Academic literature on the topic '1867-1935'
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Journal articles on the topic "1867-1935"
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Haas, L. F. "Luis Morquio (1867-1935)." Journal of Neurology, Neurosurgery & Psychiatry 72, no. 6 (June 1, 2002): 787. http://dx.doi.org/10.1136/jnnp.72.6.787.
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Pickel, Hellmuth. "Emil Knauer (1867–1935)." Der Gynäkologe 49, no. 4 (March 7, 2016): 294–96. http://dx.doi.org/10.1007/s00129-016-3845-x.
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Blobaum, Robert E., Andrzej Garlicki, and John Coutouvidis. "Jozef Pilsudski, 1867-1935." American Historical Review 102, no. 1 (February 1997): 138. http://dx.doi.org/10.2307/2171335.
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Gonkowski, Sławomir, and Jaroslaw Calka. "Izydor Fajersztajn-Krzemicki (1867–1935)." Journal of Neurology 267, no. 12 (October 31, 2019): 3788–89. http://dx.doi.org/10.1007/s00415-019-09606-4.
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DABROWSKI, PATRICE M. "COMMEMORATING JÓZEF PIŁSUDSKI (1867-1935)." Polish Review 56, no. 1-2 (July 1, 2011): 3–5. http://dx.doi.org/10.2307/41549944.
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Chudley, AE, and C. Chakravorty. "Genetic landmarks through philately: Luís Morquio 1867-1935." Clinical Genetics 62, no. 6 (December 2002): 438–39. http://dx.doi.org/10.1034/j.1399-0004.2002.620603.x.
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Chu, Kam Hon. "Bank consolidation and stability: The Canadian experience, 1867–1935." Journal of Financial Stability 21 (December 2015): 46–60. http://dx.doi.org/10.1016/j.jfs.2015.08.007.
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Jeschke, Felix. "Dracula on Rails: ThePressburgerbahnBetween Imperial Space and National Body, 1867–1935." Central Europe 10, no. 1 (May 2012): 1–17. http://dx.doi.org/10.1179/1479096312z.0000000001.
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Preuß-Wössner, J., and E. Lignitz. "Ernst Gustav Ziemke (1867–1935) und die Urkatastrophe des 20. Jahrhunderts." Rechtsmedizin 27, no. 6 (October 10, 2017): 500–505. http://dx.doi.org/10.1007/s00194-017-0210-x.
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Kovaļčuka, Svetlana, and Alīda Zigmunde. "Rīgas Politehniskā institūta profesora Mihaila Berlova (1867–1935) pedagoģiskais un zinātniskais mantojums." Inženierzinātņu un augstskolu vēsture 7 (November 2, 2023): 62–76. http://dx.doi.org/10.7250/iav.2023.005.
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Mašīnbūves speciālista, Rīgas Politehniskā institūta (RPI) mācībspēka (1897–1918), profesora (1904) Mihaila Berlova (Михаил Берлов; 1867–1935) pedagoģiskā un zinātniskā darbība saistīta ar Rīgu 19. gadsimta beigās un 20. gadsimta pirmajā pusē, kā arī ar Krievijas pilsētu Ivanovovozņesensku (patlaban – Ivanova). M. Berlovs bija pirmais Ivanovovozņesenskas Politehniskā institūta (IPI) rektors (1918–1921), kurš 1921. gadā atgriezās Rīgā, ieguva Latvijas pavalstniecību un strādāja Nikolaja Okolo-Kulaka Krievu tehnikumā. Pētījumā atklāts arī pedagoga un zinātnieka ieguldījums mācību grāmatu sastādīšanā, kas tika izmantotas studijās Krievijas impērijā, tostarp tagadējās Latvijas teritorijā 20. gadsimta pirmajā pusē un Latvijas Republikas pastāvēšanas pirmajos gados. The pedagogical and scientific activity of a mechanical engineer, a faculty member (1897–1918) of Riga Polytechnic Institute (RPI), Professor (1904) Mikhail Berlov (Михаил Берлов; 1867–1935) at the end of the 19th century and in the first half of the 20th century was related to Riga, as well as the Russian city of Ivanovo- Voznesensk (at present – Ivanovo). M. Berlov was the first Rector of the Ivanovo- Voznesensk Polytechnic Institute (IVPI; 1918–1921), who returned to Riga in 1921, obtained Latvian citizenship, and worked at the Russian Technical School of Nikolai Okolo-Kulak. The research also revealed the contribution of the pedagogue and scientist to the compilation of textbooks that were used in the Russian Empire, including in the territory of present-day Latvia in the first half of the 20th century and in the first years of the Republic of Latvia.
