Relevant bibliographies by topics / 1863-1944

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic '1863-1944'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "1863-1944"

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Fusar-Poli, Laura, Natascia Brondino, Matteo Rocchetti, and Pierluigi Politi. "Edvard Munch, 1863–1944." American Journal of Psychiatry 174, no. 4 (April 2017): 317–18. http://dx.doi.org/10.1176/appi.ajp.2017.16121333.

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Pitman, Alexandra. "Edvard Munch (1863–1944)." British Journal of Psychiatry 197, no. 4 (October 2010): 312. http://dx.doi.org/10.1192/bjp.197.4.312.

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Fanta, H. "Eduard Zirm (1863-1944)." Klinische Monatsblätter für Augenheilkunde 189, no. 07 (July 1986): 64–66. http://dx.doi.org/10.1055/s-2008-1050756.

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Pitman, Alexandra. "Edvard Munch (1863-1944) The Scream." British Journal of Psychiatry 198, no. 1 (January 2011): 72. http://dx.doi.org/10.1192/bjp.198.1.72.

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Maillard, Alain, Francoise Basch, Liliane Crips, and Pascale Gruson. "Victor Basch (1863-1944). Un intellectuel cosmopolite." Le Mouvement social, no. 201 (October 2002): 99. http://dx.doi.org/10.2307/3779880.

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Ozarin, Lucy. "I.L. Nascher, M.D. (1863-1944): The First American Geriatrician." Psychiatric News 43, no. 22 (November 21, 2008): 24. http://dx.doi.org/10.1176/pn.43.22.0024.

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Geisler, Sheryl L. "Death in the Sick Room Edvard Munch (1863-1944)." Journal of Physician Assistant Education 17, no. 3 (2006): 56–57. http://dx.doi.org/10.1097/01367895-200617030-00012.

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Wołczański, Józef. "Likwidacja klasztoru Sióstr Niepokalanek w Jazłowcu w 1946 roku." Nasza Przeszłość 110 (December 30, 2008): 195–237. http://dx.doi.org/10.52204/np.2008.110.195-237.

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W artykule przedstawiono burzliwą historię likwidacji klasztoru sióstr niepokalanek w Jazłowcu. Dla zgromadzenia placówka ta posiadała wyjątkowe znaczenie, ponieważ stanowiła pierwszą siedzibę omawianej wspólnoty na ziemiach polskich od roku 1863. Po przedstawieniu sytuacji klasztoru Jazłowcu w latach 1944-1946 zaprezentowano 9 dokumentów przybliżających dramat tamtych dni.
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Zwick, Ludmila Menezes. "O diário do autor louco, de Edvard Munch (1863–1944)." Manuscrítica: Revista de Crítica Genética, no. 49 (August 1, 2023): 300–319. http://dx.doi.org/10.11606/issn.2596-2477.i49p300-319.

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A premissa maior da tradução do norueguês ao português do manuscrito MM T 2734, intitulado O diário do autor louco, de Edvard Munch (1863-1944), é que, vez por outra, um documento arquivístico pode ser tratado, por suas características, como uma obra literária – o diário entendido como gênero literário, sem entrar no mérito da qualificação desta obra como faz um crítico literário –, ao mesmo tempo em que é considerado, por seu conteúdo pertencente à outra época – com a demanda de pesquisar seu contexto –, como um documento histórico. Por outro lado, tal tradução é também uma forma de democratização de uma fonte primária, considerando que quão maior for o alcance de sua cultura material – ainda que pela via do espaço virtual –, maiores as chances de se compreendê-la como fonte histórica, que, sendo neste caso um diário, é também um objeto de preparo à expressão artística, escrita e/ou pictórica.
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Zwick, Ludmila Menezes. "Edvard Munch em tradução: esboços e textos." Em Tese 26, no. 1 (November 19, 2020): 270. http://dx.doi.org/10.17851/1982-0739.26.1.270-276.

