Univ., Diss.--Hildesheim, 2004.

Zugl.: Hildesheim, Univ., Diss., 2004

Thesis--Åbo akademi, 1983. / Extra t.p. with thesis statement inserted. Includes bibliographical references (p. [289]-297).

No description available.

Au début des années 1890, Oscar Wilde choisit Paris comme terre d’élection et entreprend de s’y faire un nom. Bientôt connu comme l’auteur du Portrait de Dorian Gray et de Salomé, pièce d’inspiration symboliste écrite en français, la presse le chronique abondamment. En 1896, Aurélien-Marie Lugné-Poe, porte Salomé à la scène et lui offre les conditions d’une nouvelle réception parisienne. En 1902, Richard Strauss voit la pièce représentée à Berlin et s’en empare pour en faire le livret allemand d’un opéra auquel il donne, en parallèle, une version française. Dans un contexte socio-Culturel en mutation et dans un climat politique tendu entre la France et l’Allemagne, Salomé de Strauss arrive à Paris en 1907, accompagnée d’une réception critique exceptionnelle qui ne faiblira pas jusqu’à son entrée au Répertoire de l’Opéra en 1910.Salomé, d’Oscar Wilde à Richard Strauss, se trouve ainsi adoptée à plusieurs reprises par Paris, littéralement portée par les réceptions qu’elle y a reçues, jusqu’à devenir, en ses premières années, malgré des caractéristiques nationales étrangères plurielles et marquées, une œuvre où résonne un fort accent français. Elle peut être appréhendée comme une illustration des discours journalistiques et revuistes parisiens de la fin du XIXe siècle et du début du XXe siècle, dans une perspective verticale – sur une période d'une vingtaine d'années – et horizontale, à travers trois éclairages critiques. Telle que les écrits la montrent ou la façonnent en ses différents avatars, elle est peut-Être aussi une tentative réussie d’art total, héritière superlative du mythe de Salomé revisité en une œuvre-Tiroir, littéraire, dramatique, musicale. / In the early 1890s, Oscar Wilde chose Paris as his adopted land, aiming at becoming famous. Soon known as the author of The Portrait of Dorian Gray and Salomé, a play inspired by the Symbolist movement and written in French, he triggered much curiosity on the part of the critics. In 1896, Aurélien-Marie Lugné-Poe, brought Salomé to the stage and provided the conditions of a new Parisian reception. In 1902, Richard Strauss saw the play represented in Berlin and used it to compose the German libretto of an opera of which he also, simultaneously gave a French version. Against the backdrop of a socio-Cultural context of change and political tension between France and Germany, Strauss’s Salome was performed in Paris in 1907, accompanied by a huge critical reception that would not weaken until it entered the Repertoire of the Opera in 1910. From Oscar Wilde to Richard Strauss, Salomé was thus adopted on several occasions by the Paris, literally sustained by the receptions that it received there, becoming, in spite of its several, marked foreign national characteristics, a work resounding with a strong French accent. Salomé’s critical reception can be seen as an illustration of the journalistic speech in Paris in the late nineteenth and early twentieth centuries, in a vertical perspective - over a period of twenty years - and horizontal, through three critical perspectives. Revealed by this kind of writing or shaped by it into its different types of metamorphosis, this play may also be a successful attempt at total art, superlatively embodying the myth of Salomé in its multiple literary, dramatic and musical dimensions.

This thesis argues that Ella Ferris Pell's 1890 painting, Salome, provides a unique interpretation of the ideals of the New Woman, specifically in terms of reclaiming female power through Salome's confidence in her sexuality. By examining the cultural context in which Pell exhibited her painting, as well as her background as an artist, I hope bring to the light the significant ways in which Pell's Salome participates in the construction of the New Woman in late nineteenth-century culture. Since Pell was an American woman who trained and exhibited in both the United States and France, this paper explores the significance of the New Woman in both countries. Through the examination of these ideas, we can better appreciate the way in which Pell approached her painting and why it was not well received in Paris—despite its popular subject matter, technical execution, and relevance to the popular topic of the women's movement. Drawing upon the rich visual culture of this era, I offer a comparative study of how both images of women and actual women embraced sexuality and femininity as a means of exerting influence over men, and by so doing, carved out a sphere of influence in a male-dominated society.

