No description available.

Das Louise-Otto-Peters-Archiv mit Bibliothek wurde 1997 eröffnet und ist das wichtigste Projekt der Louise-Otto-Peters-Gesellschaft e.V. (LOPG), die rund 120 Mitglieder im In- und Ausland – darunter in den USA, Großbritannien, der Schweiz und Japan – hat. Vorsitzende der Gesellschaft ist die Historikerin Prof. Dr. Susanne Schötz, seit 2006 Professorin für Wirtschafts- und Sozialgeschichte an der Technischen Universität Dresden. Ehrenvorsitzende ist die Diplom-Journalistin Johanna Ludwig, die 1993 Hauptinitiatorin der Vereinsgründung war.

Das Louise-Otto-Peters-Archiv mit Bibliothek wurde 1997 eröffnet und ist das wichtigste Projekt der Louise-Otto-Peters-Gesellschaft e.V. (LOPG), die rund 120 Mitglieder im In- und Ausland – darunter in den USA, Großbritannien, der Schweiz und Japan – hat. Vorsitzende der Gesellschaft ist die Historikerin Prof. Dr. Susanne Schötz, seit 2006 Professorin für Wirtschafts- und Sozialgeschichte an der Technischen Universität Dresden. Ehrenvorsitzende ist die Diplom-Journalistin Johanna Ludwig, die 1993 Hauptinitiatorin der Vereinsgründung war.

Denna uppsats handlar om formgivningsprocessen av en möbel med historiska förebilder. Den behandlar historiken kring Georg Haupt och den Gustavianska stilepoken och dess efterfölje. Syftet med rapporten är lyfta fram de svårigheter som kan uppstå när du formger en möbel från en viss stilepok. Med hjälp av bilder påvisas detaljer som valts att ta med och vart ifrån dessa har sitt ursprung.

This study, conducted in a junior high school in Canberra, used naturalistic research methodology and idiographic data analysis. As the results obtained in the study were time and context specific, the object was to reveal the personal factors which affected the nature of the reading experience for individual research participants. The theoretical basis of the research was derived from Louise Rosenblatt's transactional theory and focused on the reading experiences of adolescents with whole class novels. Three research techniques were employed in the exploration of aesthetic reader responses to two whole class novels. The techniques: reading journals, small group discussions and creative written responses to the text were implemented sequentially and revealed different levels and stages of individual and group responses from the 'primary spontaneous' to a considered reflective response. Data was explored through the case study mode of analysis which included information relevant to the individual research participants and the study context. The research explored the integration of the individual's evocation of the text with the individual's awareness of self, text, literature and the wider social context. The research data concluded that the employment of classroom practices which focus on a full, individual transaction with a text promotes the development of critical awareness of and familiarity with the text. This sound understanding of the individual's evocation of the text forms a self-aware and firm basis for the development of active, engaged and critical readers of texts.

Ce mémoire offre une analyse des Livres-Livres, la série de livres d'artistes créée par Louise Paillé. Le premier chapitre présente diverses considérations sur l'utilisation du livre et ses processus de transformation dans la série des Livres-Livres. Le fait que le livre, vu comme objet véhiculant le savoir, soit porteur d'un poids symbolique très lourd le rend un matériau de création particulièrement attirant pour certains artistes. Nous avons premièrement donné un bref aperçu historique expliquant pourquoi et comment le livre a acquis une si grande valeur symbolique, pour ensuite nous tourner vers le domaine du livre d'artiste, afin de montrer de quelle manière s'y intègrent les travaux de Louise Paillé. Finalement, nous nous sommes intéressés aux processus utilisés par l'artiste dans le cadre du développement de la série des Livres-Livres, c'est-à-dire le palimpseste, la citation et le collage. Après avoir examiné la symbolique, les valeurs et les procédés qui ont mené à la création des Livres-Livres, nous avons déplacé notre attention vers la question de leur lisibilité. Les modifications que Paillé apporte aux livres qu'elle traite les rend illisibles, nous forçant, pour les comprendre, à revoir notre manière de concevoir la lecture. La seconde partie de notre deuxième chapitre est consacrée à l'analyse du seul livre d'artiste lisible créé par Louise Paillé, ce qui nous permet de valider nos hypothèses émises plus tôt. Le travail fait par l'artiste sur les Livres-Livres est d'une ampleur considérable; elle y a passé de nombreuses années. Paillé a donc construit un réseau de sens très vaste, elle s'est appropriée l'objet livre et l'a réinvesti au point de lui donner un sens nouveau. Les implications de cette construction sont très larges, elles vont toucher à notre conception traditionnelle du livre, de la culture et de la transmission du savoir, mais elles restent en même temps liées à l'imaginaire de leur créatrice. Notre dernier chapitre traite ainsi de la construction, du développement et de l'émergence de ce que Bertrand Gervais appelle une figure du livre. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Livres-Livres, Intertextualité, Palimpseste, Figure du livre.