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Da extensa produção escrita de Edvard Munch (1863-1944), apresento aqui a tradução do norueguês ao português dos seguintes textos literários esboçados por ele: MM N 652, s.d., MM T 2367, de 1892, MM T 329, de 1893, MM T 2908, de 1892-1893 e MM T 2901, s.d.; são textos de página única que conservam a estrutura do original, inclusive as rasuras.
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Dissertations / Theses on the topic "1863-1944"

1

Calligaro, Claude. "Edvard Munch ou la frise de la vie : approche psychanalytique, aperçu phénoménologique." Bordeaux 2, 1988. http://www.theses.fr/1988BOR25416.

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MOORE, OLIVIER. "Approche psychopathologique de la vie et de l'oeuvre de edvard munch." Amiens, 1992. http://www.theses.fr/1992AMIEM049.

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Bellido, Valdivia Francisco Javier. "La pintura como expresión de lo interior." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2013. http://tesis.pucp.edu.pe/repositorio/handle/123456789/5075.

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Bimer, Barbara Susan Travitz. "Edvard Munch's Fatal Women: A Critical Approach." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc504386/.

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This study is the first comprehensive analysis of the fatal woman motif in the writings and art of Edvard Munch from the early 1890s to 1909. It uses a background of the women in the artist's life as well as the literary and artistic worlds in which Munch participated. Following separate accounts of Munch's relationships with five women, the manner in which the artist characterizes each as a fatal woman in his writings and art is discussed and analyzed. Next, the study describes the fatal woman motif in late nineteenth century art and literature. It begins with a discussion of the origin of the Symbolist and Decadent Movements and an ideological examination of the fatal woman motif as it is manifested in the writing and art of these two groups. In addition, it compares Munch's visual manifestations of the femme fatale with the manner in which the artist's contemporaries depicted her. Finally, this study describes two groups of men with whom Munch was particularly close: the Christiania Bohéme and the Schwarzen Ferkel Circle. An examination of the literary works of these men helps to determine the way in which they affected Munch's pictorial perception of the fatal woman.
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Medawar, Christian. "Mary Edith Durham and the Balkans, 1900-1914." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23726.

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This thesis is an exposition on the British traveller Mary Edith Durham and her various activities in the Balkans from 1900 to 1914. Durham earned a reputation as an ethnographer, traveller, reporter, political activist and relief worker. First, the thesis documents her experiences between 1900-1908 as a traveller in the Balkans. In this period Durham developed a keen interest for the history and cultures of the peoples of the Balkans. She also gained a solid knowledge of Balkan politics and became a familiar face in Montenegro and the Albanian territories of the Ottoman Empire. The study then describes her relief work in Albania and her efforts to lobby for the Albanian cause from 1910 to 1914, when she returned to England.
The research consists of both published works and unpublished sources, some of which have not been used for studying Durham. These include Durham's personal manuscripts, correspondence from other personal papers, and documents from the British Foreign Office archives. (Abstract shortened by UMI.)
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Ferreira, Mariana Rodrigues Festucci. "Melancolia, capitalismo e laço social: uma leitura de Edvard Munch." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19600.

