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Relevant bibliographies by topics / 1900-1914

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Academic literature on the topic '1900-1914'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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Journal articles on the topic "1900-1914"

1

Hanson, Marc. "Een kleine Gentse stokers- en brouwersgeschiedenis aan de Apostelhuizen - Koepoortkaai (1831 - 1929)." Ghendtsche Tydinghen 46, no. 6 (2017): 330–36. http://dx.doi.org/10.21825/gt.v46i6.16881.

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Hanson, Marc. "Een kleine Gentse stokers- en brouwersgeschiedenis aan de Apostelhuizen - Koepoortkaai (1831 - 1929)." Ghendtsche Tydinghen 46, no. 6 (2017): 330–36. http://dx.doi.org/10.21825/gt.v46i6.16881.

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Monchablon, Alain, and Claudie Weill. "Etudiants russes en Allemagne, 1900-1914." Le Mouvement social, no. 190 (January 2000): 119. http://dx.doi.org/10.2307/3779731.

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Soubiran-Paillet, Francine. "Parlement, administrateurs et experts (1900-1914)." Vingtième Siècle. Revue d'histoire 93, no. 1 (2007): 151. http://dx.doi.org/10.3917/ving.093.0151.

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Gardner, Nikolas. "The Vertigo Years: Europe, 1900–1914." International History Review 34, no. 3 (2012): 618–19. http://dx.doi.org/10.1080/07075332.2012.718121.

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Tsokhas, Kosmas. "The Shearing Labour Process, 1900-1914." Labour History, no. 59 (1990): 87. http://dx.doi.org/10.2307/27509019.

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Ley, Graham, John McCormick, and Bennie Pratasik. "Popular Puppet Theatre in Europe, 1900-1914." Modern Language Review 95, no. 2 (2000): 597. http://dx.doi.org/10.2307/3736256.

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Sprigge, T. L. S., R. C. Grogin, and A. R. Lacey. "The Bergsonian Controversy in France, 1900-1914." Philosophical Quarterly 41, no. 164 (1991): 364. http://dx.doi.org/10.2307/2220044.

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Schalk, David L., and R. C. Grogin. "The Bergsonian Controversy in France, 1900-1914." American Historical Review 95, no. 2 (1990): 516. http://dx.doi.org/10.2307/2163849.

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Weissman, Neil. "Regular Police in Tsarist Russia, 1900-1914." Russian Review 44, no. 1 (1985): 45. http://dx.doi.org/10.2307/129259.

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Dissertations / Theses on the topic "1900-1914"

1

Carter, John Timothy. "Anthrax in Kidderminster 1900-1914." Thesis, University of Birmingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422729.

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Caddy, D. L. "Music and dance : Paris, 1900-1914." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597208.

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This thesis offers three case studies of theatrical and recreational dance in early twentieth-century Paris: operatic, balletic and music-hall variations on Salome’s Dance of the Seven Veils; the reception of the cake walk as concert music, circus entertainment and on film; and the conception and realisation of <i>La Fête chez Thérèse, </i>a ballet staged at the Opéra during the years of the Ballets Russes. My critique, which draws on theories of post-colonialism, feminism and subjectivity (to name a few), offers a ‘thick description’ of these dance spectacles, tracing a peculiar line through the cultural and aesthetic determinants of early twentieth-century art and entertainment whilst exploring an encounter between French modernism, elite and popular culture. More important, though, is the fact that my thesis considers the role or function of music in dance performance. Such an approach inevitably invokes audio-visual theory, as well as recent musicological concerns with the moving body and its complex if ephemeral signification: how music helps dance to move beyond gymnastics and begin to ‘speak’ is becoming well-covered terrain. In my case studies the question extends in new and unfamiliar directions. As well as considering the relation between music, narrative and balletic ‘voice’ (an interpretative reading), I engage in a more acutely historical study, exploring the reception of dance in the Parisian press: what this might reveal about ways of watching, listening, thinking and writing about dance and its accompanying music. The different works and genres offered up for consideration by my case studies, as well as the variety of aesthetic levels that they mark out, enable me to expose new perspectives on the contemporary dance scene and its cultural motivations.

