Academic literature on the topic '1884-1949'
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Journal articles on the topic "1884-1949"
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De Wever, Bruno. "Herman Van Puymbroeck (1884-1949)." WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 59, no. 1 (January 1, 2000): 3–13. http://dx.doi.org/10.21825/wt.v59i1.12914.
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Haul, Robert. "Das Portrait: Freidrich Berguis (1884-1949)." Chemie in unserer Zeit 19, no. 2 (April 1985): 59–67. http://dx.doi.org/10.1002/ciuz.19850190205.
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Pulpeiro, E. Fernández, and O. Reverter Gil. "A New Species of Chaperiopsis (Bryozoa: Cheilostomatida) From South Africa." Journal of the Marine Biological Association of the United Kingdom 78, no. 3 (August 1998): 933–39. http://dx.doi.org/10.1017/s002531540004488x.
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A new South African species of the genus Chaperiopsis is described from material deposited in the Muséum National d'Histoire Naturelle, Paris. Chaperiopsis stephensoni is redescribed and figured from the original material.The genus Chaperiopsis Uttley, 1949 is widely distributed in the southern hemisphere. Numerous species of this genus have been described in different works; notable amongst these are the works of Busk (1854, 1884), Kluge (1914), Uttley (1949), Gordon (1984), Hayward & Thorpe (1988), Reverter Gil & Fernández Pulpeiro (1995) and Hayward (1995). Some previous records of Chaperiopsis spp. from South Africa are included in the works of Jullien (1881), Busk (1884), O'Donoghue & De Watteville (1935), O'Donoghue (1957) and Hayward & Cook (1983).
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BORGES, ZULEICA M., and MARCIA S. COURI. "Revision of Toxomerus Macquart, 1855 (Diptera: Syrphidae) from Brazil with synonymic notes, identification key to the species and description of three new species." Zootaxa 2179, no. 1 (August 6, 2009): 1–72. http://dx.doi.org/10.11646/zootaxa.2179.1.1.
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Toxomerus Macquart (Diptera: Syrphidae) species from Brazil are revised, including the examination of most of the types. Thirty six species are confirmed. Twenty seven are synonymized: T. dispar (Fabricius, 1794) [=T. vicinus (Macquart, 1846), T. tridentatus (Rondani, 1868) T. annulifer (Bigot, 1884), T. ruficaudatus (Bigot 1884), & T. triangulatus (Hull, 1942)], T. duplicatus (Wiedemann, 1830) [=T. vatius (Walker, 1852), T. gemini (Hull, 1941), T. arcturus (Hull, 1943), T. bipunctatus (Hull, 1943)], Syrphus basalis Walker, 1837 [=T. portius (Walker, 1852), T. rhea (Hull, 1949), T. harlequinus (Hull, 1951)], T. pictus (Macquart, 1842) [=T. jaguarinus (Bigot, 1884), T. maculatus (Bigot, 1884)], T. pulchellus (Macquart, 1846) [=T. punctatus Sack, 1921], T. virgulatus (Schiner, 1868) [=T. confusus (Schiner, 1868)], T. laenas (Walker, 1852) [=T. barbulus (Walker, 1852), T. nitidiventris (Curran, 1930), T. vitreus (Hull, 1941)], T. norma (Curran, 1930) [=T. mulio (Hull, 1941)], T. productus (Curran, 1930) [=T. triradiatus (Hull, 1942), T. camilla (Hull, 1951), T. cyrillus (Hull, 1951), T. vanessa (Hull, 1951)], T. watsoni (Curran, 1930) [=T. lanei (Hull, 1942)], T. steatogaster (Hull, 1941) [=T. steatornis (Hull, 1943)], T. idalius (Hull, 1951) [=T. eurydice (Hull, 1951)]. Two new combinations are presented: Mesogramma apegiensis Harbach, 1974 (=Toxomerus apegiensis) and Syphus basalis Walker, 1837 (= Toxomerus basalis); six new records for Brazil are included: T. difficilis (Curran, 1930), T. idalius (Hull, 1951), T. productus (Curran, 1930), T. purus (Curran, 1930), T. sylvaticus (Hull, 1943) and T. undecimpunctatus (Enderlein, 1938). Three new species are described: Toxomerus mosaicus, Toxomerus papaveroi and Toxomerus paraduplicatus.
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Moura, Mario Ribeiro, Renata Magalhães Pirani, and Vinícius Xavier da Silva. "New records of snakes (Reptilia: Squamata) in Minas Gerais, Brazil." Check List 9, no. 1 (March 1, 2013): 99. http://dx.doi.org/10.15560/9.1.99.