Dissertations / Theses on the topic "1867-1935"
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Little, Roch. "Le mythe de l'antihéros socialiste contre le mythe du héros antisocialiste : le débat sur Pilsudski dans l'historiographie polonaise d'après-guerre (1945-1989)." Doctoral thesis, Université Laval, 1994. http://hdl.handle.net/20.500.11794/18149.
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Ratzlaff, Allicente. "Jules Laforgue et la musique : au-delà du beau et du laid." Paris 4, 2007. http://www.theses.fr/2007PA040246.
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Cette étude comportera plusieurs aspects du rapport entre la musique et l’oeuvre de Jules Laforgue. La musique est présente à travers toute l’oeuvre de Laforgue sous des formes très variées. Du recueil poétique du Sanglot de la Terre aux Complaintes, jusqu’à la prose même des Moralités légendaires, la manière dont le poète traite de la musique évolue sensiblement. Les Complaintes abondent en allusions aux pianos, aux gammes, aux orgues de Barbarie, qui évoquent le ressassement, la ritournelle, et la répétition mécanique de l’exercice technique, tout le contraire du nouveau. Paradoxalement cependant, dès Les Complaintes, sur le thème de ces refrains anciens, Laforgue cherche du « nouveau », de même que dans les Moralités légendaires, le mot « légende » sert de tremplin pour la nouveauté. Une esthétique très personnelle se développe dans les Derniers vers. L’oeuvre de Laforgue prend racine à la fois dans l’effervescence artistique de la fin du XIXe siècle, un temps où la musique devient le modèle dominant de l’art d’écrire, et dans les écrits de philosophes allemands qui sont chers à l’auteur. La poétique musicale de l’auteur se caractérise par l’influence qu’il reçoit des philosophes Schopenhauer et Eduard von Hartmann. À ce dernier, Laforgue emprunte la métaphore du clavier. Après la prise en compte de ces réflexions philosophies, qu’en est-il de la réflexion de Laforgue lui-même sur la musique ? Quelle est sa poétique musicale ? Le rapprochement des deux arts dans le texte de Laforgue fera l’objet d’un questionnement d’ordre esthétique. En effet, profondeur et superficialité se complètent dans son oeuvre, dans une objectivité de plus en plus évidente, au-delà du beau et du laidThis study comprises several aspects of the relationship between music and the work of Jules Laforgue. Music appears throughout his work in many different aspects. From the collection of poems, Sanglot de la Terre, to the Complaintes, to the Moralités légendaires, the manner in which Laforgue music evolves appreciably. The Complaintes abound in allusions to pianos, music scales and barrel organs, which evoke a certain kind of repetition, and involve recollection of old tunes, ritornello, and the mechanical repetition of technical exercise, representing the opposite of novelty. However, the paradox is that Laforgue, from the very beginning of his Complaintes, strives to be avant-garde although he improvises on themes from old tunes. Even in his Moralités légendaires, he uses the word “legend” as a springboard for innovation. In his Derniers Vers, he develops a unique sense of aesthetics. The work of Jules Laforgue takes root, both in a time of artistic effervescence at the end of the 19th century, a period when music had become a dominant model for the art of writing, and also in the writings of his favorite German philosophers. The music-based poetics of Laforgue is characterized by the influence of Schopenhauer and Eduard von Hartmann. He borrowed from Hartmann the keyboard metaphor. After taking into account Laforgue’s philosophical thinking, what is his own position toward music? What does music-based poetics mean to him? Aesthetics in Laforgue’s work is discussed in the context of bringing together the two arts of music and poetry. Depth and superficiality complement each other, in an increasingly evident objectivity, which go beyond the notions of beauty and ugliness
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Guelton, Frédéric. "Le général Weygand, vice-président du Conseil supérieur de la Guerre, 1931-1935." Paris 1, 1994. http://www.theses.fr/1994PA010617.
