No description available.

Zugl.: Freiburg (Breisgau), Univ., Diss., 2007.

Thesis (Ph. D.)--University of Wisconsin--Madison, 2000. / Includes bibliographical references (p. 174-186). Also available on the Internet.

This thesis examines the impact of Maurice Maeterlinck’s ideas on modern artists. Maeterlinck's poetry, prose, and early plays explore inherently Symbolist issues, but a closer look at his works reveals a departure from the common conception of Symbolism. Most Symbolists adhered to correspondence theory, the idea that the external world within the reach of the senses consisted merely of symbols that reflected a higher, objective reality hidden from humans. Maeterlinck rarely mentioned symbols, instead claiming that quiet contemplation allowed him to gain intuitions of a subjective, truer reality. Maeterlinck’s use of ambiguity and suggestion to evoke personal intuitions appealed not only to nineteenth-century Symbolist artists like Édouard Vuillard, but also to artists in pre-World War I Paris, where a strong Symbolist current continued. Maeterlinck’s ideas also offered a parallel to the theories of Henri Bergson, embraced by the Puteaux Cubists Jean Metzinger and Albert Gleizes. Bolstered by new scientific discoveries that legitimized the existence of unseen realms, and intrigued by the idea of the fourth dimension as infinite higher space, Cubists such as Metzinger responded to Maeterlinck’s highly popular 1908 play L’Oiseau bleu, finding there an analogy to the Cubist quest for higher realities. Despite Maeterlinck’s popularity in the nineteenth and early twentieth centuries, he has been largely ignored, especially with regard to twentieth-century art. By examining the responses of artists and contemporary critics to Maeterlinck, as well as the intersection of his theories with the larger cultural context, this thesis aims to bring Maeterlinck back into focus. / text

Zugl.: Diss. Phil.-hist. Fak. Bern, 1990. / Bibliogr.

Thesis (Ph. D.)--University of Wisconsin--Madison, 2000. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 174-186).

abstract: ABSTRACT Edouard Vuillermoz (1869-1939) was a horn player and teacher who studied and later taught at the Paris Conservatory during the early twentieth century. As did many of the professors from the Conservatory, Vuillermoz published works for the horn. Unfortunately, his name has largely faded into obscurity and most of his works are no longer in print, yet one has remained in the repertoire and is still available for purchase today—Dix Pièces Mélodiques. Published in 1927 by Alphonse-Leduc, Vuillermoz desired for his students a set of etudes that would teach mastery of transposition, but he was not a composer. The ten transposition exercises he created were selected and transcribed from a compilation of vocalises commissioned by a vocal professor at the Conservatory, Amédée-Louis Hettich (1856-1937). Hettich desired vocalise-etudes that would able aid and inspire his students, so he commissioned over one-hundred-fifty vocalises by modern composers during the first half of the twentieth century. Composers including Bozza, Copland, Dukas, Fauré, Messiaen, Nielsen, Ravel, and Tomasi answered his call for works between 1906 and 1938. These modern vocalise-etudes have since disappeared from the vocal repertoire. Now, a century later, many of these studies have entered the public domain and are resurfacing as instrumental transcriptions and concert etudes. This study promotes awareness of Edouard Vuillermoz’s Dix Pièces Mélodiques and advocates for their inclusion in a modern revival. / Dissertation/Thesis / Doctoral Dissertation Music 2018