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We report new records of three poorly-known species of snakes in Minas Gerais: Bothrops lutzi (Miranda- Ribeiro, 1915), Psomophis joberti (Sauvage, 1884), and Trilepida brasiliensis (Laurent, 1949). The new records represent important filling gaps for all three species or even southern extensions in the geographic distribution of B. lutzi and P. joberti. The new records are located in areas indicated as priority regions for biodiversity conservation in Cerrado. Maps of known records of these snakes are also provided considering literature data and new records from collections.
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DE ÁZARA, LUDSON NEVES, and ADRIANO BRILHANTE KURY. "The mosaic tiled harvestmen—taxonomic review of Gonyleptellus Roewer, 1930 (Opiliones: Gonyleptidae: Gonyleptinae)." Zootaxa 4623, no. 2 (June 25, 2019): 201–38. http://dx.doi.org/10.11646/zootaxa.4623.2.1.
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The genus Gonyleptellus Roewer, 1930 is revised and reordered; a new species Gonyleptellus angeloi sp. nov. is described from Nova Friburgo, Rio de Janeiro, three additional species are transferred from other genera and one species is removed, resulting in five species in this genus. The following nomenclatural acts are proposed herein: Gonyleptes pustulatus Sørensen, 1884 is transferred from Gonyleptes to Gonyleptellus; Gonyleptes cancellatus Roewer, 1917 and Progonyleptoides pustulosus Mello-Leitão, 1935, both currently under the synonymy of Gonyleptellus bimaculatus (Sørensen, 1884), are revalidated and transferred to Gonyleptellus. Stephanocranion bimaculatus Mello-Leitão, 1931, previously considered a junior synonym of Gonyleptes cancellatus Roewer, 1917, and thereby previously carried under the synonymy of Gonyleptes bimaculatus Sørensen, 1884, is here unlinked with the former but kept under the synonymy of the latter (of which it is also a junior secondary homonym). Stephanocranion serrulatum Mello-Leitão, 1940, currently under the synonymy of G. bimaculatus, is newly synonymized with P. pustulosus. Stephanocranion bufoninus Mello-Leitão, 1949 (currently combined under Gonyleptellus) is considered a junior subjective synonym of Discocyrtus crenulatus Roewer, 1913. The male of Gonyleptellus bimaculatus is described for the first time. The genus Gonyleptellus is restricted to the states of Rio de Janeiro and São Paulo, Brazil. A key and a map for all the five valid species are presented.
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Hernandes, Fabio Akashi. "Microspalax atlanticus sp. nov. (Acariformes: Alloptidae), the first feather mite from a procellariiform bird in Brazil (Aves: Procellariiformes)." Systematic and Applied Acarology 24, no. 3 (March 20, 2019): 414. http://dx.doi.org/10.11158/saa.24.3.7.
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A new feather mite species of the genus Microspalax Mégnin & Trouessart, 1884 (Alloptidae: Microspalacinae) is described from the Atlantic petrel, Pterodroma incerta (Schlegel, 1863), in Brazil. Males of M. atlanticus sp. nov. differ from M. pterodromae Dubinin, 1949 mostly by the wider opisthogastric shields and setae ps3 inserted at posterior third of that shield. This is the first representative of the genus described from Brazil, and the first feather mite described from a procellariiform bird in the country. A key to males of Microspalax species is presented.
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Aseff, Marlova. "Sobre a tradução de Oublieuse mémoire, de Jules Supervielle." Cadernos de Literatura em Tradução, no. 11 (May 1, 2010): 93–110. http://dx.doi.org/10.11606/issn.2359-5388.i11p93-110.
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Este artigo comenta a experiência da tradução de três sonetos e um quarteto do poeta franco-uruguaio Jules Supervielle (1884-1960) para a língua portuguesa. Trata-se da antologia Oublieuse mémoire, publicada em 1949, e pela qual o poeta recebeu o Prix des Critiques na França. O estudo e a tradução da poesia de Supervielle no Brasil assumem maior importância na atualidade, visto que sua obra influenciou Carlos Drummond de Andrade, conforme depoimento do próprio poeta divulgado em estudo de John Gledson (2003). Além disso, os poemas trazem interessantes reflexões sobre a memória, tema que atraiu inúmeros intelectuais no século 20, como Walter Benjamin, Henri Bergson e Marcel Proust, entre outros.
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RŮŽIČKA, VLASTIMIL. "A review of the spider genus Porrhomma (Araneae, Linyphiidae)." Zootaxa 4481, no. 1 (September 14, 2018): 1. http://dx.doi.org/10.11646/zootaxa.4481.1.1.