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La problématique générale tend à répondre à la question suivante : "le général Weygand, vice-président du conseil supérieur de la guerre de février 1931 à janvier 1935 fut-il un acteur, un spectateur ou un figurant sur la scène politique et militaire française ?". Pour ce faire, nous avons en premier lieu étudié la personnalité de Weygand en la replaçant dans son environnement humain, politique et militaire. Nous nous sommes ensuite interroge sur la pensée militaire de Weygand afin d'en déterminer les aspects novateurs et les limites. En ce qui concerne le conseil supérieur de la guerre, nous avons étudié son organisation et son fonctionnement depuis sa création, à travers les reformes qui jalonnèrent son existence. Puis nous avons mesuré son rôle et son influence relatifs, à travers l'action de son vice-président lors de toutes les réunions qui se déroulèrent de 1930 à 1935. Nous avons enfin recherche dans les exercices organises par ce conseil, quelles étaient les tendances stratégiques et tactiques majeures de la période. Nous avons ensuite étendu notre recherche au rôle joué par Weygand au profit de l'armée. Nous avons alors été amené à déterminer le poids relatif des questions économiques, financières et budgétaires sur la modernisation de l'armée en pleine crise économique mondiale. Nous nous sommes ensuite intéressés à la modernisation matérielle de l'armée, à l'idée de motorisation et à sa concrétisation. Nous avons enfin ouvert notre recherche aux conceptions du général Weygand en matière de défense nationale. Nous avons tout d'abord étudié l'organisation générale de l'armée comme composante de la défense nationale. Nous nous sommes ensuite interrogés sur l'organisation du haut-commandement et sur la question du commandement unique. Nous avons enfin étudié les problèmes liés à. .The aim of this thesis is to answer the following question : "was general Weygand, the vice-president of the war superior council between 1931 and 1935, a spectator, a walk-on or an actor on the french military and political scene?" to answer this question, general Weygand's personality within his human, political and military environment is studied first. Then, his strategie ideas and concepts are examined in order to determine whether ornot they were innovative and futuristic. Next the war superior council is examined to study its organisation and function, from its creation up to 1935, through general Weygand's action during all the meetings that took place between 1930 and 1935. Its real role and effect upon the french military policy are measured. Lastly a study of all the most important exercises organised by this superior council is used to determine the main strategic and tactical choices made by the french general staff. Our research has been enlarged to the steps taken by general Weygand to the benefit of the amy. Therefore the influence of economic, financial and budgetary questions upon the modernisation of the army are studied within the frame of a worldwide economic crisis. Attention is focused on the equipment of the army and the great question of motorisation and mechanisation. Lastly, general Weygand's concept and ideas about the national defense policy are studied logether with the organisation and the evolution of the army as part of the french armed forces. The organisation of the general staff, of its command structure and its links with the government have led. .
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Claass, Victor. "Julius Meier-Graefe contre l'impressionnisme." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040076.
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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-gardistesSelf-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
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Lemus, Martinez Violetta. "Versions en conflit, versions d’un conflit : l’Intervention française au Mexique (1862-1867) entre histoire et fiction." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA064/document.