Texte remanié de: Tesi di laurea--Lingue e litterature straniere moderne (francese)--Torino--Università degli studi di Torino, 1987. Texte remanié de: Thèse--département des langues vivantes (italien)--Université de Savoie, 1988. / Notes bibliogr. p. 73-79.

Thesis (M.A.)--Marshall University, 2003. / Title from document title page. Document formatted into pages; contains v, 85 p. Includes bibliographical references (p. 78-85).

The purpose of this thesis is to examine the artistic production of photo artist Louise Lawler and the evolution of critical response to her work between the 1970s and 1990s. Of main concern are the manner in which early scholarship and exhibition reviews effectively situated Lawler's work within the discourse of institutional critique, a field of critical scholarship and artistic production that examines institutions of art such as museums and galleries. The objective of this thesis is to reexamine Lawler from a feminist art historical perspective using French feminist theory to investigate how her work can arguably be considered to be a feminist intervention into the patriarchal structures of museums, galleries, and connoisseurship. Lawler's dominant practice is photographic in nature, yet she does not consider herself a photographer. Like many artists of her generation Lawler has capitalized upon the indexical nature of the photographic medium, using it as a tool to create images that "document" art objects in situ. She has made her art in all the places in which artworks circulate or are displayed, be it the curated spaces of museums, an auction house or a private house, well-lit gallery show room walls or crowded and dark storage rooms. Throughout her forty-year career Lawler has worked to disrupt the patriarchy of the art world by drawing attention to philosophies of display and exhibition. She has shown us what is not on display within art systems by consistently showing us what is on display. She has refused to comply with systems or organization, crafting textual interventions that disrupt the linguistics of wall labels and titles of artworks. She has fragmented and dislocated the authorship of artists to their works, and she has appropriated curatorial practices to claim both the physical spaces of display and gain control of what objects are deemed valuable enough to be shown there. Lawler's work has consistently interrupted normative practices of art institutions, effectively disrupting the patriarchy inherent within the systems and structures to define art.

This study explores the letters which Flaubert wrote to Louise Colet between 1851 and 1854, and scrutinizes more particularly the dynamics of their epistolary relationship as well as the nature of the "contract" between the author and his mistress. A letter justifies and exists only by virtue of the distance and absence of the other person, and its appears that Flaubert resolutely availed himself of this mode of communication with Louise, and thus preserved efficiently the necessary solitude and silence for the composition of his work. The first part of the inquiry, which attempts to define the status and function of Louise in the Correspondence, is devoted to the eloquent forcefulness and the sheer quality of Flaubert's exposition. The second part of this work focuses on the originality of Flaubert's ideas in the letters and how they are representative of this life long literary beliefs. This so called love correspondence is literally permeated with literary discussion, and the reader of these letters quickly begins to wonder why Flaubert elected as his privileged correspondent a mistress who was incapable of understanding or sharing his profound convictions on aesthetic matters.