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This dissertation proposes to think the condition of melancholy from aspects that define your way of structuring psychically and is located in the bonds and speeches, especially in speech capitalist, who prepare the enjoyment in contemporary society. For both, performs a qualitative research of interlocution between psychoanalysis and art, which unfolds in five stages:1. A history of the theorized about the melancholy of antiquity to modernity. 2. The melancholy in Freud, since their first approximations of the theme in the letters and drafts, who directs the then friend Fliess until the formalization conceptually undertaken in test Mourning and melancholy, not if I leave aside the additional considerations made in subsequent texts. 3. The Melancholy from theoretical considerations developed by Jacques Lacan regarding the constitution of the subject since the stadium of the mirror until the formalization of object a, passing by re-reading of Lacan testing of Freud in different moments of his teaching, his articulation of melancholy to pain to exist from Buddhism and culminating in the meeting of elements that allow to situate melancholy while clinical type of psychosis. 4. The relationship between melancholy, capitalism and social bond through the critique of the capitalist economic system operated by Benjamin, the theorizing of capitalist discourse as an offshoot of the discourse of the master proposed by Lacan, theorists who think the implications of this speech to the subjectivity of the subject in contemporary times without giving up the factors that count as the psychic structure, including Sidi Askofaré , Pacheco Filho and Vladimir Safatle, and joints to be made between the capitalist discourse and the outside-the-discourse of psychosis. 5. The reading of the melancholic expression, both regarding the psychic implications as social, in the work of painter Munch, aiming to take it as index of contemporary society. "Never will people understand that my paintings were created from seriousness and suffering" (Munch apud Tojner, 2004). It is concluded that such seriousness and suffering, however, served as an upholstery for him to go beyond his Art, marking how this way can act both in favor of the structural implications of the melancholic in the loop and the difficulties accentuated by the capitalist discourse. To this discourse Art, with its inventive potential, makes a hole, pointing out an alternative
Esta dissertação se propõe a pensar a condição do melancólico a partir dos aspectos que delimitam seu modo de se estruturar psiquicamente e se situar nos laços e discursos, especialmente no discurso capitalista, que aparelha o gozo na sociedade contemporânea. Para tanto, realiza uma pesquisa qualitativa de interlocução entre a Psicanálise e Arte, que se desdobra em cinco momentos: 1. Um percurso histórico das teorizações sobre a melancolia da Antiguidade à Modernidade 2. A melancolia em Freud, desde as suas primeiras aproximações do tema nas cartas e rascunhos que dirige ao então amigo Fliess até a formalização conceitual empreendida no ensaio Luto e Melancolia, não sem deixar de lado as considerações complementares realizadas em textos posteriores. 3. A melancolia a partir das considerações teóricas desenvolvidas por Jacques Lacan no que tange a constituição do sujeito desde o estádio do espelho até a formalização do objeto a, passando pela releitura de Lacan do ensaio de Freud nos diferentes momentos de seu ensino, a sua articulação da melancolia à dor de existir a partir do budismo e culminando na reunião de elementos que permitem situar a melancolia enquanto tipo clínico da psicose. 4. A articulação entre melancolia, capitalismo e laço social através da crítica do sistema econômico capitalista operada por Benjamin, a teorização do discurso capitalista como um desdobramento do discurso do mestre proposto por Lacan, os teóricos que pensam as implicações deste discurso para a subjetividade do sujeito na contemporaneidade sem abrir mão dos fatores que contam como a estruturação psíquica, incluindo Sidi Askofaré, Pacheco Filho e Vladimir Safatle, e as articulações possíveis de serem realizadas entre o discurso capitalista e o fora-do-discurso da psicose. 5. A leitura da expressão melancólica, tanto no que tange as implicações psíquicas quanto sociais, na obra do pintor Munch, visando toma-la como índice na sociedade contemporânea. “Nunca as pessoas vão entender que as minhas pinturas foram criadas a partir da seriedade e do sofrimento” (Munch apud Tojner, 2004). Conclui-se que tal seriedade e sofrimento, entretanto, serviram de estofo para que ele fosse além com a sua Arte, marcando como esta via pode atuar tanto em favor das implicações estruturais do melancólico no laço quanto das dificuldades acentuadas pelo discurso capitalista. A este discurso a Arte, com o seu potencial inventivo, faz furo, apontando uma alternativa
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Lachana, Evanghélia. "Edvard Munch : le peintre face au théâtre." Paris 3, 1997. http://www.theses.fr/1997PA030125.