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Cette thèse est l’étude d’une sélection d’œuvres littéraires mexicaines et françaises concernant les évènements historiques de l’Intervention française au Mexique (1862-1867) et du Second Empire Mexicain (1864-1867). Ces œuvres s’étalent entre le XIXe et le XXIe siècle et ont été sélectionnés pour leurs réflexions poétiques et politiques exemplaires et d’autre part parce qu’elles ont contribuées à la construction d’une iconographie culturelle et identitaire mexicaine. Les genres romanesque et théâtral ont été sélectionnés pour pouvoir établir une étude comparative diachronique. Le choix des œuvres et des auteurs a été établi en fonction du traitement de l’Intervention française et de leur importance. Les œuvres analysées correspondent au sous-genre du roman-feuilleton du XIXe siècle avec, pour la littérature française, Benito Vázquez (1869) de Lucien Biart et Doña Flor (1877) de Gustave Aimard et, pour la littérature mexicaine, Clemencia (1869) de Manuel Altamirano et El Cerro de las Campanas (1868) de Juan Mateos. Les pièces de théâtre Corona de Sombra (1943) de Rodolfo Usigli et Charlotte et Maximilien (1945) de Maurice Rostand sont traitées de manière comparative et la pièce El Tuerto es Rey (1970) de Carlos Fuentes est analysée de manière complémentaire. Quant aux manifestations littéraires historiques plus contemporaines, nous incluons Noticias del Imperio (1987) de Fernando del Paso et Yo, el francés de Jean Meyer (2002). Cet ensemble propose une analyse comparative, linguistique, sémiotique et littéraire des œuvres citées. Il invite à une réflexion approfondie sur l’interprétation que la littérature ou l’égo-histoire ont proposé de ce conflit, un conflit armé et politique dont la mémoire a traversé l’histoire et les productions littéraires mexicaines et françaisesIn this doctoral dissertation, we are studying a selection of both Mexican and French literary works related to the historic events of the Second French Intervention in Mexico (1862-1867) and of the Second Mexican Empire (1864-1867). This body of works has been published between the XIXth and the XXIth century and has been selected, both because their poetic and political thoughts are emblematic of this period and because they have contributed to the construction of a Mexican cultural and identity iconography. We have decided to select the fiction and theatrical genres, to carry out a comparative and diachronic analysis. The decision of which literary works and authors to include has been made based on how both the French Intervention and the way it has been depicted in literature, have been dealt with in particular in each literary work and each author we considered to studied. The studied novels belong to the sub-genre of serialized fiction in the XIXth century with, on the French side, Benito Vázquez (1869) by Lucien Biart and Doña Flor (1877) by Gustave Aimard and, on the Mexican side, Clemencia (1869) by Manuel Altamirano and El Cerro de las Campanas (1868) by Juan Mateos. As far as theatre plays are concerned, we have carried out a comparative study of both Corona de Sombra (1943) by Rodolfo Usigli and Charlotte et Maximilien (1945) by Maurice Rostand. We have completed our analysis with a complementary study of El Tuerto es Rey (1970) by Carlos Fuentes. Regarding more contemporaneous historic and literary creations, we chose to include Noticias del Imperio (1987) by Fernando del Paso and Yo, el francés by Jean Meyer (2002). This corpus allows to carry out a comparative, linguistic, semiotic and literary analysis of afore-mentioned works. Such analysis calls for a thorough reflection on the interpretation of conflict, an armed and political conflict which influenced both History and Mexican and French literary productions
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Grundmann, Steffen [Verfasser]. "Der Anatom Erich Kallius (1867-1935) : " ... ein Lehrer von ungewöhnlichen Erfolg" ; Leben, Werk und Hochschulkarriere vom Kaiserreich bis zum Dritten Reich / vorgelegt von: Steffen Grundmann." 2008. http://d-nb.info/991280164/34.
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Faia, Maria Teresa Gens de Azevedo de Matos. "Escrever a cidade : Charles Baudelaire, Georges Rodenbach, e Fernando Pessoa/Bernardo Soares." Master's thesis, 2011. http://hdl.handle.net/10400.2/1871.
