Nesta dissertação apresenta-se uma biografia de Gonzaga Duque, comentários de suas obras, uma fortuna crítica, cujo conteúdo expressa os comentários e estudos feitos por importantes críticos, reconhecendo a importância literária de Gonzaga Duque, sua produção textual, suas tentativas como um artista preocupado com a propagação da arte e suas evoluções, ou mesmo constatando sua existência entre os consagrados pelo paideuma (Machado de Assis, Cruz e Souza, entre outros nomes), sem estar oficialmente presente nesta seleção. Analisou-se o romance de Mocidade morta: sua estrutura textual, seu aspecto simbolista e sua estética, sua crítica à arte e à política da época e suas personagens. Procurou-se demonstrar a importância deste observador da sociedade brasileira, que o menosprezou por não pertencer aos grupos políticos em destaque, sendo um autor corajosamente diferencial e boêmio. / In this paper its been presented a biography of Gonzaga Duque, comments about his works, a fortunate criticism which contents express the comments and studies done by important critics, recognizing the literary importance of Gonzaga Duque, as well as, his textual production, his attempts as an artist worried about the spread of arts e its evolution or even finding out his existence among the prestigious writers by paideuma (Machado de Assis, Cruz e Souza among other names) even without being included in that list. Its been analysed the novel Mocidade morta: its textual structure, its symbolist aspect and aesthetics, its criticism to arts and politics at that time and its characters. Its been demonstrated the importance of this watcher of brazilian society, that despised him because he didnt belong to the most prestigious political groups, being a brave and Bohemian author.

Ce mémoire propose une étude de la thématique hivernale dans les tableaux réalisés par Maurice Cullen (1864-1936) entre 1896 et 1914. Elle s’appuie sur une analyse des contextes politiques et culturels. Pour représenter les paysages enneigés canadiens, Cullen adapte quelques techniques modernes issues de l’impressionnisme, acquises lors de son premier séjour en Europe. Malgré cette influence artistique étrangère présente par l’emploi d’une palette de couleurs vives et de la touche divisée, le respect de la perspective et de la tridimensionnalité témoignent du maintien de certains principes académiques. L’usage de procédés impressionnistes permet à cet artiste de mettre en évidence les caractéristiques atmosphériques et lumineuses de son pays. Par l’application de ces procédés sur la représentation de la neige, Cullen participe ainsi à un travail de redécouverte et de valorisation du territoire. En effet, il privilégie plutôt l’expérience sensitive du territoire que le choix de la thématique des œuvres. L’ensemble des données visuelles et sensitives contenues dans ses œuvres a pour objectif de faire prendre conscience au spectateur de sa difficulté à se repérer au sein de son propre territoire et à accepter les rudes conditions climatiques inhérentes au Canada. Ce travail demeure impartial face au conflit identitaire opposant les francophones et les anglophones, bien qu’il intervienne dans les prémices de la mise en place d’une esthétique canadienne. Ce mémoire défend l’idée que Cullen renouvelle l’imagerie hivernale et s’inscrit dans les débuts du processus de création d’une iconographie nationale. Avec ses pairs, il s’engage à valoriser l’art local, et il ouvre une réflexion sur la représentation du territoire canadien, qui sera poursuivie par la génération suivante avec le Groupe des Sept. / This thesis proposes a study of the winter theme in paintings by Maurice Cullen (1864-1936) between 1896 and 1914. It is based on an analysis of political and cultural contexts. To represent the snowy Canadian landscape, Cullen adapts some techniques from modern impressionism, acquired during his first stay in Europe. Despite this foreign artistic influence thanks to his use of a bright color palette and divisional brush strokes, the perspective and the three dimensions reflect his academic principles. The use of impressionist processes allows Cullen to highlight the features and atmospheric light of his country. By applying these processes on the snow, Cullen creates a work of rediscovery and praises the territory. Indeed, this artist’s main focus is the experience one has in the distinct and sensitive environment that is unique to his territory rather than the choice of thematic canvases. All sensory and visual data contained in his works aim to make the viewer aware of the difficulty to locate within its own territory and to accept the harsh conditions inherent in Canada. His work remains impartial to the conflict of identity between Francophones and Anglophones, although it occurs within the premises of the establishment of a Canadian aesthetic. This thesis argues that Cullen renews winter imagery and the early part of the process of creating a national iconography. With his peers, he is committed to enhancing the local and he opens a debate on the representation of Canadian territory, which will be continued by the next generation with the “ Groupe des Sept”.