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Considere comme un peintre "litteraire" par la critique de son epoque, edvard munch s'est vu souvent compare a ibsen, strindberg et maeterlinck. Cette etude se propose d'eclaircir certains aspects de la realite figurative de la fin du xixeme et du debut du xxeme siecles en ayant comme reperes l'oeuvre d'edvard munch et les rapports que celle-ci a devellopes avec les pratiques sceniques de son epoque. Pour cela nous avons retenu trois axes de recherche. Tout d'abord, afin de mettre en relief la rencontre de l'imaginaire figuratif du peintre avec l'ecriture d'ibsen, nous avons analyse les projets sceniques que munch avait realises pour les spectacles revenants et hedda gabler, crees par le kammerspielehaus de max reinhardt. Avec la meme volonte, nous avons egalement etudie des esquisses que munch a creees d'apres des drames ibseniens (notamment d'apres peer gynt, john-gabriel borkman. Quand nous nous reveillerons d'entre les morts, les pretendants a la couronne), mais qui n'etaient pas destinees a la creation de spectacles. Enfin, nous avons propose une lecture scenographique de certaines de ses peintures, dans le souci de mettre en parallele les processus adoptes par munch pour l'expression plastique du concept du theatrum mentis avec des solutions que certains hommes de theatre de la meme epoque avaient privilegiees afin de figurer l'intrasubjectivite. (notamment avec les options du theatre du reve de strindberg et certaines pratiques de la scene expressionniste allemande). Par ailleurs, nous avons annexe a cette etude une presentation de certains drames d'oskar kokoschka, ainsi que des compositions sceniques de wassily kandinsky, qui mettent en perspective la position de munch face au theatre de son epoque et temoignent du parti pris de certains plasticiens pour la substitution d'un theatre visuel au theatre du
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Langevin-Formaux, Nathalie. "L' expressionnisme : l'art comme expérience métaphysique." Paris 1, 2010. http://www.theses.fr/2010PA010612.

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L ' expressionnisme, mouvement du début du XXe siècle, met l’ accent sur la violence formelle et rompt avec l'impressionnisme. Son but est de saisir par l'intuition l'idée présente dans les phénomènes : l 'unité vivante capable de donner sa cohérence aux oeuvres. L'art est « expérience métaphysique », il ne transfigure pas la réalité mais en dévoile ce qu'il y a d'essentiel. L'étude de textes théoriques (Benn, Edschmid, Marc) permet de déceler l'influence de Schopenhauer, Nietzsche, Bergson et Simmel. Pour révéler cette influence, l'examen des oeuvres s'impose: celles de Munch, les écrits de Doblin, Wedekin (Lulu), la musique de Schönberg, les films : Nosferatu, Metropolis. Subversif dans sa forme, radical dans son contenu, l'expressionnisme fut combattu par le nazisme. Les artistes ont payé cher leur contestation sociale et leur engagement dans un « art dégénéré », Si toute innovation seulement esthétique est superficielle, toute révolution seulement politique passe à côté de l'essentiel.
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Barboza, Lívia Krassuski [UNESP]. "A santa, a prostituta e a amante infeliz: as imagens simbólicas do feminino de Edvard Munch, sob abordagem da psicologia analítica de C.G. Jung." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/86893.

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Tendo por principal referencial teórico os conceitos de Carl Gustav Jung (1875-1961) sobre os arquétipos e o inconsciente coletivo, neste trabalho proponho-me mostrar como o conteúdo simbólico universal se manifesta na expressão artística individual do pintor norueguês Edvard Munch (1863-1944). Coloco em foco imagens que retratam a mulher e as relações afetivas entre o homem e a mulher que o artista produziu na segunda fase de sua carreira, entre 1889 e 1908. Não obstante referirem-se à visão pessoal do artista, revelam simultaneamente a “nova mulher” que emergia na sociedade de seu tempo. Desta forma, ao contextualizar a produção artística de Munch e analisar seu conteúdo simbólico, proponho-me mostrar como a obra de arte pode expressar, muito além dos conflitos particulares de seu autor, o espírito da época em que foi criada, mediante temas universais.
Having as main theoretic reference the concepts of Carl Gustav Jung (1875-1961) on the archetypes and the collective unconscious, in this work I propose to demonstrate how the universal symbolic tenor is manifested in the individual artistic expression of the Norwegian painter Edvard Munch (1863- 1944). I put into perspective images that portray the woman and the relations of affection between man and woman, that the artist produced in the second phase of his career, between 1889 and 1908. Notwithstanding those refer to the personal view of the artist, they simultaneously bring forth the “new woman” that emerged in the society then. Thus, in contextualizing Munch´s artistic production and analyzing its symbolic content, I propose to show how the work of art can express, far beyond the private conflicts and idiosyncrasies of its author, the spirit of the time in which it was created, through universal themes.
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Hong, Sunmi. "L' ombre de la Mère : un enjeu essentiel de la création de l'image dans la peinture." Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10111.