Ce projet a vu le jour afin de tirer de l'oubli un artiste dramatique nommé Romuald Joubé, né en 1876 et décédé en 1949. Cet homme était mon ancêtre, c'est l'oubli familial et collectif dont il a été victime qui a suscité la réalisation de ce travail. Il a eu la particularité de devenir un acteur reconnu au théâtre et au cinéma muet, en traversant deux guerres mondiales. Cette biographie s'attache à faire découvrir l'évolution du jeune comédien et celle du milieu théâtral et cinématographique de la première moitié du XXe siècle. Son parcours le mène de Saint-Gaudens à Paris, de l'Odéon à la Comédie-Française, des tournées européennes aux tournées internationales où il côtoie les grands noms du théâtre et du cinéma tels qu'André Antoine, Sarah Bernhardt, Abel Gance. Devenu une vedette il ne renie jamais sa région pyrénéenne où il crée un théâtre de verdure et défend ardemment le théâtre de plein air jusqu'à la fin de sa vie. Son éclectisme lui permet d'interpréter différents répertoires. Aussi remet-il en cause certaines idées reçues sur l'histoire du monde théâtral, par exemple le clivage entre Théâtre commercial et Théâtre littéraire. Acteur du cinéma muet, il est aussi intéressé par la radiophonie en 1936 et plus tard il fera une expérience au cinéma parlant avec Sacha Guitry. Homme entre tradition et modernité, Joubé révèle les ambiguïtés du monde artistique en temps de guerre. Cet homme aux multiples dons, à la fois acteur, dessinateur, peintre, spécialiste de la langue gasconne, se battra jusqu'à sa mort pour défendre l'art de qualité pour tous, sans jamais oublier sa famille et ses racines. / This project has been conceived to get out of oblivion Romuald Joubé (1876-1949). He was a professional dramatic artist and an ancestor of mine. Because of this familial and collective forgetting of the great works of Joubé, the main goal of this thesis is to reveal his biography. He became a famous and talented theatre and silent movie actor by crossing two world wars.This biography presents the evolution of Joubé as a young stage actor as well as the evolution of theatre and cinema during the first part of the twentieth century. From Saint-Gaudens (France) to Paris, and from Odéon to the Comédie-Française, Joubé met some of the great actors such as André Antoine, Sarah Bernhardt or Abel Gance. Even if he became famous at Paris, he did not forget his native region: Southwest of France and the Pyrénées. He created an open-air theater in this region. Until the end of his life, he promoted the open-air theatre. Joubé could play many different roles. He was also a silent film actor. Then in 1936, he got interested in radio. He accepted then sound films with Sacha Guitry. Tradition and modernity characterize this major and forgotten actor of the twentieth century. The biography of Joubé also brings us into the lives of artists of this period. Finally, Joubé, as an actor but also as a painter, a draughtsman and a defender of Gascon language. He will fight up to his dead to defend the quality art for all, without over forgetting his family and his region.

“The Transgressive Stage: The Culture of Public Entertainment in Late Victorian Toronto,” argues that public entertainment was one of the most important sites for the negotiation of identities in late Victorian Toronto. From the vantage point of the twenty-first century, where theatre is strictly highbrow, it is difficult to appreciate the centrality of public entertainment to everyday life in the nineteenth century. Simply put, the Victorian imagination was populated by melodrama and minstrelsy, Shakespeare and circuses. Studying the responses to these entertainments, greatly expands our understanding of Victorian culture. The central argument of this dissertation is that public entertainment spilled over the threshold of the playhouse and circus tent to influence the wider world. In so doing, it radically altered the urban streetscape, interacted with political ideology, promoted trends in consumption, as well as exposed audiences to new intellectual currents about art and beauty. Specifically, this study examines the moral panic surrounding indecent theatrical advertisements; the use by political playwrights of tropes from public entertainment as a vehicle for political satire; the role of the stage in providing an outlet for Toronto’s racial curiosity; the centrality of commercial amusements in defining the boundaries of gender; and, finally, the importance of the theatre—particularly through the Aesthetic Movement—in attempts to control the city’s working class. When Torontonians took in a play, they were also exposing themselves to one of the most significant transnational forces of the nineteenth century. British and American shows, which made up the bulk of what was on offer in the city, brought with them British and American perspectives. The latest plays from London and New York made their way to the city within months, and sometimes weeks, of their first production. These entertainments introduced audiences to the latest thoughts, fashion, slang and trends. They also confronted playgoers with issues that might, on the surface seem foreign and irrelevant. Nevertheless, they quickly adapted to the environment north of the border. Public entertainment in Toronto came to embody a hybridized culture with a promiscuous co-mingling of high and low and of British and American influences.