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Dissertação de Mestrado em Estudos Francófonos apresentada à Universidade AbertaNa literatura, várias cidades assumiram a condição de símbolos literários vinculados à escrita de autores significativos. Nas poéticas de Charles Baudelaire, Georges Rodenbach e Fernando Pessoa / Bernardo Soares, a cidade assume a condição de um universo simbólico, no qual as vivências mais profundas dos poetas encontram eco. Paris, Bruges e Lisboa são presenças permanentes nas obras destes três autores. Indo para além de meras descrições de cidades, geografias urbanas individuais vão com efeito emergir, verdadeiras formas de arte que acabam por tecer paisagens interiores bem singulares. As cidades que se lêem nas páginas de Le Spleen de Paris, Le Carillonneur e Livro do Desassossego confirmam-se como criações artísticas e tornam-se cidades literárias, reflexos de uma estética urbana particular. Pretendeu-se, assim, neste trabalho, através do estudo comparativo destas três obras e das poéticas por elas reveladas, detectar especificidades, semelhanças e diferenças no que à temática da cidade diz respeito.
In Literature, several cities have assumed the condition of literary symbols linked to the writing of meaningful writers. In the poetic works of Charles Baudelaire, Georges Rodenbach and Fernando Pessoa / Bernardo Soares, the city assumes the air of a symbolic universe in which echoes the poet’s deepest living experiences. Paris, Bruges and Lisbon are permanently present in each writer’s works. While exceeding simple description of cities, individual geographies indeed will emerge, true forms of art which end up weaving quite singular interior landscapes. The cities we read on the pages of Le Spleen de Paris, Le Carillonneur and Livro do Desassossego assume themselves as artistic creations becoming literary cities: the making of a unique urban aesthetics. It was intended in this work, through the comparative study of these three poetic works, to detect specificities, similarities and differences in the city thematic.
Dans la littérature, plusieurs villes ont assumé la condition de symboles littéraires liés à l’écriture d’auteurs significatifs. Dans les poétiques de Charles Baudelaire, Georges Rodenbach et Fernando Pessoa / Bernardo Soares, la ville détient la condition d’un univers symbolique, où les mémoires plus profondes des poètes trouvent leur écho. Paris, Bruges et Lisbonne sont des présences permanentes dans les oeuvres de ces trois écrivains. Tout en dépassant de simples descriptions de villes, des géographies individuelles vont en effet émerger, véritables formes d’art qui finissent par tisser de bien singuliers paysages intérieurs. Les villes qu’on lit dans les pages de Le Spleen de Paris, Le Carillonneur et Livro do Desassossego se confirment comme des créations artistiques et elles deviennent des villes littéraires, des reflets d’une esthétique urbaine particulière. On a voulu, ainsi, dans ce travail, par l’étude comparative de ces trois oeuvres et des poétiques qu’elles révèlent, détecter les spécificités, les similitudes et les différences en ce qui concerne la thématique de la ville.
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Braga, Duarte Nuno Drumond. "Ao oriente do oriente transformações do orientalismo em poesia portuguesa do início do século XX . Camilo Pessanha, Alberto Osório de Castro e Álvaro de Campos." Doctoral thesis, 2014. http://hdl.handle.net/10451/11690.