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A partir de la vision du psychanalyste qui recherche toute origine dans l'enfance et la famille qui sont un endroit de l'expérience inconsciente et traumatique de l'objet du premier amour pour la mère et la sœur étant irremplaçable, la démarche de cette étude qui regroupe les éléments du désir des peintres cherche par la théorie de la psychanalyse, à éclairer le processus de la séance de psychanalyse sur le divan, pour connaître la raison, le phénomène et le résultat de la création. Nous sommes attirés par la coexistence de la fragilité et de la sensation de force, émanant des tableaux de Henri De Toulouse-Lautrec et d'Edvard Munch. A travers cela, nous recherchons les images des intimités cachées des peintres des problématiques inconscientes qui les traversaient. Ils sont tous les deux porteurs de certains drames familiaux et intimes. Bien sûr leurs œuvres sont traversées de l'esprit de leur temps, mais l'objet perdu, expérience commune à tout humain, est au centre de la création. Chez Toulouse-Lautrec, les hommes sont le contraire des femmes dans l’œuvre, ils sont arrogants à l'instar du père : analyse-t-il l'injustice du rapport entre l'homme – le maître – et son objet ? A tel point qu'il s'identifie plus aux femmes qu'aux hommes. Pour Toulouse-Lautrec, cette identification le pousse vers une nouvelle créativité. Quant à Edvard Munch, il peignit les effets des rencontres qui ont jalonné sa vie. Le détail fut chronologique, à la manière d'une journal intime. La mort fut le thème de prédilection de l’œuvre, le peintre ayant vécu avec ses morts. C'est aussi l'angoisse ressentie face à la perte de l'objet amour. Pour lui, l'art était un champ de rencontre avec l'objet perdu. Nous apprenons que les deux peintres tentent de figurer leur objet de désir qui est aussi bien de façon réelle, l'objet perdu. Pour eux, l'art était « une manière de confession thérapeutique ». L'art est donc une auto thérapie, ou du moins une tentative de se défaire de l'angoisse. Pour autant la sublimation est en échec, dans le sens où l'art est un fil qui lie ces deux peintres à leur objet, sans effectuer une séparation, il comporte une sorte d'érotisation de l'absence.
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Books on the topic "1863-1944"

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Fundació Caixa de Pensions (Barcelona, Spain). Centre Cultural., ed. Munch 1863-1944. Barcelona: Fundació Caixa de Pensions, 1986.

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Bjerke, Storm, and Bonito Oliva Achille, eds. Munch (1863-1944). Milano: Skira, 2005.

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Ulrich, Bischoff. Edvard Munch, 1863-1944. Köln, Germany: Benedikt Taschen, 1993.

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Bischoff, Ulrich. Edvard Munch: 1863-1944. Koln, West Germany: Benedikt Taschen, 1988.

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Guleng, Mai Britt, editor of compilation, Sauge, Birgitte, editor of compilation, Steihaug, Jon-Ove, editor of compilation, Munch-museet (Oslo Norway), and Nasjonalgalleriet (Norway), eds. Edvard Munch, 1863-1944. Milano, Italy: Skira Editore S.p.A., 2013.