Ce travail tente d’établir, à partir de la pensée et de la vision que développe Edouard Glissant dans ses essais, une nouvelle approche, ou du moins une approche différente de la littérature comparée. Cette approche a pour fondement les concepts clés tels que le chaos-monde, le tout-monde, la créolisation et l’opacité. La relation surgit de ce que Glissant nomme le chaos-monde, cette rencontre, ce choc de cultures toujours à l’oeuvre dans notre monde. Cette confrontation, ce contact avec l’autre ne peut que produire de la relation. Nous vivons depuis toujours, et aujourd’hui bien plus que jamais, dans un espace pluriel caractérisé par la participation-confrontation, selon des modes variés, hétérogènes, voire conflictuels, de multiples cultures; quand bien même nous n’aurions jamais vu ces autres peuples, le fait d’avoir connaissance de leur existence contraint toujours déjà et nécessairement à l’instauration d’une relation. Cette relation, qui, chez Glissant, est avant tout à l’oeuvre dans le monde des hommes, comporte tous les éléments d’une approche comparatiste en littérature : mettre en relation des ouvrages différents mais néanmoins équivalents, analyser un ouvrage en gardant à l’esprit la multiplicité d’oeuvres existantes, comparer tout en respectant les différences propres à chaque oeuvre, telle est, semble-t-il, la tâche du comparatiste. Il s’agit, à partir du chaos-monde perçu comme confrontation de tous les ouvrages de notre corpus, de révéler une relation au sens glissantien du terme. Les termes de déclinaisons, inclinations et déclins nous engagent dans la description des trajets de lectures en montrant autant les capacités que les limites de cette approche. / Building on the theory developed by Edouard Glissant in his essays, this work attempts to draw up a different approach for the analysis of compared literature. This method is based on the key concepts developed by Glissant. All relationships are the offsprings of what Glissant calls the chaos-world, which is this encounter, this clash of cultures constantly at work in our world. This confrontation with the other cannot but give rise to relationship. Since time immemorial, we’ve been living and today we, more than ever, live in a plural setting, the defining characteristic of which is the cooperation and confrontation of multiple cultures on varied, heterogeneous and even conflictual modes; even if we have not seen these people who are so different and come into direct contact with their cultures as such, the very fact that we know of their existence always compels us to start some kind of relationship. In the works of Glissant, this relationship, which is at work in the world of human beings, comprises all the required elements for a comparative approach in the field of literature. Indeed, it would seem that the task of the comparatist consists in bringing together different but comparable works, in analyzing a piece of work while having in mind the multiplicity of works existing at the same time, and in comparing everything whilst respecting the differences exclusive to each work. Starting from the chaos-world perceived as a confrontation between all the works of our corpus, the whole point for us is to lay bare a relationship the way Glissant understands it. The concepts of declension, inclination and decline commit us to a description of reading journeys during which we show the scope as well as the limitations of this approach.

Made available in DSpace on 2016-04-28T20:56:32Z (GMT). No. of bitstreams: 1 Kaciana Nascimento da Silveira Rosa.pdf: 679237 bytes, checksum: b43fdd84fb8140566d58fab031530716 (MD5) Previous issue date: 2012-10-05 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This thesis consists in a study about the pedagogical experiences developed by the educator and doctor Edouard Séguin (1812 - 1880) in the process of teaching persons with intellectual deficiency during the age XIX. To the comprehension about the historical significance of the theoretic and practical material left by Edouard Séguin, it was necessary, initially, to do a historical study about the aspects relating to the special education area during the age XVIII e XIX, the period which others doctors also stood out in the treatment to persons with intellectual deficiency. Because it is a study about the theoretic character, it is considered the theoretic production in the special education area, observing the reading and the analysis of materials about the life, studies and experiences developed by Edouard Séguin, having as primary source the texts of his own authorship. It is taken as basis the two works which contains all of his work done with children and young with intellectual deficiency - Traitement moral, hygiène et éducation des idiots et des autres enfants arriérés and Idiocy and Its Treatment by the Physiological Method tracing its contributions to the education of persons with intellectual deficiency. Lastly, the most important aspects of Seguin s work which points to the constitution of special education are systematized, in particular about the education of person with intellectual deficiency / Esta dissertação constitui-se de um estudo sobre as práticas pedagógicas desenvolvidas pelo educador e médico Edouard Séguin (1812 - 1880) no processo de ensino de pessoas com deficiência intelectual durante o século XIX. Para a compreensão da significação histórica do material teórico e prático deixado por Edouard Séguin, fez-se necessário, inicialmente, realizar um estudo histórico dos aspectos relativos à área da educação especial durante os séculos XVIII e XIX, período em que outros médicos também se destacaram no atendimento a pessoas com deficiência intelectual. Por se tratar de um estudo de caráter teórico, considerase a produção teórica na área da educação especial, contemplando a leitura e a análise de materiais sobre a vida, os estudos e as experiências desenvolvidas por Edouard Séguin, tendo como fonte primária os textos de sua própria autoria. Tomase como base as duas obras de Séguin que contêm todo seu trabalho realizado com crianças e jovens com deficiência intelectual - Traitement moral, hygiène et éducation des idiots et des autres enfants arriérés e Idiocy and its Treatment by the Physiological Method delineando as contribuições destas para a educação de pessoas com deficiência intelectual. Por fim, são sistematizados os aspectos mais importantes do trabalho de Séguin que apontam para a constituição da educação especial, em particular da educação de pessoas com deficiência intelectual