The objective of this paper – Trusting the reader: On impressionistic narrating in Stig Claesson's writings with the novel Brev till en hembygdsgård as starting point – is to examine narrative techniques used by the Swedish author Stig Claesson, specifically some which fall within the broad field known as literary impressionism: e.g. omission, repetition, juxtaposition, episodic narration and how access to the narrator’s as well as individual characters' consciousness is handled. The method used for the study will be that of illustrative comparison. The analysis will seek its theoretical grounds in the works by Gerard Genette and Jonathan Culler. In the major parts of the study, narrative techniques used by Claesson in the novel Brev till en hembygdsgård (1974), is examined with the help of Robert Paul Lamb and James Nagel, and their studies concerning the crafts of Ernest Hemingway and Stephen Crane. In addition, other novels by Claesson are used in order to find, illustrate and then compare his craftsmanship with techniques already studied and described by scholars and critics. The main result from the analysis is that a need to trust the reader follows from Claesson’s choice of narrative techniques; by having the narrating instance mainly represent perception – without allowing the narrator, or the characters of the narrative, to interpret what’s rendered – the reader is left to experience sensation on her own. To assist the reader, Claesson binds together his episodic narration with a frequent use of juxtaposition, in which colors, objects and scenes already used, are re-used – hence having one scene charge the next, and so on, with previously evoked emotions. Furthermore, Claesson frequently uses omission in conjunction with repetition as a narrative technique; often when the narrator returns to an already used scene, she is excluding some of the information given to the reader earlier in exchange for some previously omitted information or for elements belonging to other scenes. The study finds that a consequence of Claesson’s combination of the above mentioned techniques, is that his texts calls for a reader to take an active part in creating meaning both from the text and from their own experience. Finally, the study suggests that Claesson, like any craftsman, recognized that once the work is done and delivered, it is up to the recipient to use it according to their own ability, imagination and discretion.

Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2003-06-27Bitstream added on 2014-06-13T19:03:27Z : No. of bitstreams: 1 martins_vhf_dr_sjrp.pdf: 702294 bytes, checksum: e9523aeb9231a38410e0053d4c816a9e (MD5) / Análise sobre o Impressionismo literário, a partir da releitura duma narrativa da Literatura Brasileira, Crônica da casa assassinada, de Lúcio Cardoso, a qual visa a descobrir-lhe a concepção, a temática, o princípio estrutural e a estilística. Pela investigação desses quatro segmentos, chegou-se aos seguintes resultados: a) se ainda se hesita em pensar-se o Impressionismo literário como um escola, sem dúvida pode-se pensá-lo como um estilo, que se projeta do século XIX para o XX; b) o Impressionismo literário invariavelmente refere-se à prosa de ficção (conto, novela, romance); c) Cca configura-se antes um romance impressionista que expressionista, já a partir do substrato filosófico que o move; d) os temas de Cca apontam para o Naturalismo, com o qual o Impressionismo vincula-se estreitamente; e) Cca revela um projeto estrutural, o que pressupõe desmontagem e remontagem textuais; f) o estilo cardosiano vai ao encontro deste idioma nervoso, colorido e requintado chamado écriture artiste, característico do Impressionismo literário. / Research about Literary Impressionism, mainly in a Brazilian Literature Narrative, Crônica da casa assassinada, from Lúcio Cardoso, which tries to find out the conception, the titles, the structural begining and Stilistics. Searching these four elements, the following results were reached: a) one doesn't think about Literary Impressionism just as a single literary behaviour, but as a style, that goes through XIXth. to XXth. Century; b) the Literary Impressionism refers, in a particular and unchangeable way, to fiction prose (short stories, fictous tales, novels); c) Cca is na impressionist novel, since its phylosiphical substractum; d) Cca themes goes to Naturalism, with whom Impressionism is tighly joined; d) Cca brings a narrative handed made work, that presupposes dismounting and remounting the text; f) Cardoso's style goes through this nervous, coloured and sophisticated idiom called écriture artiste.