“The Transgressive Stage: The Culture of Public Entertainment in Late Victorian Toronto,” argues that public entertainment was one of the most important sites for the negotiation of identities in late Victorian Toronto. From the vantage point of the twenty-first century, where theatre is strictly highbrow, it is difficult to appreciate the centrality of public entertainment to everyday life in the nineteenth century. Simply put, the Victorian imagination was populated by melodrama and minstrelsy, Shakespeare and circuses. Studying the responses to these entertainments, greatly expands our understanding of Victorian culture. The central argument of this dissertation is that public entertainment spilled over the threshold of the playhouse and circus tent to influence the wider world. In so doing, it radically altered the urban streetscape, interacted with political ideology, promoted trends in consumption, as well as exposed audiences to new intellectual currents about art and beauty. Specifically, this study examines the moral panic surrounding indecent theatrical advertisements; the use by political playwrights of tropes from public entertainment as a vehicle for political satire; the role of the stage in providing an outlet for Toronto’s racial curiosity; the centrality of commercial amusements in defining the boundaries of gender; and, finally, the importance of the theatre—particularly through the Aesthetic Movement—in attempts to control the city’s working class. When Torontonians took in a play, they were also exposing themselves to one of the most significant transnational forces of the nineteenth century. British and American shows, which made up the bulk of what was on offer in the city, brought with them British and American perspectives. The latest plays from London and New York made their way to the city within months, and sometimes weeks, of their first production. These entertainments introduced audiences to the latest thoughts, fashion, slang and trends. They also confronted playgoers with issues that might, on the surface seem foreign and irrelevant. Nevertheless, they quickly adapted to the environment north of the border. Public entertainment in Toronto came to embody a hybridized culture with a promiscuous co-mingling of high and low and of British and American influences.

Franz Schlegel (1822 – 1882) war ein deutscher Arzt, Zoologe, Mitbegründer und erster Direktor des Zoologischen Gartens in Breslau. Er wandte sich, wie bereits sein älterer Bruder Hermann Schlegel, den Naturwissenschaften und der Zoologie zu. Er studierte an der Universität Jena Medizin und promovierte dort am 11. April 1848. In Altenburg arbeitete Schlegel als Praktischer Arzt. Hier erwies er sich frühzeitig als fortschrittlicher Geist und Verfechter von naturwissenschaftlichen Methoden und Forschungen für seine Arbeit, ob als Mediziner, Biologe oder Zoologe und stellte sich gegen jeglichen Vitalismus. Er vertrat den naturwissenschaftlichen Materialismus des 19. Jahrhunderts mit der Aussage, dass die Tatsachen und Theorien der Naturwissenschaften ein Bild der Natur vermitteln, wie sie ist, fern jeglicher Spekulationen. Er trat der Naturforschenden Gesellschaft Altenburg bei, wurde 1851 zu deren Sekretär gewählt und zu einem Initiator, der zur umfassenden Veränderung der Arbeits-weise der Gesellschaft beitrug, indem er die Vortrags- und Museumsarbeit ab 1857 öffentlich zugänglich gestaltete. Im Juli 1864 wurde er nach Breslau berufen und übernahm dort am 1. August 1864 das Direktorat des im Aufbau befindlichen Zoo-logischen Gartens, der am 10. Juli 1865 der Öffentlichkeit übergeben wurde. Ab 1876 führte er „völkerkundliche Ausstellungen“ mit „exotischen“ ethnischen Gruppen von Stammesvertretern aus fernen Zivilisationen ein, die Folklore und Lebensstil ihres Stammes demonstrierten. Unter Schlegels Leitung entwickelte sich der Breslauer Zoo zu einem der weltweit führenden Tiergärten. Bereits 1867 verfasste Schlegel einen der weltweit ersten Zooführer „Führer im zoologischen Garten bei Breslau“ mit Lageplan und Geländeübersicht sowie einem Verzeichnis der Gehege mit den Gebäuden und den darin befindlichen Tieren mit einer Kurzbeschreibung. 1872 erschien Schlegels Zooführer in elfter, erweiterter Auflage. Schlegel war auch während seiner Amtszeit als Zoo-Direktor Autor zahlreicher Schriften und Verfasser von Vorträgen zur Förderung des Wissens über Tiere. Franz Schlegel verstarb am 7. Februar 1882 in Breslau.