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Ulrich, Bischoff. Edvard Munch, 1863-1944. Koln: Benedikt Taschen, 1988.

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Fagioli, Marco. Edvard Munch, 1863-1944. Rimini: Idea libri, 2003.

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Ulrich, Bischoff. Edvard Munch 1863-1944. Cologne: Benedikt Taschen Verlag, 1988.

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Ulrich, Bischoff. Edvard Munch 1863-1944. Köln: Benedikt Taschen Verlag, 1988.

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Marie, Roosen-Runge, and Möller Kai Robert, eds. Adolph Goldschmidt, 1863-1944: Lebenserinnerungen. Berlin: Deutscher Verlag für Kunstwissenschaft, 1989.

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Book chapters on the topic "1863-1944"

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Auspos, Patricia. "2. A “Two Person Career”." In Breaking Conventions, 93–174. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0318.02.

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The marital ideal that made it difficult for Grace Chisholm Young (1868-1944) to maintain an independent professional life was that of the "helpmate wife” who advanced her husband’s career. A graduate of Girton College and the first woman to defend a thesis and earn a doctorate in mathematics in Germany, Grace Chisholm was a mathematician in her own right when she married her former college tutor, William Henry Young (1863-1942), in 1896. After they moved to Europe with their infant son, Will encouraged Grace to fulfill her longstanding desire to study medicine, instead of continuing to work with him on pure mathematics. She remained in Germany with their two children while he divided his time between Germany and teaching jobs in Britain. Soon Grace was doing mathematics with Will as well as medicine, and also caring for their growing family (four more children were born between 1901 and 1908). Their partnership, which never fully acknowledged her contribution, established Will as a highly creative mathematician in the early 1900s. Over the next two decades, the Youngs produced several books and over two hundred articles, but Will took public credit for their joint work. Grace willingly assumed the role of junior, mostly anonymous, and distinctly subordinate partner in the Youngs’ collaboration. Her role in their professional partnership mirrored her role in their domestic partnership, and reflected their assessment of their respective talents: he was a late-blooming genius while she was merely talented. They agreed that helping him was more important than anything she could do on her own. Nevertheless, Grace refused to give up her medical training -- an aspect of her life that has not been adequately explored until now. Will encouraged her interest in medicine, but simultaneously pressured her to devote more time to helping him with mathematics. Grace never became a licensed doctor, but she eventually completed all the required coursework, despite the seemingly impossible demands on her time. She also published two children’s books about science, penned stories for her own children, wrote poetry, and authored an historical novel about Elizabethan England that was never published. When Will was teaching in India from 1914 to 1916, Grace wrote a series of papers under her own name that established her independent reputation in pure mathematics. Although she found it increasingly difficult to be Will’s self-sacrificing helpmate, especially after he retired, she continued to cultivate her image as a devoted, helpmate wife who advanced her husband’s career. But she silently rebelled, and her notebooks, pocket diaries, and the poetry she wrote in the 1930s record her disillusionment and suppressed anger.
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Margairaz, Michel. "Joseph Caillaux (1863-1944)." In Dictionnaire historique des inspecteurs des Finances 1801-2009, 264–65. Institut de la gestion publique et du développement économique, 2012. http://dx.doi.org/10.4000/books.igpde.3659.

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Neville, Julia, and Helen Turnbull. "Florence Gascoyne-Cecil (1863–1944)." In Devon Women in Public and Professional Life, 1900–1950, 135–56. University of Exeter Press, 2021. http://dx.doi.org/10.47788/ofem9606.

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Bordas, Jean. "Marcel François Delanney (1863-1944)." In Les directeurs généraux des douanes, l’administration et la politique douanière, 1801-1939, 650–66. Institut de la gestion publique et du développement économique, 2004. http://dx.doi.org/10.4000/books.igpde.14052.

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"Narbeth, John (1863–1944) British:." In Who's Who in Naval History, 315–19. Routledge, 2004. http://dx.doi.org/10.4324/9780203013519-91.

