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Dispassionate Descriptions: Disciplining Emotion in the Long Eighteenth CenturyPeh, Li Qi January 2020 (has links)
It is widely accepted that description was used by eighteenth-century writers for the purposes of documentary or ornamentalization. That it was also used to manage the emotions of readers is less often discussed. “Dispassionate Descriptions” corrects this imbalance by attending to the ways in which descriptions in certain scientific and poetic works from the late seventeenth to the late eighteenth centuries were used to dampen the intense emotions that scenes of violence and death tend to inspire, be they sympathy, anger, or love. Writers ranging from William Harvey to James Thomson to John Gabriel Stedman, I argue, taught their readers how to remain dispassionate in the face of suffering and injustice by describing moving bodies and scenes in terms of their physical features alone. By presenting the blood spurting from the wounds of vivisected animals in relation to the regular beat of the heart, a drowning cat in terms of the movements of its head and paws, and the dance of enslaved persons in terms of its irregular beat, the writers I study demonstrated how the disorderly movements of pain or rebellion could be read as expressive of overarching classificatory schemes. Through cultivating dispassion for movements commonly thought to incite passionate responses, these writers worked to maintain the ethical and political status quo.
By examining the emotional work descriptions of motion do, “Dispassionate Descriptions” traces an alternative history of how motion from the 1660s to the 1790s was understood outside of the predominant frameworks of mechanism and vitalism. While motion was regarded as inextricable from the literary and scientific discourses of this period, scenes of motion, as I demonstrate, were paradoxically also thought to facilitate emotional retreat. They were thus used by writers to advance a mode of ethics that prized non-interference and the disavowal of moral responsibility.
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Amatörkonstnären som blev fotograf : En studie över Birger G. Sjöbergs liv och verk / The amateur artist who became a photographer : A study about Birger G. Sjöberg's life and workMyrne, Sofie January 2020 (has links)
This Bachelor’s Thesis discusses the Swedish artist and photographer Birger Gabriel Sjöberg. He was born in Varberg, Sweden in the year of 1835 and died 40 years later, in the year of 1875. During his short-lived life he accomplished creating both paintings and photographs connected to his hometown. These are now of value by culture-historical means. By answering question formulations regarding his living, education and esthetic production, the main purpose is to give a synoptic presentation of both his life and work. Since Sjöberg is not a part of the widely known context of art history, the thesis also strives to bring a light to a mostly unknown and unwritten artist. This study contains of two main parts, one biographical part, and one iconological part were a chosen number of his paintings and photographs are discussed. Throughout the iconological part, the works are analysed by means of Heinrich Wölfflin’s Principles of Art History. The introducing of the works is to give an overall apprehension about what he achieved concerning his creating in both work and private life.
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Beauty Without Pity, Ambition Without Remorse: Lucrezia Borgia and Ideals of Respectable FemininityRusconi, Gloria 17 June 2021 (has links)
No description available.
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The Indigenismo of Emilio "El Indio" Fernández: Myth, Mestizaje, and Modern MexicoHILL, Mathew J. K. 10 August 2009 (has links) (PDF)
As one of the major directors of Mexico's Golden Age of Cinema (1936-1956), Emilio “El Indio” Fernández (1904-1986) created films which for many came to express the official vision of Mexican identity. Part of this identity was based on the ideology of indigenismo, which posited that the pre-Columbian past held the basic kernel of Mexico's national essence while advocating the incorporation of modern Indian groups into mainstream society. El Indio's films reflect the paradox of indigenismo: praise for indigenous cultures and a simultaneous effort to make them disappear. The following study examines three of his indigenista films, María Candelaria, Río Escondido, and Maclovia, to see how Fernández created representations of Mexico's indigenous populations that contributed to and deviated from indigenista policies in post-Revolutionary Mexico. This representation relies on the formation of a national myth based on a static, aestheticized Indian which incorporates all Mexicans into official state history.
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El amor cortés en Del amor y otros demonios de Gabriel García MárquezCarrillo Fídel, María Alejandra 01 July 2016 (has links)
En la siguiente tesis expondré desde el psicoanálisis cómo se estable la relación amorosa en Cayetano Delaura y Sierva María, personajes centrales de la novela Del amor y otros demonios de Gabriel García Márquez. Para comprender mejor el desarrollo de esta relación y la postergación de la relación sexual a lo largo de su desarrollo, propongo una lectura que parte desde el análisis de cada una de las partes de esta relación. En el primer capítulo presentaré a Cayetano Delaura como parte del Orden Simbólico. En el segundo capítulo describiré a Sierva María, como la representación de lo Real dentro del contexto colonial de la novela. Por último, explicaré cómo es que estos dos sujetos van a entablar una relación a través de un diálogo con los sonetos de Garcilaso de la Vega. De esta forma trataré de responder la pregunta principal de la tesis: ¿Por qué es tan difícil la consumación de un amor pleno en esta novela?