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Tese de doutoramento, Estudos de Literatura e de Cultura (Estudos Comparatistas), Universidade de Lisboa, Faculdade de Letras, 2014A presente dissertação propõe-se não tanto identificar, na poesia portuguesa do início do século XX, presenças lineares do discurso orientalista, mas entender as transformações, isto é, a reinvenção que a poesia promove desse mesmo discurso. O corpus em foco é constituído por poemas escolhidos da Clepsydra de Camilo Pessanha, dos três primeiros livros de Alberto Osório de Castro e da produção inicial de Álvaro de Campos, tendo todo ele sido composto, e na sua maioria publicado, entre c. 1895 e c. 1920. O cerne da questão é a forma como este corpus se apropria dos mecanismos discursivos orientalistas, reinventando-os. Tendo em conta a obra de Edward Said, Orientalism (1978), tanto na crítica como na relação com a literatura portuguesa, a presente investigação sugere que a literatura finissecular portuguesa constrói um discurso orientalista que reescreve o discurso literário do século XVI. Este discurso tem consequências, quer nas suas representações literárias, quer nos mesmos modelos culturais onde tais autores se encontram inseridos. A dissertação começa por promover uma reflexão em torno do orientalismo português enquanto noção que não pode ser entendida fora do imaginário imperial (e) nacional. A forma como a poesia dos três autores se relaciona com esta questão dá-se de forma diversa. Em Camilo Pessanha, o orientalismo, que é praticado de forma ambígua em alguns textos em prosa, ganha um carácter evasivo na representação que alguns poemas propõem do Oriente, desconstrutiva face ao cenário orientalista. No que tange a Alberto Osório de Castro, seria este o único caso em que haverá um programa orientalista a ser cumprido em poesia; contudo, mediante a cisão do sujeito do discurso orientalista em dois, o “esteta” e o “observador científico”, esse programa vê-se imponderabilizado. Finalmente, em Álvaro de Campos existe uma relação sobretudo apropriativa com o orientalismo, que passa pelo dispositivo heteronímico. É, desde logo, a assinatura Álvaro de Campos que permite reescrever certos conteúdos e imagens orientalistas.
This thesis aims not so much to identify, in Portuguese poetry of the early twentieth century, linear presences of the Orientalist discourse, but instead to understand the transformations, i.e. the reinvention of that discourse being promoted by poetry. The corpus consists of poems chosen from Clepsydra by Camilo Pessanha, the first three books by Alberto Osório de Castro and from the first works by Álvaro de Campos. These poems were all composed between c. 1895 and c. 1920 and the majority saw its publication within the same period. The heart of the matter of the present research is to show how that corpus appropriates Orientalist discursive mechanisms and reinvents them. Based on Edward Said’s Orientalism (1978), both its critique and its relation to Portuguese literature, this research suggests that Portuguese fin-de-siècle authors construct an Orientalist discourse that rewrites Portuguese sixteenth-century literary discourse. This discourse implies issues both in literary representation as in the same cultural models where those authors were embedded in. This thesis starts by conveying a historical and cultural discussion about Portuguese Orientalism as a notion that cannot be understood apart from national (and) imperial imagery. However, these three authors take different positions relating to this issue. In Camilo Pessanha, Orientalism is ambiguously practiced in some prose texts, as well as by a pervasive elusiveness regarding the representation of the East, which is deconstructive in terms of the Orientalist scenario. Regarding Alberto Osório de Castro, this would be the only case in which there would be an Orientalist program to be achieved poetically; however, by means of splitting the subject of Orientalist discourse in two, the "aesthete" and the "scientific observer", Osório de Castro’s program becomes imponderable. Finally, in Álvaro de Campos there is a fundamentally appropriative relation with Orientalism, involving the use of heteronimy. It is the “Álvaro de Campos” signature that allows the rewriting of overtly Orientalist stylistic features and images.
Fundação para a Ciência e a Tecnologia (FCT)
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Dinis, Martim João Duarte. "Repressão e sexualidade - tela branca." Master's thesis, 2020. http://hdl.handle.net/10451/40998.
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This project aims to investigate the creative process of painting from something intimate: the repression and sexuality in my childhood and adolescence. We are today in a society that has made great strides in the legal realm and a substantial transformation of mentalities, nevertheless it is still governed by patriarchal and heteronormative views. In our society, identity still needs to be built. The first chapter, entitled "Repression and Homosexual Identity," draws on authors such as Foucault and Butler to understand current thinking about sexuality and identity outside heteronormative patterns, and to analyze the work of some queer artists since the nineteenth century. The second chapter, entitled "The White Canvas: The Creative Act", calls on authors such as Baudelaire, Berger, Deleuze, Hockney, and Kandinsky to explore the relationship that is established with the empty space - the white canvas - by clarifying the movements that precede the physical creative process, the discussion about the validity of painting, the multiplicity and accessibility of existing images, as well as a historical reflection on the artistic language of painting. From this reflection there is the need to develop the artistic project of repression and sexuality to the visual plane, contemplating the reflection on concepts such as the notion of "beauty" of Baudelaire, the need for "emptying" of Deleuze, the validity of painting after the appearance of photography, the multiplicity and accessibility of existing images. After this awareness of the power of the image, the third chapter investigates visual artists that relate to the theme and the use of a personal archive, such as Richter, Tuymans, Dumas, Bacon and Hockney, in order to build a new reality. This through the medium of painting, which simultaneously reveal and omit (the visible and the invisible) images of events and bodily sensations. Thus, the works created seek to explore the affective links with memory, rituals and institutions attended. In parallel, the artistic project integrates the conceptual and aesthetic concerns, raised in the analysis of so many authors, to execute on the "white canvas" personal moments, in a series that I call "Atonement".