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The spider genus Porrhomma has been revised; it now includes 24 species. Two new species are described: Porrhomma altaica new species from the Altai Mountains, and Porrhomma nekolai new species from eastern Asia and North America. Bathyphantes charpentieri Lebert, 1877 was removed from synonymy with Porrhomma microphthalmum (O. Pickard-Cambridge, 1871). The following new synonymies are proposed: Bathyphantes charpentieri Lebert, 1877 is a junior synonym of Porrhomma convexum (Westring, 1851) new synonymy; Porrhomma gertschi Hackman, 1954 is a junior synonym of Porrhomma terrestre (Emerton, 1882) new synonymy; Porrhomma myops Simon, 1884 is a junior synonym of Porrhomma rosenhaueri (L. Koch, 1872) new synonymy; Porrhomma ocella Chamberlin & Ivie, 1943 is a junior synonym of Porrhomma convexum (Westring, 1851) new synonymy; Porrhomma omissum Miller, 1971 is a junior synonym of Porrhomma egeria Simon, 1884 new synonymy; Porrhomma pallidum affinis Miller & Kratochvíl, 1940 is a junior synonym of Porrhomma pallidum Jackson, 1913 new synonymy; Porrhomma sodonta (Chamberlin, 1949) is a junior synonym of Porrhomma convexum (Westring, 1851) new synonymy. The synonymy of Porrhomma macrochelis (Emerton, 1917) with Macrargus multesimus (O. Pickard-Cambridge, 1875) is supported. Porrhomma subterraneum Simon, 1884 is considered a nomen dubium, because it was described according to a juvenile specimen. To date, Porrhomma indecorum Simon, 1910 and Porrhomma marphaense Wunderlich, 1983 are only known from findings of females; they are considered to be species inquirenda, and their names are declared nomina dubia. Keys are provided for males and females. Vulvae are drawn in dorsal, ventral and caudal views to understand their spatial structure.
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Gomes de Sousa, Ana Cléa, and Marcos Antonio Martins Lima. "Professor, ensino e avaliação: uma perspectiva à luz do racionalismo bachelardiano." Devir Educação 4, no. 2 (November 29, 2020): 272–90. http://dx.doi.org/10.30905/ded.v4i2.275.
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Parte-se da compreensão de que o racionalismo aplicado de Gaston Bachelard (1884-1962) contém aspectos que podem contribuir com a prática pedagógica dos professores e retroalimentar o ensino e a avaliação, uma vez que a intencionalidade do racionalismo bachelardiano encontra-se assente na possibilidade de retificar o conhecimento, em um movimento dialético. Portanto, este artigo, de viés bibliográfico, tem por objetivo apresentar, de um modo geral, elementos existentes na epistemologia de Bachelard que dialogam com o trabalho pedagógico do professor e, por conseguinte, com a avaliação institucional. Recorreu-se a quatro obras do autor escritas entre 1934 e 1949. Conclui-se apontando contributos bachelardianos ao ensino que serão basilares para o desenvolvimento da pesquisa de doutoramento iniciada em 2018.
Dissertations / Theses on the topic "1884-1949"
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Van, Leeuw Michel. "Emile Eddé (1884-1949) : "Pour le Liban avec la France"." Paris 8, 2001. http://octaviana.fr/document/185473237.
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L'@existence d'Emile Eddé se confond avec l'évolution du Liban pendant ses trente ans de carrière d'homme politique. Particulièrement controversé, Emile Eddé joue un rôle essentiel dans cette évolution. Cette controverse sera renforcée suite à l'acceptation d'une nomination en tant que Chef de l'Etat lors de la crise de novembre 1943. Cette biographie apporte de nombreuses réponses quant à la personnalité d'Emile Eddé en tant qu'homme et acteur de la politique. Elle étudie son évolution et recherche pourquoi il fut un homme politique aussi controversé. En analysant ses principes politiques, elle cherche à lever des équivoques et à comprendre pourquoi il ne fut pas considéré comme l'un des pères fondateurs de l'Etat libanais. Elle met en évidence des évènements de l'histoire politique du Liban et apporte des perspectives originales quant à leur interprétation. . .
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Baenziger, Edward James. "Le répertoire du Cartel des Quatre : aspects moraux et philosophiques." Paris 3, 1996. http://www.theses.fr/1998PA030082.