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Partimento-Pädagogik im Geiste der französischen Romantik: Henry Challans 380 Basses et chants donnés (1960)Remeš, Derek 27 October 2023 (has links)
Am Anfang des 19. Jahrhunderts übernahm das Pariser Conservatoire verschiedene Aspekte der italienischen Lehrmethoden, insbesondere die Partimenti. Diese französische Tradition begann mit dem Traktat Charles-Simon Catels (1802) und entwickelte sich durch die Publikationen von François-Joseph Fétis (1844), Théodore Dubois (1891), und Charles Koechlin (1927–30) weiter. Henri Challans 380 Basses et chants donnés (1960) ist eine der letzten Veröffentlichungen der französischen Partimento-Tradition. Dieser Beitrag gibt einen Überblick über Challans Traktat. Challan lehrt unter anderem Kadenz- und Sequenz-Muster, wie sie auch in den Orgelwerken von César Franck, Gabriel Fauré, Alexandre Guilmant und Louis Vierne auftreten. Es lässt sich zeigen, dass solche Satzmodelle wichtige Bestandteile der Improvisationspraxis dieser Organisten-Komponisten waren. Zu den typischsten Stimmführungsmustern des französisch-romantischen Stils gehören Kadenzen, die ich ›plagale Varianten‹ nenne, weil sie von der typischen Plagal-Kadenz abweichen. Manche stilistischen Eigenschaften, die wir heute als charakteristisch für Komponisten dieser Schule verstehen, waren von der Partimento-Tradition am Pariser Conservatoire geprägt. / In the early nineteenth century, the Paris Conservatory adopted various aspects of Italian teaching methods, especially partimenti1891), and Charles Koechlin (1927–30). Henri Challan’s 380 Basses et chants donnés (1960) is one of the last publications of the French partimento tradition. The present article gives an overview of Challan’s treatise. Challan presents various cadences and sequences that also appear in the organ works of César Franck, Gabriel Fauré, Alexandre Guilmant, and Louis Vierne. Such voice-leading models were integral elements of the improvisational practice of these organist-composers. Among the most typical voice-leading patterns of the French-romantic style are cadences that I term »plagal variants,« since they deviate from typical plagal cadences. Many stylistic characteristics typical for composers of this school were influenced by the partimento tradition at the Paris Conservatory.
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Die Orgelschule Johann Georg Herzogs als Quelle für die Aneignung historischer Satzmodelle im späten 19. JahrhundertPetersen, Birger 22 October 2023 (has links)
No description available.
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El discurso de autor a partir del uso de archivos: análisis descriptivo y semiótico del filme de montaje del cineasta Jean Gabriel PériotFarfán Morales, Milagro 15 November 2022 (has links)
La presente investigación se inscribe en las prácticas de la creación cinematográfica de
no ficción y aborda un acercamiento a la problemática del uso de los archivos en el
contexto de la mediación tecnológica y la sobre producción pos-fotográfica de las
imágenes. Por lo que se plantea una propuesta metodológica de análisis descriptivo y
semiótico para identificar los procesos de reciclaje, apropiación, re-significación y
generación de sentido en los cortometrajes: “The Barbarians”, “Even if shee had been a
criminal” y “200000 Phantoms” realizados entre el 2006 y el 2010 por el realizador Jean
Gabriel Périot. A partir de este análisis se pretende identificar las estrategias utilizadas en
el proceso de montaje del texto fílmico para evidenciar cómo se produce el discurso del
autor y que efectos de percepción y de sentido se generan a partir de la práctica del “filme
de montaje” y cómo esta permite una reflexión crítica sobre las imágenes del pasado o del
presente para cuestionar su visibilidad y su representación frente a discursos oficiales y
prácticas cinematográficas comerciales y hegemónicas. / This research is part of the practices of non-fiction cinematographic creation and
addresses an approach to the problem of the use of archives in the context of
technological mediation and the post-photographic over-production of images. Therefore,
a methodological proposal of descriptive and semiotic analysis is proposed to identify the
processes of recycling, appropriation, resignification, and generation of meaning in the
short films: "The Barbarians", "Even if she had been a criminal" and "200000 Phantoms"
made between 2006 and 2010 by the filmmaker Jean Gabriel Périot. From this analysis, it
is intended to identify the strategies used in the film text montage process to show how the
author's discourse is produced and what effects of perception and meaning are generated
from the practice of "montage film" and how this allows a critical reflection on the images
of the past or the present to question their visibility and their representation to face official
discourses and commercial and hegemonic cinematographic practices.
