during the appointments. The experiences of pleasure at work indicated that they resulted from the recognition of the work of the manicure by the clients; the identification of manicurists with the tasks they perform; and the existence of relations of solidarity and companionship in the collective of manicurists. Three individual defensive strategies were identified, self-acceleration, rationalization and compensation, and a collective defense strategy related to cooperation. As consequences, it was observed that the precarious work of the interviewed manicurists can increase the damage to the physical and mental health of these workers

Структура магистерской диссертации включает в себя введение, три главы, заключение, список использованной литературы. В первой главе работы изучены теоретические основы автокредитования как направления — потребительского кредитования, определены риски автокредитования, присутствующие в банковской деятельности, Во второй главе, исходя из общих теоретических положений, рассмотренных в первой главе, проведен анализ современных тенденций в сфере автокредитования и состояние автокредитного рынка России, а также проведен анализ практики кредитования на примере ООО «Медиа-микс». В третьей главе на основе проведенного анализа выявлены проблемы и перспективы развития рынка автокредитования в России, рассмотрены основные тенденции развития рынка автокредитования. В заключении подводятся итоги проведенного исследования, делаются основные выводы по работе. / The structure of the master's thesis includes an introduction, three chapters, conclusion, bibliography. In the first chapter of the work, the theoretical foundations of car lending as a direction - consumer lending are studied, the risks of car lending present in banking are identified.In the second chapter, based on the general theoretical provisions discussed in the first chapter, an analysis of modern trends in the field of car loans and the state of the auto loan market in Russia , as well as an analysis of the lending practice on the example of LLC "Media-mix". In the third chapter, on the basis of the analysis, the problems and prospects of the development of the car lending market in Russia are identified, and the main trends in the development of the car lending market are considered. In the conclusion, the results of the study are summed up, the main conclusions are drawn.

Vocal duets have had a long history in the Western classical music tradition. Their use as a teaching resource can be traced back to the Renaissance, where duets were used for the development of singing, performance, and musicianship. In the late 19th and all of the 20th centuries, this pathway of vocal pedagogy has markedly declined. This study proposes a reintroduction of this methodology of teaching, asserting that it provides the collegiate vocal student with maximum opportunity for growth and development in terms of technique, musicianship, ensemble skills, and performance development. Four vocal duets ("La pesca," "Il brindisi," "Il gallop," and "La caccia") of Saverio Mercadante (1795-1870) serve as the point of discussion. These songs from Les soirées italiennes (C.1836), which are representative of the salon culture of the 19th century, are given detailed attention through a discussion of their pedagogical value. Since they are long out of print, a new performance edition is presented.

No description available.

A la charnière des XIXe et XXe siècles, Berta Zuckerkandl (1864-1945), salonnière et journaliste autrichienne, participa activement à établir des échanges artistiques, culturels et politiques entre la France et l'Empire austro-hongrois. Alors que ses liens familiaux avec Georges Clemenceau lui permirent d'entrer en contact avec les artistes et intellectuels parisiens qu'il fréquentait - Rodin, Carrière, Raffelli, Geffroy..., son salon rassemblait à Vienne quelques-uns des acteurs emblématiques de la Wiener Moderne - Bahr, Klimt, Wagner, Mahler...-, formant le noyau d'un vaste réseau social européen. Porte-parole de la Sécession viennoise, Zuckerkandl s'imposa également comme l'une des critiques d'art les plus productives de son temps, guidant les artistes et initiant le public à l'art moderne, en s'appuyant sur les initiatives françaises pour orienter le développement de l'art. Cette étude vise ainsi à mettre en lumière son rôle dans la dynamique des échanges artistiques entre Vienne et Paris. Elle apporte d'abord des éléments biographiques éclairant la place privilégiée de Zuckerkandl à la rencontre des cultures française et autrichienne. Elle montre ensuite son implication au sein des cercles artistiques autrichiens et offre une analyse détaillée d'un corpus d'écrits sur l'art moderne. Elle expose enfin les résultats de ses interventions en faveur de la promotion des artistes français et de la réception de leurs oeuvres en Autriche, mettant en lumière les objectifs artistiques, culturels et politiques poursuivis par Zuckerkandl, décidé à préserver la culture autrichienne à l'épreuve de la guerre et de la chute de l'Empire austro-hongrois. / At the end of the 19th and beginning of the 20th century, Berta Zuckerkandl (1864-1945), Austrian salonnière and journalist, engaged actively in artistic, cultural and political exchanges between France and the Austro-Hungarian Empire. Being on familiar terms with Georges Clemenceau gave her the opportunity to exchange ideas with artists and intellectuals in Paris, including Rodin, Carriere, Raffaelli, and Geffroy. Her salon in Vienna gathered some of the most pioneering personalities of the Wiener Moderne...- Bahr, Klimt, Wagner, Mahler...- and thus formed the centre of a vast social network within Europe. Being a spokeswoman of the Vienna Secession, Zuckerkandl established herself as one of the most active contemporary art critics. She guided artists and introduced the public into modern art by drawing on French initiatives to influence the art's development. The present study thus aims at highlighting her role in the dynamic artistic exchange between Vienna and Paris. It will first present Zuckerkandl's biography in order to draw attention to her privileged position in the exchange of the French and Austrian cultures. Secondly, it will show her impact on artistic Austrian groups and provide a detailed analysis of a corpus of selected documents dealing with modern art. It will finally discuss her interventions in favour of French artists and the reception of their works in Austria by highlighting the artistic, cultural and political aims pursued by Zuckerkandl, who was determined to preserve the Austrian culture despite the war and the collapse of the Austro-Hungarian Empire.