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Bentley, Ronald. "Bartolomeo Gosio, 1863–1944: An appreciation." In Advances in Applied Microbiology, 229–50. Elsevier, 2001. http://dx.doi.org/10.1016/s0065-2164(01)48005-1.

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"Shlomoh Zalman Ehrenreich." In Wrestling with God, edited by Steven T. Katz, Shlomo Biderman, and Gershon Greenberg, 61–72. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195300147.003.0006.

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Abstract Shlomoh Zalman Ehrenreich (1863-1944) was educated by his maternal grandfather, the Kol Aryeh (Avraham Yehudah Hakohen Schwartz), a student of the r.iasidic dynasty founder Mosheh Teitelbaum (Ujkeli, Hungary). He served first as rabbi in Ceaba, Romania, and then for nearly a half century in Simleul-Silvaniei, Romania. Persecution of the Jews of Simleul-Silvaniei began with Hungarian control in 1940. It culminated in early May 1944, when the town’s Jews were collected outside Ehrenreich’s synagogue and then force-marched five kilometers to the Cehu-Silvaniei ghetto. In the ghetto, when he was caught praying, Ehrenreich was strung up on a tree until he became unconscious; his beard and Peot (side curls) were cut off; and the manuscript of his extensive interpretation of Pirkei Avot (The Ethics ef the Fathers) was Ehrenreich initially interpreted the suffering as a matter of God’s using the nations to force Jews away from assimilation and Zionism. God then destroyed the nations, and this elicited sanctification of His name in the world. But Ehrenreich realized that he could not comprehend why the pious suffered, and in the tradition of Aaron (Leviticus 10:3) he became silent. The explanation still existed, he believed, but it could be expressed only with redemption. He stressed that in the meantime, piety had to fill the Jew’s life. Torah study could reduce suffering, to the extent that it precipitated the in-gathering of exiles; while penitent return (teshuvah) could elicit divine compassion. Self-sacrifice and the risk of life brought Torah study and teshuvah to their most intense level.
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Tambling, Jeremy. "The Cambridge School: Sir Arthur Quiller- Couch (1863-1944), I. A. Richards (1893- 1979) and William Empson (1906-1984)." In Edinburgh Encyclopaedia of Modern Criticism and Theory, 665–73. Edinburgh University Press, 2022. http://dx.doi.org/10.1515/9780748672554-086.

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Tambling, Jeremy. "The Cambridge School: Sir Arthur Quiller- Couch (1863-1944), I. A. Richards (1893-1979) and William Empson (1906-1984)." In Introducing Literary Theories, 665–73. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474473637-086.

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"The Photography of Sergei Mikhailovich Prokudingorskii (1863–1944), Prokudingorskii Collection. Library of Congress Prints and Photographs Division. Washington D.C." In A World History of Railway Cultures, 1830–1930, edited by Matthew Esposito, 276–80. Routledge, 2020. http://dx.doi.org/10.4324/9781351211710-53.

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Conference papers on the topic "1863-1944"

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Bortulucce, Vanessa Beatriz. "O artista e o seu meio social: considerações acerca da pintura auto-retrato com cigarro de Edvard Munch." In Encontro da História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.3786.

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Edvard Munch (1863-1944) utilizou seus próprios conflitos internos como substância da sua arte. Isto não é nenhuma novidade para nós, uma vez que a historiografia da arte constantemente reforça a idéia do artista maldito, corroído pelas desgraças e atormentado psiquicamente. Exemplos deste artista maldito não faltam, e Van Gogh, neste sentido, é o mais conhecido e mencionado. Pensamos neste artista desequilibrado quando olhamos um autoretrato deste último? Ou para o Auto-retrato (ou homem desesperado) de Gustave Courbet? E o que dizer do próprio Munch, que injustamente ainda é reduzido por muitos intelectuais apenas como o autor de O grito?
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