Desde Horácio e sua célebre expressão Ut pictura poesis, diversos autores tentaram estabelecer um paralelo entre a literatura e a pintura ao longo dos séculos. Vários são os exemplos de obras literárias e pictóricas unidas por temas e inspirações em comum, que se desenvolveram em caminhos paralelos durante uma determinada época, numa determinada sociedade. Menos freqüentes, porém, são as ocorrências de elementos que configurem um verdadeiro diálogo, uma convergência ou uma interferência entre as artes visuais e a arte literária. Neste trabalho, pretendemos identificar uma influência do olhar impressionista na literatura francesa da segunda metade do século XIX. Para isso, analisaremos seqüências descritivas de obras de Gustave Flaubert e de Émile Zola. Através da análise da construção das pinturas impressionistas e da construção das seqüências descritivas na literatura, pretendemos demonstrar que esses dois sistemas de representação não estão unidos apenas por temas e inspirações em comum, como havia sido o caso até então, mas também pelas técnicas e metodologias utilizadas e pelas reações que essas mesmas técnicas provocaram e provocam até hoje no espectador e no leitor. / From the time of Horace and his famous phrase Ut pictura poesis, several authors have attempted to draw a parallel between literature and painting. There are many examples of literary and pictorial works linked by common topics and inspirations that have taken parallel paths across time and across societies. Less frequent, however, are the examples of a real dialogue, a convergence or interference between the visual and the literary arts. In this study, we aim at identifying an influence of the impressionist view in the French literature of the second half of the 19th century. For this purpose, we will examine descriptive sequences of the works of Gustave Flaubert and Émile Zola. By analysing the process through which Impressionist paintings were made and the descriptive sequences were written, we aim at demonstrating that these two systems of representation are not united only by common topics and inspirations, as had been the case to date, but also by common techniques and methodologies, in addition to being united by the reactions that these same techniques provoked and still provoke today in the spectator and the reader.

Cheung Ching Lap Dickson. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 77-78). / Abstracts in English and Chinese. / English Abstract --- p.i / Chinese Abstract --- p.iii / Introduction --- p.1 / Chapter Chapter One --- Alienation' and The Grotesque --- p.9 / Chapter Chapter Two --- Impressionism' and 'Alienation' --- p.26 / Chapter Chapter Three --- "Conrad, Nietzsche, and Nihilism" --- p.52 / Conclusion --- p.73 / Bibliography --- p.77

Throughout their careers the Impressionists demonstrated a strong, but rarely examined, interest for decoration. A careful examination of both archival material and well-known artworks produced between 1870 and 1895 shows that Pissarro, Degas, Cézanne, Monet, Renoir, Morisot and Caillebotte never ceased to explore the values of decoration and the decorative. Set in the context of the Third Republic’s passion for monumental decoration and deep interest in the decorative arts, the Impressionists’ experiments range from ceilings to ceramic tiles, and from never achieved projects to ambitious realisations (although none remain in their original location). One painter among those surveyed also engaged with theoretical thinking: Renoir wrote for the press and drew up the drafts of a Grammar mainly focused on the decorative arts. Along with a number of artworks explicitly designated as decorative that were predominantly exhibited at the Impressionist shows, the Impressionists further produced more than twenty decorative ensembles made for the interiors of amateurs who then became patrons. Renoir, who started his career as a painter on porcelain, worked in the 1870s for the Parisian homes of a Romanian aristocrat, prince Bibesco, and of a leading publisher, Georges Charpentier, but also for the country house of Paul Berard. Monet, in a similar fashion, painted for the department store magnate Ernest Hoschedé in his property of Montgeron. Initially publicised by the painters in the 1870s, the decade on which this thesis focuses, the Impressionists’ decorative works were subsequently undertaken more quietly though continuously. Morisot painted a chimney trumeau for her own salon, to which Monet gave a pendant (they were eventually used as overdoor panels). Monet and Renoir also painted door-panels for Durand-Ruel. None of these later schemes were actually promoted towards a wide public, showing how the Impressionists’ commitment to painting decorations went from a strategic (and partly commercial) vision to embody a deeper reflection on the essence of painting and its relation to the wall – a reflection that the larger dissertation submitted to the Université de Bourgogne embraces. The critics’ attention, however, went the opposite way. It grew from a relative but highly meaningful disinterest to making the decorative key to their approach at the turn of the century, but in all situations, mocking or praising, their comments shed a crucial light on the Impressionist’s enterprises and their relations to the society’s concerns. An analysis of the Impressionists’ decorative experiments and their critical reception encourages, as this thesis aims to demonstrate, a reconsideration of our vision of Impressionism, for its development drew much more from the decorative than has so far been discussed.