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Le cartel des quatre, gaston baty, charles dullin, louis jouvet et georges pitoeff, quatre metteurs en scene dans la tradition de jacques copeau, a propose en 1926 de reformer le theatre en france du point de vue moral et philosophique. Ont-ils tenu promesse de restaurer l'art theatral ? cette these demontre leur contribution definitive a travers le repertoire quasi complet de leurs carrieres theatrales. Par l'analyse de quarante pieces environ, selon une division geographique, on degage : une vision de renouvellement de qui est classique au theatre du repertoire en france ; un distillation du meilleur des pieces en langue anglaise ; un accueil chaleureux des dramaturges de l'est, surtout de la russie ; et une passion pour le theatre venant du sud, de l'espagne et de l'italie. Sans prendre en compte le corpus des pieces contemporaines des auteurs francais, il est clair qu'une reforme morale et philosophique a eu lieu a travers leur analyse rigoureuse des textes et une interpretation resolument moderne. Ils ont completement change la nature des representations theatrales de france de l'entre-deux guerres et continuent a influencer l'art theatral, meme aujourd'huiThe cartel des quatre, gaston baty, charles dullin, louis jouvet and georges pitoeff, four theater directors in the tradition of jacques copeau, promised in 1926 to reform the theater in france by a moral and philosophic renewal. Did they achieve their goal ? with the nearly complete repertory of their life-time theatrical productions in hand, we can now understand their definitive contribution. The author analyses some forty plays in four geographic divisions: the cartel's classical vision of french theater; their distillation of the best from english language theater; their outreach to the east, especially russia; and, finally, their passion for the theater from the south, in spain and italy. Leaving aside the contemporary french elements in their corpus, we demonstrate that a moral and philosophic reform was effected through a rigorous analysis of texts and by a resolutely modern interpretation that completely changed the nature of theatrical production in france between the two world wars, and still continues to influence the stage today
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Tarquinio, Daniel Junqueira. "A teoria da entonação de B. Asafiev e a execução musical : concepções analíticas para a interpretação das cirandas de Villa-Lobos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/61154.
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Автор представляемого исследования изучает одно из самых значимых произведений Вилла-Лобоса – 16 Cirandas (Сирандас). Он предлагает анализ и различные интерпретационные концепции каждой музыкальной пьесы цикла. При поиске принципов, которые лежат в основе семантики и синтаксиса музыкального произведения, автор опирался в своем анализе на выдающиеся работы Б. Асафьева «Теория интонации» и «Музыкальная форма как процесс», критически представленные в этом исследовании в контексте других созданных в 20 веке музыкальных теорий. В анализе каждой из музыкальных пьес, называемом в работе «Интонационный анализ», как единый комплекс рассматривались следующие элементы: структурирование музыкального материала; звуковой поток в единицу времени в свете теории энергетики искусства Асафьева, импульсы музыкального движения, музыкальное движение, функции синхронных и последовательных звуковых элементов и их сочетаний; присущие музыкальной структуре семантические и синтаксические аспекты; пианистический язык Вилла-Лобоса; такие вопросы исполнительского искусства как аппликатура, туше, движения рук и плеч. Музыкальное исполнение, с точки зрения «Теории интонации», понимается как интонирование музыкального произведения, таким образом, звуковое воплощение происходит в руках и голосе интерпретатора, который передает свое психологическое/ интеллектуальное/эмоциональное/смысловое состояние в данном историческом и культурном контексте. В соответствии с пониманием Б. Асафьева, музыка – это «искусство интонируемого смысла». Вилла-Лобос, будучи неотъемлемой частью своего времени, интонирует в Сирандас культурные универсалии через исторически кристаллизованные интонации бразильского социального сознания.Este trabalho investiga parte significativa da obra para piano de Villa-Lobos, as 16 Cirandas, com objetivo de apresentar concepções analíticas e interpretativas para a execução de cada uma das peças. Partindo da busca por um conhecimento que abordasse as questões semânticas e sintáticas, expressas no ato da execução musical, foram adotados, para as análises, os trabalhos de B. Asafiev, Teoria da Entonação e Forma Musical como Processo apresentados e contextualizados frente às teorias analíticas do século XX. Em cada concepção analítica das peças, neste trabalho, com o título de análises entonacionais, os itens a seguir foram tratados: a estruturação do material musical; o fluxo sonoro no tempo manifestado por intermédio dos conceitos “asafianos” de energia, impulso ao movimento musical, movimento musical e seu término, funções dos elementos e conjuntos sonoros simultâneos e sucessivos; os aspectos semânticos e sintáticos, imanentes e emanantes das estruturas musicais; a linguagem pianística de Villa-Lobos; aspectos do processo de execução, como dedilhados, movimentos de dedos, mãos e braços. Integrada à Teoria da Entonação, a execução musical é entendida como entonação de uma obra musical, ou seja, manifestação sonora originada das mãos e voz dos intérpretes, que comunica seu estado psicológico intelectual/emocional/semântico em um contexto cultural e histórico. Por sua vez, a música é entendida por Asafiev como “a arte do sentido entonado”. Conectado à sua contemporaneidade, Villa-Lobos entoa, nas Cirandas, um universo cultural por meio de entonações historicamente cristalizadas no consciente social brasileiro.