Orientador: Cleide Antonia Rapucci / Banca: Maria Cecília Pires Barbosa Lima / Banca: Paulo Fernandes Zanotto / Resumo: O presente trabalho tem como objetivo fazer uma análise descritiva de três traduções para o português do romance The Red Badge of Courage, do escritor norte-americano Stephen Crane, a fim de verificar qual tradução evidencia uma correspondência estilística com o texto de partida. O capítulo 1 trata da vida do autor e de sua obra, situando-a em seu contexto histórico-literário, e de um breve estudo sobre as diversas obras e artigos que se dedicam à análise do livro em questão.O segundo capítulo discorre sobre a teoria da tradução e o problema do estilo na mesma. Esta pesquisa procura seguir a proposta de Aubert (1998) e de Barbosa (1990) no que diz respeito às modalidades (ou procedimentos) de tradução; o estudo das diferenças existentes entre os planos de representação lingüística de Vinay e Darbelnet (1995); e a tensão existente entre tradução literal e tradução livre. O capítulo 3 discorre sobre o movimento impressionista na pintura e suas influências na literatura e, portanto, em The Red Badge of Courage. O quarto capítulo trata da descrição e análise das traduções da referida obra, apontando as modalidades de tradução aplicadas aos textos, observando as dificuldades enfrentadas pelos tradutores, bem como as soluções por eles encontradas a fim de manterem o sentido do original e recriarem a forma do texto língua de partida. / Abstract: The present work aims at a descriptive analysis of three translations into Portuguese of The Red Badge of Courage, by the American Stephen Crane, in order to find out which translation conveys a stylistic correspondence with the source text. Chapter 1 deals with the author's life and work, putting The Red Badge of Courage in its literary-historical context, and with a brief study about the several books and articles that contribute themselves to the analysis of The Red Badge of Courage. The second chapter is about the theory of translation and the problem of style in it. This research attempts to follow Aubert's (1998) and Barbosa's (1990) proposals regarding the procedures of translation; the study of differences between the concrete and abstract levels of expression by Vinay & Darbelnet (1995); and also the tension between literal and free translation. Chapter 3 discourses on Impressionism in painting and its influence on literature and therefore on The Red Badge of Courage. The fourth chapter deals with the description and analysis of excerpts of the above-mentioned book, pointing out the procedures of translation employed in the texts, noticing the difficulties faced by the translators, as well as the solutions they found in order to keep the original meaning and to recreate the form of the source text. / Mestre

Nesta dissertação apresenta-se uma biografia de Gonzaga Duque, comentários de suas obras, uma fortuna crítica, cujo conteúdo expressa os comentários e estudos feitos por importantes críticos, reconhecendo a importância literária de Gonzaga Duque, sua produção textual, suas tentativas como um artista preocupado com a propagação da arte e suas evoluções, ou mesmo constatando sua existência entre os consagrados pelo paideuma (Machado de Assis, Cruz e Souza, entre outros nomes), sem estar oficialmente presente nesta seleção. Analisou-se o romance de Mocidade morta: sua estrutura textual, seu aspecto simbolista e sua estética, sua crítica à arte e à política da época e suas personagens. Procurou-se demonstrar a importância deste observador da sociedade brasileira, que o menosprezou por não pertencer aos grupos políticos em destaque, sendo um autor corajosamente diferencial e boêmio. / In this paper its been presented a biography of Gonzaga Duque, comments about his works, a fortunate criticism which contents express the comments and studies done by important critics, recognizing the literary importance of Gonzaga Duque, as well as, his textual production, his attempts as an artist worried about the spread of arts e its evolution or even finding out his existence among the prestigious writers by paideuma (Machado de Assis, Cruz e Souza among other names) even without being included in that list. Its been analysed the novel Mocidade morta: its textual structure, its symbolist aspect and aesthetics, its criticism to arts and politics at that time and its characters. Its been demonstrated the importance of this watcher of brazilian society, that despised him because he didnt belong to the most prestigious political groups, being a brave and Bohemian author.