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Sar, Pich-Chenda. "Les artistes américains à Paris (1900-1914)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040142.

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Dès la fin du 19ème siècle jusqu’à la première guerre mondiale, les artistes américains se sont rendus à Paris dans le but de parfaire leur parcours artistique dans les écoles et académies d’art dont regorgeait la capitale française. Au début du 20ème siècle, alors que Paris assiste avec enthousiasme et émotion à la naissance de l’art moderne, la communauté américaine de tradition conversatrice connait de profonds changements qui vont affecter à jamais le visage de la communauté elle-Même, le développement de l’art moderne dans un Paris marqué par l’internationalisme, et le futur de l’histoire de l’art américain pour de longues années. Cette étude se propose de revenir sur ces années cruciales pour les artistes outre-Atlantique souvent négligés des études portant sur cette époque. Ces artistes tissèrent des relations amicales et professionnelles importantes avec les principaux acteurs parisiens et contribuèrent pleinement au développement et à l’essor de l’art moderne aussi bien en France qu’aux Etats-Unis<br>From the end of the 19th century until the First World War, American artists travel to Paris to attend the numerous art schools and official academies in order to build and refine their career. At the beginning of the 20th century, while Paris gives birth to modern art, the American community who was artistically conservative, is subject to many changes that will alter the course of modern art in Paris along with the future of American art. This study goes back to these crucial years and focuses on these artists who lived in Paris at a very special time, when the French capital was an international center for the arts. These artists are often neglected and underestimated, yet they dealt with the main artists of the time and played their

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Chevillot, Catherine. "Paris, creuset pour la sculpture (1900-1914)." Paris 10, 2013. http://www.theses.fr/2013PA100011.

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Au début du XXe siècle, l’aspiration à un nouvel univers formel est pressante dans le domaine de la sculpture. Retrouver les lois de leur art, voilà à quoi aspirent les sculpteurs. Depuis les années 1890, est apparue une nouvelle génération d’artistes, donc beaucoup sont des praticiens de Rodin, mais qui tous cherchent à se définir par rapport à lui. L’esthétique rodinienne est un passage à la fois obligé et contesté. Cette génération comprend les français Bourdelle, Maillol, Bartholomé, Joseph Bernard, mais aussi des sculpteurs issus de nombreux pays, qui font tous preuve, avec leurs personnalités respectives, de préoccupations convergentes. Gonzalez arrive à Paris en 1899, Brancusi et Nadelman s’y établissent en 1904, Gargallo y fait un passage en 1903-1904. En 1900, Hoetger s’installe dans la capitale (où il demeure jusqu’en 1907), en 1908 c’est le tour d’Archipenko. Lehmbruck y vit et travaille entre 1910 et 1914… Paris n’est pas seulement le lieu où la présence de Rodin rayonne, aimante les jeunes sculpteurs et les somme de réagir. C’est aussi un milieu intellectuel et artistique traversé de nouvelles idées. La sculpture ne reste pas à l’écart et stimule des débats esthétiques qui renouvellent la question de son autonomie par rapport à la peinture, de sa logique plastique propre, de l’attraction qu’opèrent les différents archaïsmes et primitivismes. Le milieu de la sculpture bénéficie aussi de la circulation des nouvelles idées philosophiques. Bergson, William James, Nietzsche et Simmel, en substituant des notions comme l’intuition, la mouvance et la suggestion à la raison, la permanence et la représentation naturaliste, deviennent des références qui animent des débats et fécondent la création plastique<br>Around 1900, in the field of sculpture, the desire for a new formal universe is urgent. Sculptors strive to fine the laws of their art. During the 1890s, a new generation of sculptors appears. Most of them work closely with Rodin, but all try to define themselves in relation to him. This generation includes artists such as Bourdelle, Maillol, Bartholomé, Joseph Bernard, but also numerous sculptors from different countries, who show, with their respective personalities, convergent concerns. Gonzalez arrived in Paris in 1899, Brancusi and Nademan moved there in 1904, Gargallo made a trip 1903-1904. In 1900, Hoetger settled in Paris where he remained until 1907, Archipenko arrived in 1908. Lehmbruck lived and worked there between 1910 and 1910… Paris is not only the place where Rodin shines, attracts young sculptors and causes them to respond. It is also a melting pot which promotes exchanges of points of view in the field of arts and ideas. Sculpture does not remain an isolated world, and aesthetic debates concern its independence from the paint, its autonomous universe, its attraction to archaism and primitivism. New philosophical ideas grow in sculpture society. Bergson, William James, Nietzsche and Simmel use new concepts as intuition, mobility and suggestion, which substitute others like ratio, permanency and naturalistic representation: these philosophers become references that animate debates and fertilize the visual arts