This work investigates a substantial part of Villa-Lobos’ work for piano, the 16 Cirandas. It proposes analytical and interpretive conceptions to the performance of each musical piece. Searching for principles that would encompass the semantics and syntax expressed in the act of musical performance, B. Asafiev’s Intonation Theory and Musical Form as Process was used as the basis for analysis, being presented and contextualized with the analytical theories of the 20th century. In each analytical conception of the pieces, entitled here as intonation analyses, the following items were treated as a complex: structuring of the musical material; sound flow within time manifested through the Asafie’s concepts of energy, impulse to the musical movement, musical movement and its conclusion; functions of simultaneous and successive sound elements and sets; semantic and syntactic aspects immanent and emanating of musical structures; pianistic language of Villa-Lobos; aspects of the performing process such as fingering, finger, hand and arm movements. Musical performance, integrated to the Theory of Intonation, is understood as intonation of a work of music, thus, manifestation of sound originated in the hands and voice of the interpreters, which communicates their psychological/intellectual/emotional/semantic state in a historical and cultural context. According to Asafiev’s understanding, music is the “art of intoned meaning”. Villa-Lobos, in touch with his contemporaneity, intones in his Cirandas a cultural universe through historically crystallized intonations of the Brazilian social consciousness.
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Frabetti, Anna. ""Le magicien italien " : Pirandello et le théâtre français dans les années vingt et trente." Paris 4, 2004. http://www.theses.fr/2004PA040159.
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Au début des années vingt, la France découvre le théâtre de Luigi Pirandello. Son traducteur, Benjamin Crémieux, se charge de la médiation de cette dramaturgie. Sa lecture critique de Pirandello contribue d'une manière décisive à sa réception. Également importante est la “lecture” régistique de Georges Pitoëff : sa création des Six personnages en quête d'auteur en 1923 ouvre une nouvelle saison du théâtre italien en France. Il s'agit pour l'auteur italien d'une rencontre qui marque aussi un tournant dans sa réflexion sur la pratique du théâtre. S'il avait toujours refusé d'accorder une valeur artistique à la mise en scène, cela était dû à son expérience d'auteur et au retard du théâtre italien dans ce domaine. La rencontre avec le monde du théâtre français, avec Pitoëff notamment, aide Pirandello à se rapprocher des théories de la régie et à devenir à son tour metteur en scène de 1925 à 1928 à la tête de son Teatro d'Arte. La gloire française de Pirandello s'estompe rapidement : depuis 1924, les relations politiques entre l'Italie et la France sont devenues plus difficiles, ce qui n'est pas sans conséquences sur les échanges culturels. Après 1925, le succès de Pirandello en France fera place à un sentiment de lassitude à son égard, nourri par des accusations de cérébralisme, relayées par la critique et la presse de l'époque. Son théâtre continue d'être représenté, mais ce ne sera qu'en 1934, après l'attribution du Prix Nobel, que Pirandello renouera avec le triomphe. Le succès de la mise en scène de Ce soir on improvise (dans l'adaptation de Pirandello, Crémieux et Pitoëff), en 1935, marque la dernière étape du parcours français du dramaturge, de son vivantAt the beginning of the 1920s, France discovered the theatre of Luigi Pirandello. His translator, Benjamin Crémieux, had taken on the task of promoting his work. Crémieux's critical readings of Pirandello would contribute decisively toward its acceptance. Equally important was the stage direction of Georges Pitoëff : his premiere of Six personnages en quête d'auteur in 1923 would open a new era of Italian theatre in France. For the Italian author, it was a juncture which would mark a turning point in his thinking with respect to the practice of theatre. If he had heretofore refused to recognize the artistic value of stage direction, it was due to his own experience as an author and to the backwardness of Italian theatre in this domain. His encounter with the realm of French theatre, and especially with Pitoëff, would help Pirandello to reconcile himself with the theories of stage direction and, in turn, to become director from 1925 to 1928 at the helm of his own Teatro d'Arte. Pirandello's fame in France soon faded: from 1924 on, Italy and France entered a difficult period in their political relations, not without adverse consequences for cultural exchange. After 1925, Pirandello's success in France would be replaced by a certain weariness, resulting from accusations of intellectualism fomented by the critics and press of the time. His theatre continued to be performed, but it would only be in 1934, after receiving the Nobel Prize, that Pirandello's early triumph would be renewed. The success of the performance of Ce soir on improvise (in the adaptation of Pirandello, Crémieux and Pitoëff), in 1935, marked the final stage of the playwright's French career
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Pepler, Eliege Cristina. "Subsolo infinito." reponame:Repositório Institucional da UFPR, 2009. http://hdl.handle.net/1884/17922.
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Meyer, Daniel. "Le roman utopique de langue allemande : 1918-1949." Paris 12, 2003. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990003949050204611&vid=upec.