Books on the topic "1867-1935"
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Wójcik, Zbigniew. Józef Piłsudski: 1867-1935. Warszawa: Oficyna Wydawnicza Rytm, 1999.
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Lenkiewicz, Antoni. Józef Piłsudski: 1867-1935. Wrocław: Wydawn. Biuro Tłumaczeń, 2002.
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Józef Piłsudski 1867-1935: Ilustrowana biografia. Kraków: Wydawnictwo Ryszard Kluszczyński, 2007.
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Wieliczka-Szarek, Joanna. Jozef Pilsudski 1867-1935: Ilustrowana biografia. Krakow: Wydawnictwo Ryszard Kluszczynski, 2007.
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·drzejewicz, Wac¿aw Je. Kalendarium życia Józefa Piłsudskiego, 1867-1935. Kraków: Instytut Książki, 2006.
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·drzejewicz, Wac¿aw Je. Kalendarium życia Józefa Piłsudskiego, 1867-1935. Wrocław: Zakład Narodowy im. Ossolińskich, 1994.
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Woyszwiłło, Julian. Józef Piłsudski, 1867-1935: Życie, idee i czyny. Warszawa: Wydawn. Wiedza Powszechna, 1990.
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1
Wright, James R. "Bloodgood, Joseph Colt (1867–1935)." In Encyclopedia of Pathology, 77–80. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-41995-4_2895.
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"SMITH, Henry Harwood (1867–1935)." In Dictionary Of British And Irish Botantists And Horticulturalists Including plant collectors, flower painters and garden designers, 2806. CRC Press, 2002. http://dx.doi.org/10.1201/b12560-1444.
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Wąsik, Z. "Rozwadowski, Jan Michał (1867–1935)." In Encyclopedia of Language & Linguistics, 670–71. Elsevier, 2006. http://dx.doi.org/10.1016/b0-08-044854-2/04912-9.
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"URLUS, JACQUES (9 JAN 1867–6 JULY 1935)." In Encyclopedia of Recorded Sound, 2241. Routledge, 2004. http://dx.doi.org/10.4324/9780203484272-811.
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Bender, David A., and Arnold E. Bender. "Niacin and tryptophan." In Nutrition a reference handbook, 305–21. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780192623683.003.0019.
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Abstract Niacin is unusual among the vitamins in that it was discovered as a chemical compound, nicotinic acid produced by the oxidation of nicotine, in 1867- long before there was any suspicion that it might have a role in nutrition. Its metabolic function as part of what was then called Coenzyme II (NADP) was discovered in 1935-again before its nutritional significance was known. Therefore, it has never been assigned a number among the B vitamins; although it is conventionally placed between vitamins B2 and B6, it is not correct to refer to niacin as vitamin B3, a name that was originally applied to what was probably pantothenic acid (see section 23.2 and Table 23.1).
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Patel, Dinyar. "The Transnational Career of the ‘Indian Edison’." In Bombay Before Mumbai, 239–61. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190061708.003.0012.