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Keobandith, Pick. "La sculpture moderne à Paris, 1900-1914." Rennes 2, 2001. http://www.theses.fr/2001REN20049.

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Consacrée à l'étude de la sculpture moderne à Paris de 1900 à 1914, cette thèse débute par une description du milieu de l'art à Paris au début du siècle : quartiers de Montmartre et de Montparnasse, académies et ateliers libres, musées, marchands, collectionneurs, critiques d'art et galeries. Dans ce contexte unique au monde, de jeunes artistes, dont certains venus de l'étranger (Archipenko, Boccioni, Brancusi, Csaky, Epstein, Lehmbruck, Lipchitz, Nadelman, Zadkine), tentent d'inventer une nouvelle sculpture en s'affranchissant de Rodin, référence incontournable. Certains (Bernard, Clara, Casanova, Manolo, Nadelman) prennent la voie d'une "modernité teintée de classicisme", s'inspirant de l'art antique. Maillol est un des initiateurs. D'autres (Archipenko, Duchamp-Villon, Gaudier-Brzeska, Epstein, Matisse, Modigliani, Picasso) suivent un chemin plus radical qui les amène vers une sculpture cubiste et primitiviste. Tous contribuent à faire entrer la sculpture dans la modernité. Moins connue que les révolutions du cubisme et de l'abstraction dans la peinture, cette mutation de la sculpture n'en est pas moins majeure<br>Dedicated to a study of modern sculpture in Paris 1900-1914, this Ph. D dissertation starts with a description of Parisian art world at the turn of the century : districts of Montmartre and Montparnasse, academies and independant school, museums, art dealers, collectors, art critics and art galleries. In this unique place in the world, emerging artists, some of them coming from abroad (Archipenko, Boccioni, Brancusi, Csaky, Epstein, Lehmbruck, Lipchitz, Nadelman, Zadkine), try to invent new sculpture in freeding themself from Rodin, the inevitable reference. Some of them (Bernard, Clara, Casanova, Manolo, Nadelman) take the route "modernity tinted with classicism" inspired by antique art. Maillol is one of the initiators. Others (Archipenko, Duchamp-Villon, Gaudier-Brzeska, Epstein, Matisse, Modigliani, Picasso) follow more radical way which lead them towards cubist and primitivist sculpture. All these artists contribute to drive sculpture into modernity. Less known as cubism and abstract revolution in painting, this transformation in sculpture is though a major event in art

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6

Weill, Claudie. "Les Etudiants russes en Allemagne : 1900-1914." Paris, EHESS, 1990. http://www.theses.fr/1990EHES0045.

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Un corpus de 13600 etudiants de l'empire russe en allemagne etabli a partir des listes d'inscription imprimees ou manuscrites des universites et des ecoles superieures techniques existant en 1900 a fait l'objet d'un traitement prosopographique : composition nationale, religieuse et sociale, matieres d'etudes et aboutissement du cursus. La biographie, lacunaire ou complete, posterieure aux etudes a pu etre retracee pour un peu plus de 2% d'entre eux. La partie mediane est consacree a l'accueil plutot hostile reserve par la societe et les etudiants allemands aux etudiants de russie et plus precisement a la forme specifique de xenophobie et d'antisemitisme qu'il traduit, puis a travers une demarche anthropologique, aux formes de sociabilite et de convivialite developpees par les etudiants de russie, se combinant a leurs activites politiques. En meme temps que le processus de formation des cadres, il s'agit de definir le role q'assument les etudiants migrants en tant que mediateurs entre les cultures, dans les relations interethniques entre des pays et des nations se situant a des degres divers de developpement.