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Les romans utopiques de Brod, Hauptmann, Döblin, Hesse Werfel et Jünger peuvent prétendre à une place à part dans l’histoire de l’utopie : ils ne cherchent pas à véhiculer le plus efficacement possible un message politico-idéologique. Mais visent au contraire à brouiller sinon à interdire l’articulation d’un tel message par diverses stratégies narratives. Parallèlement à cet ancrage dans l’esthétique du roman moderne, tous présentent une structure cyclique qui renvoie à une conception précise de l’histoire et remet en question la notion de progrès. Cet anti-utopisme est nuancé par le dénouement qui investit le texte d’une charge mystique positive, entraînant une modification profonde de la portée de l’utopie. De telles caractéristiques situent cet ensemble dans le contexte de courants d’idées contemporains elles tendent à illustrer de façon emblématique une autodestruction de la raison dans un champ – l’utopie qui lui semblait réservéThe utopian novels written by Brod, Hauptmann, Döblin, Hesse, Werfel and Jünger share traits that give them a specific status within the history of utopia : their aim is not to voice a political or ideological message as efficiently as they can but to blur any such message or even dismiss it through various narrativ e strategies. This links them to the aesthetics of the modem novel. Furthermore. They all share a cyclical structure that relates to a specific theory of history and strongly queries the concept of progress. How such anti-utopianism is counterbalanced by the endings. Vhich invest the novels with positive, mystical bearings, thus radically modifying the compass of utopia. Such traits are characteristic of philosophical and literary trends contemporary with those novels, and tend to demonstrate a symptomatic self- destruction of reason in a field - utopia - which seemed to he its privileged sphere
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Aubry, Laurence. "Langage oblique et recomposition d'univers dans l'écriture poétique de Jules Supervielle : étude stylistique fondée sur les poèmes de Gravitations (1932), La Fable du monde (1938), Oublieuse mémoire (1949) et les Récits de l'Enfant de la haute mer (1931), L'Arche de Noé (1938)." Paris 4, 1999. http://www.theses.fr/1999PA040199.
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L'œuvre de Jules Supervielle, poète français contemporain des surréalistes, n'a pas encore trouvé sa juste place au sein du panthéon littéraire. Elle appartient à un continent ignoré de la modernité poétique trop souvent identifiée à la quête herméneutique de la face cachée du réel dont l'expression passe essentiellement par les figures de l'analogie. Or, plus qu'à découvrir l'inconnu, l'écriture de Jules Supervielle vise à restaurer les passages qui permettent d'y accéder : aussi propose-t-il au lecteur une image modifiée de la réalité commune, une vision recomposée de l'univers qui en réveille les potentialités relationnelles et conciliatrices. Sa poésie, qu'elle adopte la forme versifiée ou s'épanche dans la prose du récit bref, marie le lyrisme et le narratif, trouvant dans la relation de contiguïté le fil d'une autre logique : le langage oblique offre une alternative entre l'expression métaphorique et le discours réaliste, endiguant les dérives de l'imaginaire afin que la dérive, sans s'interdire les détours de la fantaisie, soit toujours dirigée. Dénotation oblique et glissements notionnels permettent de donner à voir le monde à travers le prisme particulier d'un sujet soucieux de conserver avant tout à son univers sa qualité relationnelle. La métonymie est ainsi le maillon essentiel du langage figure chez Jules Supervielle : tropes par contiguïté et figures d'analogie se continuent, se mêlent, se relaient et s'articulent afin de délivrer l'image incertaine d'un monde aux frontières diluées par l'osmose et prises dans l'instabilité d'incessantes métamorphoses. La dimension symbolique de l'image comme la portée métapoétique du message ressortissent également à la contiguïté : n'est emblématique chez Supervielle que ce qui est la proie du passage, l'objet, le siège, le moyen ou la manifestation d'une relation. C'est en cela que l'écriture, médiation qui tient à la fois de l'acte et du simulacre, est icone : au miroir du texte se reflète en abyme cet entre-deux de la présence et de l'absence que désigne une parole comme vive dont n'est sensible que la trace. Le langage oblique du poète est l'emblème de cet espace intermédiaire où se mêlent le réel et l'imaginaire, l'action et la vision : il le recompose dans l'espoir d'y déceler, à défaut du mystère de l'être, du moins les présages ou le sillage.
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Campigotto, Marie. "« L'art des yeux ouverts » : le cinéma, avènement d'une nouvelle culture dans les écrits de Béla Balázs." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA161.