Encore souvent perçu comme une véritable révolution esthétique, l’impressionnisme fait depuis quelques années l’objet d’une importante recontextualisation visant à remettre en question cette vision. Sans dénier au mouvement ses apports novateurs, cette thèse étudie la relation de ses membres avec la tradition picturale. S’appuyant sur un important corpus de textes critiques, de revues spécialisées et de catalogues d’exposition de l’époque, ainsi que sur de très nombreuses comparaisons iconographiques étayées, elle dégage quatre grandes sources d’inspiration : le XVIe siècle vénitien, le XVIIe siècle espagnol, le XVIIe siècle néerlandais, et le XVIIIe siècle français. C’est à l’aune de ce rapport à la peinture ancienne, et par le biais d’une typologie des différents positionnements à son égard, que la « crise » connue par l’impressionnisme au début des années 1880 est réexaminée, et que, plus généralement, une nouvelle approche du mouvement est proposée. / Impressionism is often perceived as a genuine aesthetic revolution. However, over the course of past years, it has been reconsidered and this vision called into question. Without rejecting the groundbreaking characteristics of Impressionism, this thesis studies the relationship between the Impressionists and pictorial tradition. Referring to a large corpus of reviews, specialized articles, exhibition catalogs of the period, and supported by many iconographic analogies, it lists four major inspirations: the Venetian 16th century, the Spanish 17th century, the Dutch 17th century, and the French 18th century. In the light of this connection between Impressionism and Ancient painting, and with the help of a typology summing up the different positions regarding this connection, this thesis reexamines the crisis that Impressionism underwent during the early 1880’s and suggests a new approach to the movement.

Federico Zandomeneghi (1841-1917) a toujours été considéré comme un artiste vénitien ayant émigré en 1874 à Paris avant de devenir un adepte de Degas et participer, à partir de 1879, aux expositions impressionnistes. Cette recherche a pour principal objectif d’analyser les liens que l’artiste entretint avec son pays - l’Italie - avant, pendant et après son long séjour parisien. Aussi nous sommes-nous plus particulièrement concentrée sur la période allant de 1841 à 1874 durant laquelle Zandomeneghi se forma dans les Académies de Beaux-Arts de Venise et Milan, avant de partir s’installer à Florence où il rencontra les peintres macchiaioli. Nous avons en outre analysé le contexte artistique italien dans lequel l’artiste évolua, et aussi dans quelle mesure les rapports qu’il tissa avec les nombreuses personnalités du monde de l’art qu’il eut l’occasion de fréquenter (Diego Martelli, Marcellin Desboutin) eurent une influence sur les choix qu’il fit par la suite ; puis, nous avons essayé de décrire la position que Zandomeneghi s’était gagnée sur le sol italien avant de le quitter définitivement. La seconde partie de notre recherche retrace en revanche - grâce à l’analyse d’un corpus de lettres inédites - le processus de réévaluation critique qui s’amorça en Italie après la mort de l’artiste et pour lequel œuvrèrent Enrico Piceni et Angelo Sommaruga : ces critiques et marchands d’art milanais ont en effet joué un rôle fondamental dans la redécouverte de Zandomeneghi en Italie. Même si Zandomeneghi avait passé quarante-trois années de sa vie en France, il ne réussit jamais à conquérir sa place dans l’historiographie française alors que, pour la seconde fois, il jouit des honneurs de la critique italienne. Cette recherche a pour objectif de mettre en lumière les raisons du cadrage historiographique dominant à l’heure actuelle, à savoir celui qui ne voit en Zandomeneghi qu’un peintre impressionniste vénitien, étiquette sous laquelle il a d’ailleurs été proposé au public à l’occasion des expositions plus récentes. / Venetian Federico Zandomeneghi (1841-1917) is always remembered as an artist who relocated to Paris in 1874 to become a follower of Degas, taking part in the Impressionist exhibitions starting in 1879. The primary objective of this thesis is to analyse this artist's ties to Italy, before and after his long-lasting experience in France. We delve into the period starting in 1841 and lasting until 1874 during which Zandomenegi trained at the academies of Venice and Milan, and during which he moved to Florence, at which point he first encountered the Macchiaioli. Moreover, this study has given us the opportunity to deepen our understanding of the Italian artistic context in which Zandomeneghi developed, to what extent his close relatonships with the numerous artists he encountered affected his later artistic choices (Diego Martelli, Marcellin Desboutin), and what position Zandomeneghi attained in Italy before leaving his country permanently. In the second part of the present study, a corpus of unpublished letters between two Milanese art personalities, the art critic Enrico Piceni and art dealer Angelo Sommaruga, was thoroughly examined. Their role was indeed crucial for Zandomeneghi’s artistic rediscovery. Although Zandomeneghi spent 43 years of his life in France, he was never fully recognized in the French historiography, whereas was acclaimed for the second time by the Italian critic after his death. This thesis aims to shed light on the reasons why Zandomeneghi has always been considered a Venetian impressionist, a label that has been employed even in very recent expositions.

