Charles Tomlinson Griffes (1884-1920) is one of the most important American impressionists in the twentieth century. This study focuses on the piano solo work Roman Sketches (Op.7) which Griffes composed during 1915-16, and it is the most representative work in his impressionistic styles. This work includes four pieces, which are The White Peacock, Nightfall, The Fountain of the Acqua Paola, and Clouds. Griffes quoted the four poems as forwards from the poetry Sospiri di Roma of the Scottish poet William Sharp (1855-1905) which mainly described the natural scene. Griffes integrated many musical elements of the Impressionism in Roman Sketches, such as whole-tone scales, pentatonic scales and exoticism. The first chapter in this study introduces the life of Griffes and characteristics of his piano works, and also emphasizes about how his works were affected by impressionism. The second chapter contains the historical background and the harmonic and melodic materials in Roman Sketches. Interpretative point of view about literary connection between music content and the poetry of Sharp is also discussed in this chapter.

Abstract Not Provided / Thesis / Master of Arts (MA)

This thesis considers Katherine Mansfield’s development as a writer in relation to late nineteenth and early twentieth century developments and trends in the visual arts in New Zealand, England and France. Mansfield’s notebooks, letters and stories evidence a definite response to developments in modern art and reveal that she aligned herself more closely with painters than with her literary colleagues; something Francis Carco hints at in his fictional account of her in Les Innocents (1916): he describes Mansfield as a predatory and exploitative woman with a detached manner, who “used him just the way a painter uses a model, studying character and movements” (cited in Mortelier 150). There exists in Mansfield’s stories evidence of the influence of the Impressionist and, to a lesser degree, the Post-Impressionist painters. While this influence has been noted by a selection of critics or rather her work has been described as impressionistic, it has been neither explored nor substantiated from an art historical perspective. My methodology has entailed identifying the defining characteristics of Mansfield’s stories that are also found in Impressionism, in as much as two different aesthetic forms can be compared. I then trace the exhibition history and contemporaneous criticism of modern French art in London and Paris alongside Mansfield’s trajectory in adulthood to ascertain the degree of exposure she had to Impressionism. In addition to that which she encountered in Europe, much consideration has been given to the artistic milieu of New Zealand prior to and following her schooling in London. I have sought to identify which of the modern artists and styles Mansfield most closely identified with, and to determine how precisely and extensively she applied the Impressionists’ painterly techniques and stylistic effects to her own prose. Broadly speaking, Mansfield’s preferred subjects may be grouped under three titles: Domestic Interiors, Urban Landscapes and Rural Landscapes – these were also the Impressionists’ favoured subjects. These categories, then, form the basis of my investigations.1 This thesis also explores the degree to which Mansfield’s colonial upbringing influenced, inspired and determined the themes and issues she chose to address, from the various forms of expression that were available to her to inherit and modify. My research reveals how both the cultural climate and the unique light and landscape of her own country made her susceptible to the ideas of the Impressionists and Post-Impressionists, even before she reached the more art-oriented cities of London and Paris. Mansfield’s status as a foreigner in Europe allowed her greater freedom to experiment and greater licence to borrow from other cultural forms and traditions. Though strains of Realism, Naturalism, Symbolism and 1 The consequence of choosing to structure my material around Mansfield’s three dominant subjects has resulted in some degree of repetition within this manuscript. This also means, however, that the individual chapters are strong enough to stand alone and thus this doctoral thesis should prove a valuable reservoir for future research. 6 Expressionism are all evident in Mansfield’s modernist fiction, it is the impressionistic quality of her work – evident in the fleeting and evocative sketches of the everyday – that is the overriding feature. Her colonial heritage was not only a significant factor in this development, but to a degree, the enabling condition – allowing her to reconcile the lessons of Europe within a New Zealand literary context resulting in a unique brand of Colonial Impressionism. NOTE ON THE TEXT Mansfield’s inconsistent and idiosyncratic spelling and punctuation have been retained within quotes in this thesis. In her letters she often dispensed with apostrophes and rarely used commas, instead preferring the dash. When citing, I have chosen not to follow these particular oddities with [sic] as these would be too numerous and would disrupt the flow of the text. I have instead followed the conventions of Mansfield’s editors.