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Shankar Abaji Bhisey (1867-1935) was a genius inventor whose career unfolded in three different continents. In his lifetime, he was known as the ‘Indian Edison’ and the ‘Pioneer Indian Inventor’. Bhisey’s most promising invention was the Bhisotype, a mechanical typecaster that promised to bring revolutionary change to the global printing industry. However, Bhisey required significant financial support for his inventive work. In Bombay and abroad, he found such support amongst leaders of the early Indian nationalist movement, many of whom enjoyed close business connections or possessed substantial business experience. Dadabhai Naoroji, Gopal Krishna Gokhale, and the British socialist Henry Hyndman were his three greatest supporters. By actively taking an interest and a financial stake in Bhisey’s career, these leaders demonstrated two dynamics at play. Firstly, the worlds of Indian finance and early nationalism were inextricably connected, especially in and through Bombay. Secondly, early nationalists and their British political allies could cooperate on a range of India-related activities beyond the domain of high politics.
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"Sammelnde Edelleute und Sammler in Soutane. Exzessives Sammelverhalten bei Johann Nepomuk Graf Wilczek (1837–1922) und Friedrich Pesendorfer (1867–1935)." In Exzess, 79–104. transcript-Verlag, 2009. http://dx.doi.org/10.14361/9783839411926-004.
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Rath, Jürgen. "Sammelnde Edelleute und Sammler in Soutane. Exzessives Sammelverhalten bei Johann Nepomuk Graf Wilczek (1837–1922) und Friedrich Pesendorfer (1867–1935)." In Exzess, 79–104. transcript Verlag, 2009. http://dx.doi.org/10.1515/9783839411926-004.
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Skinner, H. Catherine W., Malcolm Ross, and Clifford Frondel. "Health Effects of Inorganic Fibers." In Asbestos and Other Fibrous Materials. Oxford University Press, 1989. http://dx.doi.org/10.1093/oso/9780195039672.003.0006.
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It has become fashionable to start discussions of disease related to fibrous inorganic materials by referring to Pliny the Younger (A.D. 61-114), who commented in a letter on the sickness of slaves who worked with asbestos. His observation was forgotten, as evidenced by the fact that during the Middle Ages, Paracelsus (1493–1541) as well as Agricola (1494–1556) wrote extensively on “miner’s disease” without mentioning asbestos. Later, Zenker (1867) coined the word pneumo(no)coniosis to describe the diseases endemic to coal and iron miners. Differential diagnosis of the pulmonary disorders, tuberculosis, silicosis, pneumonia, and other lung disease was attempted thereafter, although the varieties were often confused even by experienced physicians. The industry that provided asbestos to modern society started at about this same time (in the 1870s). The first indication of pulmonary disorder in an asbestos worker came in an autopsy report of fibrosis by Dr. Montague- Murray at Charing Cross Hospital, London, in 1899–1900 (Peters and Peters, 1980). By 1902 asbestos was included in the list of dusts considered injurious by the Lady Inspector of Factories, Adelaide Anderson (Oliver, 1902). Auribault (1906) appears to have been the first to note high mortality in workers in an asbestos mill and weaving establishment, but he attributed their illness to calcium carbonate dust rather than asbestos. Scarpa (1908) believed the pulmonary disease of 30 asbestos workers was caused by tuberculosis, and Fahr (1914), who published the case of a female asbestos worker who died of “pleuro-pneumonia . . . with a large number of crystals in pulmonary tissue of a peculiar nature,” was clearly somewhat mystified at the presence of nonbiological materials. It was Cooke (1924, 1927, 1929) who first defined asbestos as a specific etiologic agent in pulmonary fibrosis. He described extensive fibrosis with thickened pleura and adhesions to the chest wall and pericardium in asbestos workers and noted the presence of abundant mineral matter (“curious bodies”), but also tubercular lesions. The term asbestosis was used in the 1927 publication. Pancoast and Pendergrass (1925) argued that the fibrosis seen in asbestos workers was a result of ad-mixed silica and an expression of “asbestosilicosis,” signifying uncertain etiology of the observed symptoms, a view that survivied into the 1930s (Lynch and Smith, 1935).