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Aquel fuego de noviembre: un documental etnográfico sobre la representación escénica de la rebelión de Túpac Amaru II en las provincias altas del CuscoFarfán Huamán, Miguel Ángel 08 May 2024 (has links)
Esta tesis se compone de un largometraje documental y un documento escrito. El objeto
de investigación es un conjunto de escenificaciones sobre el inicio de la Gran Rebelión,
liderada por Túpac Amaru II, que se realiza cada mes de noviembre en los distritos de
Tinta, Tungasuca y Sangarará —llamados pueblos o tierras tupacamaristas—, y
pertenecientes a las provincias cusqueñas de Canchis, Canas y Acomayo,
respectivamente. La observación etnográfica y el registro audiovisual de estos actos
conmemorativos en los años 2021 y 2022, generaron preguntas sobre quiénes y cómo
representan aquellos eventos y abrieron cuestionamientos sobre las tensiones,
negociaciones y acuerdos que emergen dentro de las poblaciones en esos eventos. La
tesis se construye a partir de los debates suscitados entre los estudios de performance
y memoria, pero también analiza la tradición escénica de corte indigenista e incaísta de
los Andes y los modos de representación de las producciones cinematográficas que se
realizaron en la zona sur de Cusco durante la segunda mitad del siglo pasado. El eje
central del trabajo de campo fue el seguimiento al actor que interpreta a Túpac Amaru II
en las puestas en escena, llamado Robert Paucara Churana. A través de su proceso de
transformación (de persona a personaje), se ramifican otras historias y memorias de los
habitantes de las provincias mencionadas en relación a la representación de un hecho
crucial de su memoria colectiva. Este trabajo constituye un aporte importante para la
Antropología Visual y para la producción de no ficción peruana y latinoamericana por la
develación de una práctica performativa poco conocida en relación a una de las figuras
históricas más importantes del continente, y por la mirada cercana a las poblaciones
andinas, pues el investigador es de origen quechua. / This thesis is composed of a full-length documentary and a written document. The object
of research is a set of stagings about the beginning of the Great Rebellion, led by Tupac
Amaru II, which takes place every November in the districts of Tinta, Tungasuca and
Sangarara —called Tupac Amaru villages or lands—, and belonging to the Cusco
provinces of Canchis, Canas and Acomayo, respectively. The ethnographic observation
and audiovisual recording of these commemorative events in the years 2021 and 2022,
generated questions about who and how those events are represented and opened
questions about the tensions, negotiations and agreements that emerge within the
populations in those events. The thesis is built on the debates between performance and
memory studies, but also analyzes the indigenous and Incaist stage tradition of the Andes
and the modes of representation of film productions that took place in the southern area
of Cusco during the second half of the last century. The central axis of the fieldwork was
to follow the actor who plays Tupac Amaru II in the productions, Robert Paucara Churana.
Through his transformation process (from person to character), other stories and
memories of the inhabitants of the mentioned provinces are branched out in relation to
the representation of a crucial event of their collective memory. This work constitutes an
important contribution to Visual Anthropology and to the production of Peruvian and Latin
American non-fiction for the unveiling of a little known performative practice in relation to
one of the most important historical figures of the continent, and for the close look to the
Andean populations, because the researcher is of Quechua origin.
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Une analyse des rapports texte-musique dans "Digging in the dirt" de Peter GabrielLacasse, Serge 19 April 2018 (has links)
L'analyse de la musique rock pose certains problèmes au plan méthodologique, particulièrement à l'égard des paramètres musicaux qui doivent être pris en compte. Ce travail vise à rendre compte de la chanson «Digging in the Dirt» de Peter Gabriel, d'abord à travers une analyse systématique du texte, des paramètres musicaux traditionnels et des paramètres musicaux technologiques. Plusieurs rapports texte-musique sont ensuite relevés, de façon à montrer comment les différents éléments musicaux (traditionnels et technologiques) interagissent pour soutenir le texte. Les interprétations issues de 1'analyse de ces rapports sont corroborées par des données externes à l'oeuvre (poïétiques et esthésiques). Le travail propose donc une méthode systématique d'analyse d'une oeuvre rock, méthode qui parvient à rendre compte des particularités de ce style musical, tout en confirmant l'intérêt que la musique populaire peut présenter du point de vue musicologique. / Québec Université Laval, Bibliothèque 2014
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