The relationship between modernist fiction and visual culture has received substantial critical attention in recent years. However, many of the studies on this intermediality focus primarily on the drama, poetry, and novels of male authors, with Virginia Woolf being the only significant exception to this rule. I propose that this engagement with the visual in modernist fiction has a different social and cultural significance in the works of women writers. With reference to the short stories of Katherine Mansfield, I will explore the attempt to establish a female literary voice in what was perhaps the greatest transitory period for the role of women in the Western world. Although studies exist that consider the relationship between Mansfield’s writing and modern art and cinema, this thesis will provide a wider context for this period of cultural history. I take a variety of technological advancements into account, examining they ways in which they collectively provided the inspiration behind modernist literature’s new subjectivity of vision. As well as film, I will discuss the arts that developed prior to or alongside it, from the magic lantern to photography, and the impact they had on literature as writers sought new forms of representation. Furthermore, I believe that I will be able to examine this shift in cultural consciousness in a unique way through my focus on Mansfield, an author whose experimental work has received far less critical attention in terms of its engagement with other media than that of her contemporaries. Through reference to the visual arts, Mansfield was able to subjectively focalise her short stories through the eyes of her characters, presenting the ways in which women see and are seen in early twentieth-century society.

Henri de Toulouse-Lautrec (1863-1901) está presente no acervo do Museu de Arte de São Paulo Assis Chateaubriand (MASP) com onze obras que expõem diferentes momentos do percurso do artista, englobando mais de vinte anos de produção. A partir desse conjunto, o presente trabalho propõe a análise dessas obras, assim como as conjunturas de aquisição e de suas coleções anteriores à entrada no acervo do museu. Buscamos compreendê-las dentro do espaço do museu como objetos carregados de história, que permitem entender a obra e vida do artista, assim como as questões encadeadas pela trajetória dessas obras até o museu. / Henri de Toulouse-Lautrec (1863-1901) is present in the collection of the São Paulo Museum of Art Assis Chateaubriand (MASP) with eleven artworks that expose different moments of the artist\'s journey, encompassing more than twenty years of production. This research proposes to examine this set of artworks, as well as situations of acquisition and their previous collections at the entrance to the museum\'s collection, We seek to understand them within the museum space as historical objects, which allow us to understand the work and the artist\'s life, as well as issues posed by the trajectory of these works to the museum.

The manuscripts and published editions of the sacred choral works by Belgian composer Joseph Jongen sacred choral music were collected and listed, detailing the discernable pertinent characteristics of each work. Jongen is predominantly known for his organ works, but his choral works constituent a worthy contribution to the vocal music repertoire, especially his Mass, Op. 130. Jongen's music reflects the Impressionistic style while stemming from the school of César Franck. Choral directors and other musicians interested in Jongen's sacred choral works can use this work when exploring new repertoire. A short overview of Jongen's life is included based upon the information given in John Scott Whiteley's comprehensive book, Joseph Jongen and His Organ Music. The conductor's analysis provides a complete description of the Mass, Op. 130 with rehearsal and performance considerations. Phrase analysis graphs enhance the written analysis, and a discography of Jongen's sacred choral music completes this work.

Thesis (Ph. D.)--Boston University, 1981. / Includes bibliographical references (p).

Revision of Thesis (Ph. D.)--University of California at Los Angeles, 1977. / Includes bibliographical references (p. [203]-210) and index.

Much work has been done on the relationship between fin de siècle authors H.G. Wells, Joseph Conrad, Henry James, Stephen Crane, and Ford Madox Ford. As Nicholas Delbanco explains, these writers lived closely to one another in Kent during the transition into the Twentieth Century. While scholars have stressed the collaboration between Conrad and Ford and the disagreements between Wells and James, fewer have treated the relationship of Wells and Conrad. Their most widely read works, The Time Machine and Heart of Darkness, share remarkable similarities that reveal common topical influences on both writers. Furthermore, I argue that Wells and his novella influenced some aspects of Conrad's most popular text. From a historical contextual approach, I examine the relationship between the two authors, several themes shared by the two works, and their balance between social criticism and aesthetic responses. The novels feature a movement through time and space, a divided humanity, and cannibalism. The Time Machine critiques England's socioeconomic circumstances and the Social Darwinist belief in progress, while Heart of Darkness depicts the Belgian Congo under the merciless King Leopold II. Wells and Conrad rejected the artistic labels of impressionism and aestheticism, though their novels fulfill many aims of these movements. An understanding of the Wells-Conrad friendship and fin de siècle society opens each text to interpretations from diverse areas of criticism and is key in identifying the most important elements of the novels.

Thesis (Ph. D.)--University of Sydney, 2007. / Title from title screen (viewed 28 January 2010). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 2007; thesis submitted 2006. Includes bibliographical references. Also available in print form.