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Aujourd’hui, le nom de Béla Balázs (1884-1949) est avant tout associé aux débuts de la théorisation du cinéma. Le présent travail résulte d’une volonté de lire ses écrits dans une perspective plus large que celle du champ cinématographique. L’analyse des réflexions de Balázs sur le cinéma dans un certain contexte d’histoire des idées permet de montrer par quel prisme il aborde cet art dans son ensemble. Dans un besoin de renouveau culturel qui l’a mené au communisme, il pense toujours le cinéma en fonction de ce qu’il signifie pour l’homme. Forgé par le constat de la crise de la culture de Georg Simmel et les réflexions bergsoniennes au sujet de la perception, Balázs défend l’idée que le cinéma surmonte les conséquences négatives de la modernité sur l’épanouissement des individus. Face à un monde de plus en plus mécanisé et vide de sens, le film représente une chance de se réapproprier la technique afin de mettre une nouvelle culture en mouvement. L’homme se détache de la sphère du lisible pour devenir visible à nouveau. Le cinéma présente un monde anthropomorphe et trois techniques principales lui confèrent son potentiel artistique et culturel : le gros plan, le cadrage et le montage. L’effet de celles-ci ne se limite pas à la salle de projection, puisqu’elles amorcent un changement de perception et réapprennent à l’homme à voir. Si nous nous basons dans cette étude sur les ouvrages de Balázs sur le cinéma L’Homme visible (1924), L’esprit du cinéma (1930) et Le cinéma. Nature et évolution d’un art nouveau (1948), nous tenons également compte de ses écrits littéraires, dans lesquels les problématiques liées à la culture et la perception sont centralesNowadays, the name of Béla Balázs is above all else associated with the onsets of the theorization of the Cinema. The present work is the fruit of a will to translate his writings in a perspective that is wider than the one of Cinema. The analysis of Balázs's thoughts on movie-making in a particular context, in terms of history of ideas, enables one to identify the prism through which he tackled this art altogether. In a search for a cultural renewal that lead him to Communism, he always thought out of Cinema as of what it meant for mankind. Shaped by Georg Simmel's observation of a cultural crisis, and Henri Bergson's thoughts about perception, Balázs supported the idea that cinema set the individuals free from the negative consequences of modernization which could hinder their personal fulfillment. In a world that is more and more mechanic and meaningless, films stand as a chance to reclaim a technique and set a new culture in motion. The Man detaches himself from telling and resumes through showing. Cinema displays a world that is anthropomorphic and three major techniques help it achieve its cultural and artistic potential: the close-up, framing, and editing. And their effect is not limited to the projection room, since they mark the debut of a change in perception, and make the Man learn to see again. This study is primarily based on Balázs's works on cinema such as The Visible Man (1924), The Spirit of Film (1930) and Theory of Art (1948), but also takes into account his literary works, in which issues tied to culture and perception are central
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Polonyi, Eszter. "Ghost Writer: Béla Balázs's Hauntology of Film." Thesis, 2017. https://doi.org/10.7916/D8VM4QJC.
Full textAbstract:
The Hungarian-born Béla Balázs was an integral part of the film and media culture of the 1920s and 1930s. He is widely recognized as the author of three books of film theory. The three books are regularly excerpted in anthologies, two of them recently appeared in English translation (the third was translated in the 1952), and they have been the subject of several article-length studies. Few treatments of Weimar film and media fail mention them, even if only in passing. As unavoidable as Balázs has become, his books rarely withstand close analysis. Scholars tend to discuss his work in order to demonstrate the limits of “early” statements on film and often use Balázs as a foil to other, more conceptually mature film theorization. As a film theorist, Balázs did not amount to much. Still, no one has ventured an alternative lens through which to understand this seminal figure.
This dissertation treats Balázs from the viewpoint of film production. While posterity has looked to Balázs to establish coherence within our conception of “classical” film aesthetics, his contemporaries had other reasons to read his work. During the 1920s, Balázs collaborated with several of the practitioners responsible for making the most definitive films of the Weimar era. He worked on approximately two dozen sets during this decade. His opinion was sought out by major production companies. His name was recommended for a range of genres. The films on which he worked had afterlives in remakes. He was invited to film schools, research labs and film congresses. Because of his skill set, Balázs was often brought in at pivotal junctures in film production. More than once his intervention rescued a film from financial ruin or censorship. The prominent name Balázs made for himself was made on the ground and in the film studio.
The skills Balázs brought to the studio were related to his practice as literary author. The first chapter of the dissertation demonstrates that English-language scholarship has consistently ignored Balázs's literary work. Reviewing his reception within the discourse of the history of early film theory and Area Studies, it proposes that Balázs continued to self-identify as “author” [Filmautor] with reference to his function in the film industry. It ends by introducing the aspect of film production to which Balázs arguably most contributed: the film scenario. The second focuses on the scenario. Spanning the decade during which the scenario formally emerged as an operational document, Balázs's work proved invaluable to the German film industry as it introduced a bird's eye point of view from which total control could, in principle, be asserted. In practice, however, the command the scenarist had over the image was nominal, as Balázs experienced repeatedly when encountering the final version of his film. The scenarist's lack of authority is demonstrated in the legally ambivalent status of their claim to the film, as demonstrated by a discussion of Berthold Brecht's copyright dispute over Balázs's co-authored adaptation of his Threepenny Opera play. As with Brecht, Balázs's point of view as author gave him a false impression of command over image production. No matter how meticulous his plan for the film, the image on screen inevitably differed from his imagined version.