Ayant vécu de 1771 à 1841, Édouard Bignon incarne la génération d’hommes qui a traversé, non sans encombre, la Révolution, le Directoire, le Consulat, l’Empire, la Restauration et la monarchie de Juillet. Sa carrière est le reflet des changements politiques français. Précepteur à la fin de l’Ancien Régime, il s’enrôle dans l’armée en 1793 pour fuir les proscriptions de la Terreur. Sous le Directoire, en 1797, il intègre la carrière diplomatique au sein de laquelle il reste dix-neuf années, jusqu’en 1815 : il y connaît une progression continue, passant du rang de second secrétaire de légation en 1797 à celui de ministre plénipotentiaire en Pologne en 1813. Après avoir participé aux Cent-Jours, il se retire de la vie publique. Deux ans après Waterloo, il est élu député et siège dans les rangs de l’opposition libérale jusqu’à la chute de la monarchie bourbonienne. Indépendamment de ses mandats de députés, il se lance dans une carrière de publiciste et d’historien qui lui assure une notoriété grandissante. En effet, dans son testament, Napoléon Ier lui a commandé une histoire diplomatique de la France à laquelle Bignon s’attelle dès 1821. Divisée en quatorze tomes, cette Histoire de France paraît à partir de 1829. L’année suivante, Bignon participe à la chute de Charles X et devient proche des gouvernements de Louis-Philippe : il est nommé pair de France en 1837, couronnement d’une longue carrière au service de la France. Cette étude biographique, qui embrasse la totalité de sa carrière, entend mettre à l’honneur le parcours d’un diplomate napoléonien à l’envergure secondaire, les activités d’un parlementaire sous la Restauration et la monarchie Juillet, et l’originalité d’un historien de l’Empire. / Born in 1771 and died in 1841, Édouard Bignon embodies the generation who has live, with some trouble, through the French Revolution, the Directory, the Consulate, the First Empire, the Restoration and the July Monarchy. His career reflects all the French political changes. A private tutor, he enlisted in 1793 while trying to avoid being arrested. During the Directory, in 1797, he joined the Foreign Office and stayed in this departement until 1815 : he was constantly promoted, from the position of 2nd secretary in 1797 to minister plenipotentiary in Poland in 1813. As he joined the ranks of Napoleon during The Hundred Days, he had to retire from public life once Louis XVIII came back. Two years after Waterloo, he became a member of Parliament and sat among the liberals until the Bourbons fall. Separately from his political activities, he published several historical books which rose his popularity. In his will, Napoleon asked him to write the diplomatic history of his reign. Begun in 1821, the Histoire de France was issued from 1829 to 1850 and split into 14 volumes. In 1830, he contributed to the July Monarchy’s birth and became one of its support in Parliament : Louis-Philippe rewarded him and appointed him as peer of France in 1837, as a public recognition for his duties. This study which tackles all Bignon’s activities, aims to emphasize a medium scale diplomatic experience, parliamentarian’s occupations during the Restoration and the July Monarchy and Napoleon historian’s originality.