The subject of this thesis is to analyze the perception of a naked female body in French society of the 2nd half of the 19th century. The work focuses on discovering, highlighting and interpreting the theme of female nudity in artistic works of this period, which provoked strong reactions and influenced contemporary culture. The first part is consecrated to the position of women in the 2nd half of the 19th century society on historical, social and cultural backgrounds and its changes in the ambience of the first wave of the women's movement. The attention is brought to some significant representatives of early feminism and to the goals and innovations these personalities were aiming to achieve. The second part of the thesis describes and analyzes selected works of art on the theme of female nudity. First, it deals with the works of academic painters who were the bearers of traditional artistic ideals and academic rules for displaying naked female body. Their artistic production is nowadays somewhat underestimated. In art history, however, it plays an important role. Therefore, the value of their work for the study of the perception of a naked female body is not omitted. The interest then turns to the Impressionism, the outstanding 2nd half of the 19th century art movement. In the center of...

Critique et historien de l’art autodidacte, mais aussi éditeur, galeriste, commissaire d’exposition, expert, courtier et infatigable homme de terrain, Julius Meier-Graefe (1867-1935) joua un rôle prééminent dans le monde de l’art européen des trente premières années du XXe siècle. Basé sur l’examination d’archives et de correspondances inédites ainsi que sur une relecture attentive de son vaste corpus d’écrits publiés, ce travail entend retracer la trajectoire d’un passeur téméraire souvent réduit à un rôle de défenseur de l’impressionnisme français dans l’Allemagne de Guillaume II. Si son progressisme francophile tout comme le formalisme de son approche des arts visuels ont parfois été soulignés, l’analyse détaillée de son implication dans le marché de l’art, le monde des musées et plus généralement, dans les débats politico-culturels de son temps, révèle une personnalité plus nuancée. Bien que méfiant envers les fantasmes identitaires des élites allemandes conservatrices, Meier-Graefe lutta sans répit pour un nationalisme d’ouverture, espérant infléchir le cours d’une culture germanique disloquée et hostile aux valeurs de la modernité. En suivant la carrière de cet Allemand cosmopolite, brutalement cisaillée par la Grande Guerre et achevée en France en exil du nazisme, cette thèse entend décrypter les mécanismes d’un projet de régénération culturelle ambitieux, impliquant actes et discours. Alternant entre phases d’enthousiasme intense et de profond désenchantement, Meier-Graefe s’y dévoile comme le chantre d’une modernité idéalisée dont il condamna obstinément les embardées avant-gardistes. / Self-taught art critic and historian, but also publisher, gallery owner, curator, expert, broker and tireless field man, Julius Meier-Graefe (1867-1935) played a prominent role in the European art world of the early 20th century. Based on a close study of numerous archives and letters, as well as a careful rereading of his vast body of published work, this dissertation endeavours to retrace the life of a reckless facilitator, whose career is too often reduced to the role of “importer” of modern French art in Germany. If Meier-Graefe has been frequently identified through his progressive francophile positions and formalistic viewpoints on visual arts, a detailed analysis of his involvement in the art market and institutions—and more broadly, in the political/cultural debates of his time—reveals a richer personality. Wary of the identity concerns shared by conservative elites of the Empire, he vigorously encouraged a “positive” nationalism, hoping to adjust the course of a fragmented Germanic culture hostile to the values of modernity. Tracing the steps of a cosmopolitan German whose path was brutally affected by the outbreak of World War I, this essay examines the mechanisms of his ambitious project of cultural regeneration, involving both action and discourse. Jostled between phases of enthusiasm and deep disillusionment, Meier-Graefe emerges as the champion of an idealized modernism, whose avant-garde experiments he nevertheless severely condemned.