No description available.

Dessiner est dans ma pratique une action artistique, politique et sociale de résistance à l’effacement et à la disparition des figures, des personnes. Dans ma pratique, le dessin rend visible et son processus se définit par une action intrinsèque aux mouvements du corps : il suit ses tremblements, s’imprègne de son contexte et trace un lien entre son état intérieur et extérieur. À travers un processus d’actions dessinées, ma recherche questionne l’état de présence, son apparition et sa disparition. Ma pratique du dessin s’est ainsi déplacée pendant la maitrise, en va-et-vient constants de mon atelier vers l’espace public. À l’atelier je dessine en suivant des conditions de création, dans l’espace public, j’invente des espaces dans lesquels j’invite des personnes à se dessiner selon certaines conditions. Nous verrons comment l’action de dessiner permet de s’apparaitre à soi et aux autres. Et comment cette micro action cherche à recréer du lien. Il sera question dans ce mémoire de définir les axes de résistance des actions dessinées et de comprendre en quoi ces actions locales et volontairement rudimentaires agissent dans ma pratique en tant que « perturbateur social »

Das Jahr is considered Fanny Hensel's most impressive accomplishment of piano solo work. However, the only modern edition that is extant includes many additional editorial markings. By further analyzing the sections that are technically challenging or musically demanding from an interpretive standpoint, pianists wishing to perform the work will have to find workable fingerings and pedal markings to learn this piano cycle. For this reason, this dissertation will not only provide readers with an original text of Das Jahr, but also assist pianists in finding practical solutions that can help them to interpret this distinctive work successfully on the modern piano.

Zugl.: Wien, Diss.

No description available.

Edgar Allen Poe and Nathaniel Hawthorne are arguably two of the most highly read and heavily debated nineteenth-century antebellum authors in America. Their writings fascinate readers, while their character depictions, particularly their characterizations of fictional women, prompt intense academic debate. This thesis examines the previously less-studied historical developments surrounding Poe and Hawthorne in the antebellum era that shaped their approach to writing fiction. In particular, this study scrutinizes the effects of the development of a newly popular art form, ballet, the ascendency of female authorship, and the impact of American theatrical reform upon antebellum authors’ authorial faculties, especially Hawthorne and Poe.

Over the course of the nineteenth century, gaslight supplanted the candles and oil lamps that had brightened Europe and America for centuries, and, by 1900, electricity would attain decisive dominance over both. In their narrative figurations of lighting, however, novels of the same period often arrest this march of progress, lingering in an Arcadian past organized around the rhythms of the solar day and the agricultural year. Mining works by Frances Burney, George Eliot, Thomas Hardy, Marcel Proust, and others, my dissertation argues that novelists employ obsolete lighting technologies not merely to provide historical texture, but to express narrative impulses that run counter to the realist mode, to dramatize transgressive forms of ambition within the rural communities they depict, and sometimes even to voice ambivalence about the commercial constraints of the serial form. Characters in these novels who avail themselves of artificial illumination alter the rhythm of the workday in order to satisfy desires inconsistent with the interests and pursuits sanctioned by their neighbors: by the light of lamps and candles, they pursue cross-class romance, literary aspirations, or professional goals that fall outside the parameters dictated by social class and the historical moment. For Proust’s narrator, this entails a series of adjustments to his evening schedule over the course of the Recherche, first to accommodate an aristocratic social calendar, and, later, to facilitate the nocturnal composition of his own novel. In Eliot’s case, the inclination to stay awake after nightfall—whether the illicit romantic fantasies of a Hetty Sorrel or the workmanlike resolve of an Adam Bede—constitutes a meaningful challenge to the author’s narrative realism. By examining the formal innovations these technologies provoke in nineteenth-century fiction, my research unearths a pervasive counter-realist tendency in novels often famed for their fidelity to the protocols of realist representation.

Sara Payson Willis Eldredge Farrington Parton, more famously known as the elusive Fanny Fern, employs three autobiographical personae mediated by fiction in her debut novel, Ruth Hall: (1) Ruth Hall, the novel's protagonist; (2) Floy, the fictional Ruth's pseudonym; and (3) Fanny Fern, Parton's real-life pseudonym and the name under which Ruth Hall was published. Together these personae assert a fragmented presence that incorporates various voices and lives, allowing for exploration, growth, and interactivity.Philippe Lejeune's autobiographical contract outlines three specific guidelines for autobiography—that it be a narrative, that it explore personal history, and that it link author and protagonist. Ruth Hall participates in two-thirds of Lejeune's contract, though Parton's conscious fictionalization demands a revisiting of the autobiographical contract, revealing the impossibility of recording truth as well as the impracticality of a unitary self.Through her use of autobiographical personae in Ruth Hall and in her personal life, Parton succeeds in rewriting the narrative of domesticity for the nineteenth-century American woman. Her self-conceptualization embraces multiplicity as she demands to be seen as "more than."

<p>Den här uppsatsen är en kvalitativ studie med hjälp av jungiansk psykologi som fokuserar på Ingmar Bergmans film Fanny & Alexander. Syftet är att studera biskopens skugga. Filmen handlar om familjen Ekdahl som domineras av en rik och begåvad änka, Helena, samt hennes tre söner. Sonen Oscar dör och hans fru Emelie gifter sig med biskopen. Hennes barn Fanny och Alexander följer med henne in i äktenskapet med biskopen. Tillsammans flyttar de till biskopens spartanska och stränga hem. Alexander väcker biskopens vrede och skugga genom att vägra följa hans regler och ritualer. Biskopen dör eller kanske man kan säga transformeras när han genomgår den smärtsamma processen med att möta sin skugga.</p>

Das Liedschaffen Felix Mendelssohn Bartholdys war zu Beginn des 21. Jahrhunderts nur zu knapp zwei Dritteln der tatsächlichen Produktion bekannt. Erst im Jahre 2007 erschienene, bis dahin ungedruckte oder an entlegener Stelle veröffentlichte Lieder werden in vorliegender Studie zusammen mit den übrigen, nicht mit einer Opuszahl versehenen Liedern und Duetten zu thematischen Untergruppen geordnet und knapp in textlich-musikalischer Hinsicht charakterisiert. Diese Lieder und Duette, die nach dem Wunsch des Komponisten in den allermeisten Fällen nicht in die Öffentlichkeit gelangen sollten, stellen das gewohnte Bild Mendelssohns, das des Heiter-Sorgfältigen, in ein neues Licht.