Balázs's film aesthetics must be read with reference to his work as scenarist. Balázs repeatedly stresses that the film image is embodied. The last two chapters investigate the significance of the female body to this conception of film. One chapter responds to a crucial insight by the historian Erica Carter who proposes to read his books with reference to the phenomenon of the New Woman, a figure of emancipation she finds among his literary colleagues and partners. Broadening the range of work surveyed to include his literary and theatrical production in Hungarian, the chapter argues that while Balázs often forged literary partnership with women, he treated then not as equals so much as vessels, mediums of material surfaces for his intellectual and aesthetic expression. The brutal disregard Balázs had for his female partners is demonstrated in the final chapter with a close reading of a film scripted by Balázs, Miss Else (1929). Miss Else was the final film in a series of collaborations between Balázs and the Austrian actress Elisabeth Bergner. The film is a psychological portrait of a young woman who is emotionally and mentally destroyed by a set of instructions she receives in a telegram. Hit by a sudden bout of “hysterical” voicelessness, Else is demonstrated to mimic the condition of the silent film actress whose ability to act is destroyed by the fragmentary narrative format of the scenario.
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Sume, David. "The architectural nature of the illustrated books of Iliazd : (Ilia Zdanevich, 1894-1975)." Thèse, 2018. http://hdl.handle.net/1866/21735.
Full textBooks on the topic "1884-1949"
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Murra, Moisi. Hysen Elez Ndreu (Cen Elezi), 1884-1949. Tiranë: Botimet "Nerajda", 1998.
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Alessandro, Tosi, and Palazzo Lanfranchi (Pisa Italy), eds. Visioni e capricci del Novecento: Spartaco Carlini (1884-1949). Firenze: Edifir, 2002.
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Villarroel, Lorenzo Bernáldez. Mateo Hernández, 1884-1949: Un escultor español en París. [Valladolid]: Junta de Castilla y León, 1997.
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Mezzasalma, Carmelo. Nel roveto ardente: Madre Maria Candida dell'Eucaristia, carmelitana scalza (1884-1949). Firenze: Cultura nuova, 1993.
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Donovan, Robert J. Tumultuous years: The presidency of Harry S. Turman, 1949-1953. Columbia: University of Missouri Press, 1996.
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Alessandro, Tosi, ed. Visioni e capricci del Novecento: Spartaco Carlini (1884-1949). Firenze: Edifir, 2002.
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Roosevelt, Eleanor. The Eleanor Roosevelt Papers: The Human Rights Years, 1949-1952. University of Virginia Press, 2012.
Find full textBook chapters on the topic "1884-1949"
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Wlach, Gudrun. "Camillo Praschniker (1884–1949)." In Österreichische Historiker, 313–78. Wien: Böhlau Verlag, 2019. http://dx.doi.org/10.7767/9783205209249.313.
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Bonnemann, Jens. "Béla Balázs (1884–1949) – die Physiognomie des Bildes." In Filmtheorie, 35–56. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04634-5_3.
Full textConference papers on the topic "1884-1949"
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Bakken, Lars E., Kristin Jordal, Elisabet Syverud, and Timot Veer. "Centenary of the First Gas Turbine to Give Net Power Output: A Tribute to Ægidius Elling." In ASME Turbo Expo 2004: Power for Land, Sea, and Air. ASMEDC, 2004. http://dx.doi.org/10.1115/gt2004-53211.
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The paper presents the work of the Norwegian engineer Ægidius Elling (ref. Figure 1), from his gas turbine patent in 1884 to the first gas turbine in the world producing net power in 1903. It traces the subsequent patents, until his final experiments in 1932. Focus is placed on an engineer with a clear vision of the potential of the gas turbine engine and the capability to realize his ideas, in spite of the lack of industrial financial support. In 1903, Elling noted in his diary that he thought he had built and operated the first gas turbine that could give net power delivery. The power delivery of this very first gas turbine was extracted as compressed air. The net power delivery was modest, only the equivalent of 11 hp. The reason for producing air was the accelerating use of pneumatic tools. Refinements to the gas turbine design soon followed, such as water injection for compressor cooling and recuperation of exhaust gas heat. In 1904, the power output of Elling’s gas turbine had increased to 44 hp. Elling also abandoned the production of compressed air in favor of electric power generation. In a patent from 1923, Elling described a multi-shaft engine with intercooling and reheat, with an independent power turbine. He improved this gas turbine in the period up to 1932, when the engine reached a power output of approximately 75 hp. In 1933, Elling wrote prophetically, “When I started to work on the gas turbine in 1882 it was for the sake of aeronautics and I firmly believe that aeronautics is still waiting for the gas turbine.” Unfortunately, Elling was never to take part in this development, although he pursued his work on the gas turbine until his death in 1949.