This thesis deals with the Nursing home in the city of Prostějov. The object includes 36 one room flats and 2 three room flats. There are proposed another equipments which are related to nursing services such as two surgeries, rehabilitation, massage salon, coffee bar and hairdressing salon in the building. The hole building was designed as accesible. The object is two storied, cellarless and its grand plan is indented. It is staffed on plane plot in a quiet area of apartment blocks. There are going to be build new road, parking places and surfaces outside. The roof is designed as flat single casing or double casing. The main structure system is designed as walls of ceramic blocks and ceiling of reinforced concrete. All of the flats are situated on the southern side and the entrances are situated on the northern side.

Le peintre, soldat et mémorialiste Louis-François Lejeune (1775-1848) entendait faire de son corpus de peintures de bataille et de ses Souvenirs d’un officier de l’Empire (1851) des témoignages historiques de la période napoléonienne, destinés à la postérité. Or, cette conjugaison entre peintures et mémoires renvoie aussi à la dualité médiale de la propagande napoléonienne, qui diffuse un récit unique des événements militaires à l’aide d’organes d’information inédits tels que les Bulletins de la Grande Armée. Ce récit, déjà médiatisé comme étant historique, est repris en images par le mécénat impérial. Ce mémoire vise à démontrer comment Lejeune contribue à ce récit historicisant, d’abord à un niveau individuel en construisant son identité par rapport à sa participation aux guerres napoléoniennes, puis aussi à un niveau étatique. Son Bivouac d’Austerlitz, présenté au Salon de 1808, est une commande du gouvernement. Il sera question de la façon dont ce tableau de Lejeune s’insère d’abord dans sa carrière, ensuite dans son corpus de peintures de bataille, puis finalement dans le récit napoléonien sur Austerlitz. La forme épisodique du tableau, empruntée à la ligne narrative du 30e bulletin de la Grande Armée, où Napoléon rapporte la victoire d’Austerlitz, peut s’expliquer par la complémentarité voulue entre récit textuel et visuel. Ce tableau contribue ainsi à la construction historique de la bataille. Au milieu des transformations profondes du monde académique et de la hiérarchie des genres, la dualité peintre-soldat de Lejeune répond en tous points à la vocation historique attribuée à la peinture sous Napoléon. / Painter, soldier, and memorialist Louis-François Lejeune (1775-1848) conceived his battle paintings and his memoirs, Souvenirs d’un officier de l’Empire (1851), as historical testimonies of the Napoleonic period, destined for posterity. This twinning of paintings and memoirs mirrors the duality of Napoleonic propaganda as a whole, which disseminates a single version of military events with the help of unprecedented information tools such as the Bulletins de la Grande Armée. This written narrative, already thought of as historical, is picked up again in the paintings commissioned by the government. This master’s thesis argues that Lejeune contributes in a unique way to this historical narrative, first at an individual level by constructing his identity from his participation in the Napoleonic wars, and also at a state level. His Bivouac d’Austerlitz, presented at the 1808 Salon, was commissioned by the government as part of a larger order. It is shown that this painting fits first into Lejeune’s career, then into his cycle of battle paintings, and finally into the narrative of Austerlitz that Napoleon himself promoted. The episodic form of this painting can be explained by the deliberate pairing of written and pictorial narratives, which borrows from the 30th bulletin de la Grande Armée where Napoleon recounts the victory at Austerlitz. This painting thus contributes to the historical construction of the battle. As deep transformations threatened the academic genre hierarchy at the turn of the nineteenth century, the duality of Lejeune’s persona as soldier and painter helped promote the historical function given to paintings under Napoleon.

The thesis deals with fine arts in the Protectorate of Bohemia and Moravia. It analyzes Czech fine art during the Nazi occupation of World War Two, concentrating on its official component that has not yet been deeply researched. The author surveyed archives, press and literature of the period. The aim was to identify key themes in the public discussion about artistic issues and to trace developments in the legal status of Czech fine art under the occupation. First, a brief portrait of the historical context of 1938 to 1945, accompanied by identifying several pathological phenomena that occupation and the war brought to Czech society. Those that crept into the fine arts are interpreted from a psychoanalytic point of view. Next the author focuses on the official cultural policy of the Protectorate of Bohemia and Moravia. He notes the short and long-term objectives of Nazi policies and their impact on the workings of cultural life in Czech society. He speaks about radical conservative critiques of modern art, which accused the avant-garde of mercantilism, of politicizing art, of being foreign, and arbitrary. So-called "degenerate" art (Entartete Kunst) is also briefly mentioned. A term that was used to defame and denounce modern art. For the first time, an unknown list of Czech "degenerate" painters...