Vi omges ständigt av ljus i vår vardag, det finns naturligt ljus samt artificiellt. Även under de grå dagarna finns det ljus och dess närvaro är alltid där även om den inte alltid är som klarast. I detta kandidatarbete beskrivs ljuset ur olika synvinklar, men framförallt hur Rembrandt och impressionisterna i sina konstverk använt ljuset i sitt skapande. För att få en bredare syn på vår process tar vi hjälp av de två begreppen “fluid” och “fire” som kommer från aktör-nätverksteori (ANT). Utifrån den teoretiska delen av arbetet skapas en gestaltning i form av digitala illustrationer med budskapet “våga vara dig själv”. Detta görs i form av olika porträtt där ljuset ligger i fokus inte bara i ljussättningen utan även som en helhet. Med hjälp av den teoretiska och praktiska delen av kandidatarbetet har det framgått att frågeställningen “Hur kan man med illusionen av ljus skapa ett porträtt med digitala medier?” kan besvaras på olika vis, då vi illustrerat ljuset med olika uttrycksätt och visuella språk. / We are constantly surrounded by light in our daily lives, there’s natural and artificial light. During cloudy days there is light and it’s presence is always there even if it’s not the clearest. In this bachelor thesis we examine the light from different angles, but above all how Rembrandt and the impressionists in their artwork used the light. To get a broader view of our process, we use the two terms "fluid" and "fire" from actor-network theory (ANT). Based on the theoretical part of our work, we created digital illustrations with the message “Dare to be yourself”. This is done in the form of various portraits, where the light is in focus not only in the lighting but also as a whole. With the help of the theoretical and practical part of the bachelor thesis we are shown that the question "How can one with the illusion of light create a portrait with digital media?" can be answered in different ways, as we illustrate light with different expressions and visual languages.

No description available.

Made available in DSpace on 2016-04-28T19:58:47Z (GMT). No. of bitstreams: 1 Luciana Uhren Meira Silva.pdf: 3251125 bytes, checksum: 5716544db3c577f855b6cabaa188a275 (MD5) Previous issue date: 2012-10-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The aim of this research is appraise to what extent the dialogue between journalistic chronicle and novel labeled the naturalist conception of Aluísio Azevedo s first naturalism novel, O Mulato, published in 1881. The chronicles were previously produced, while and after the romance had been released, they have strong elements that launch basis from Aluísio related to naturalism matters. Besides, they were presented as propaganda, about the romance itself, the author and his readers. At this point the issue key of this research is marked, i. e. to what extent the naturalistic theses -- real sense linked to personal expression are shown in novelist-chronicler s speech. To respond this matter, hypothesis that states the procedure difference in the way how chronicle and novel are present in the naturalism context: in chronicle, personal expression is reduced when it faces the involvement taking into consideration criticism as well as social reality, in novel this scenario is inverted and personal expression is promoted to literary status by means of thoughts that dare the power of poetics descriptions. Mikhail Bakhtin and Wayne Booth give theoretical basis and studies about the development of novelistic speech, besides Zola s novel principles and his rupture between theory and writing practical. Findings coming from the research assured us the differences between chronicle and novel considering Zola s naturalistic principle. It makes clear, in the chronicle speech, the denounce and social criticism by means of ironic and the way he declares them, many times in distorted figure; in novel, it is the impressionist speech that assumes the rupture, it could be wanted by objectiveness, or by personal expression, revealing, more than rhetorical pleasure , the ethic commitment with the writer s duty that is, exactly, in his literary-language s conscience / O objetivo central desta pesquisa é analisar até que ponto o diálogo entre crônica jornalística e romance marcou a concepção do primeiro romance naturalista de Aluísio Azevedo, o Mulato, de 1881. Produzidas antes, durante e depois da publicação do romance, as crônicas contêm elementos decisivos para a argumentação de Azevedo sobre as questões pertinentes ao naturalismo. Além disso, apresentam-se como meio de propaganda do romance e de estreita relação do autor com seu público leitor. Aqui se delineia a questão chave desta pesquisa, isto é, até que ponto as teses naturalistas o senso de real aliado à expressão pessoal manifestam-se no discurso do cronista e no do romancista. Para responder a esta problemática, projetamos a hipótese que afirma a diferença de procedimento no modo como crônica e romance inscrevem o ideário naturalista: enquanto na crônica a expressão pessoal se reduz frente ao engajamento de crítica à realidade social, no romance a equação inverte-se e a expressão pessoal ganha estatuto literário por meio do discurso que aposta na força poética das descrições. Fundamentam teoricamente a pesquisa os estudos de Mikhail Bakhtin e Wayne Booth sobre a construção do discurso romanesco, além dos princípios do romance experimental de Zola e suas fissuras entre teoria e prática escritural. Os resultados da pesquisa confirmaram as diferenças entre crônica e romance no campo dialogal com os princípios naturalistas de Zola, de modo a evidenciar, no discurso do cronista, a denúncia e crítica social por meio da ironia e do tom, muitas vezes, caricatural; já no romance, é o discurso impressionista que assume a ruptura, seja com a pretendida objetividade, seja com a expressão pessoal, revelando, mais do que o prazer retórico , o compromisso ético com a tarefa de escritor que está, justamente, na sua consciência da linguagem literária

When one realizes how little the harp of the 1700's had advanced from its Biblical predecessors, its neglect by such masters as Bach, Haydn, and Beethoven does not seem remarkable. Why should a serious composer waste his time in writing for an instrument with no facilities for modulating, an instrument the weak tones of which would be lost in an orchestra?