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Woiak, Joanne Dawn. "Drunkenness, degeneration, and eugenics in Britain, 1900-1914." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0007/NQ35371.pdf.

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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.<br>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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Alves, Rosilene Maria. "Se mostram de novo os bugres." Florianópolis, SC, 2000. http://repositorio.ufsc.br/xmlui/handle/123456789/78332.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina. Centro de Filosofia e Ciências Humanas. Programa de Pós-Graduação em História.<br>Made available in DSpace on 2012-10-17T12:53:32Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-25T17:10:34Z : No. of bitstreams: 1 182062.pdf: 3903672 bytes, checksum: 892b81507c5a4e1e77c910c4b91e5ec0 (MD5)<br>Através dos jornais, enquanto fontes documentais de pesquisa, evidenciar as falas proferidas em relação ao indígena, durante os anos de 1900-1914 em alguns jornais de Florianópolis, Joinville, Blumenau e Itajaí. Taís jornais, revelam um contexto histórico onde as teorias raciais se imbricavam com o ideal de sociedade civilizada e os indígenas eram tomados enquanto objeto de estudos científicos e como contraponto do ser civilizado.

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Sonne, Wolfgang. "Hauptstadtplanung 1900-1914 : Die Repräsentation des Staates in der Stadt /." Zürich, 2001. http://e-collection.ethbib.ethz.ch/show?type=diss&nr=14098.

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Books on the topic "1900-1914"

1

Bloy, Léon. Correspondance 1900-1914. L'Age d'Homme, 1990.

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Bloy, Léon. Correspondance 1900-1914. L'Age d'Homme, 1990.

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Cocteau, Jean. Paris album: 1900-1914. Comet, 1987.

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Tóth, Károly. Hódmezővásárhelyi művészcsoport, 1900-1914. L'Harmattan, 2015.

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Yu, Mengting. London’s Women Artists, 1900-1914. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5705-7.

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McDonald, Jan. The ‘New Drama’ 1900–1914. Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-18132-2.

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Rouzet, Jacques. La Belle époque, 1900-1914. Thoba's, 2009.

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Kojen, Leon. Antologija srpske lirike: 1900-1914. Čigoja štampa, 2010.

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Blondel, Emmanuel. Alain et Rouen: 1900-1914. PTC, 2007.

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Kierdorf, Alexander. Industriellenwohnsitze im Ruhrgebiet 1900-1914. Abteilung Architekturgeschichte des Kunsthistorischen Instituts, 1996.

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Book chapters on the topic "1900-1914"

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Service, Robert. "Unstable Structure, 1900–1914." In The Russian Revolution, 1900–1927. Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-01345-3_2.

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Service, Robert. "The Unstable Compound, 1900–1914." In The Russian Revolution 1900–1927. Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-12608-8_1.

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Kreis, Georg. "Die nationale Schweiz 1900–1914." In Der Weg zur Gegenwart. Birkhäuser Basel, 1986. http://dx.doi.org/10.1007/978-3-0348-6576-0_12.

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Blamires, Harry. "The new century 1900–1914." In Twentieth-Century English Literature. Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18511-5_2.

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Service, Robert. "The Unstable Structure, 1900–1914." In The Russian Revolution 1900–1927. Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27651-6_1.

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Rowbotham, Judith, Kim Stevenson, and Samantha Pegg. "New Journalism Triumphant: 1900–1914." In Crime News in Modern Britain. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137317971_5.

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Bartley, Paula. "A New Age: 1900–1914." In Women’s Activism in Twentieth-Century Britain. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-92721-9_2.

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Rosenbusch, Gerd, and Annemarie de Knecht-van Eekelen. "Leben als Berühmtheit (1900–1914)." In Wilhelm Conrad Röntgen. Springer Berlin Heidelberg, 2022. http://dx.doi.org/10.1007/978-3-662-65656-3_6.

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Keefer, Scott Andrew. "International Law and Armaments, 1900–1914." In The Law of Nations and Britain’s Quest for Naval Security. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-39645-3_8.

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Којен, Леон. "Уз „Антологију српске лирике 1900–1914”". У Александар Белић, српски лингвиста века. Универзитет у Београду, Филолошки факултет, 2018. http://dx.doi.org/10.18485/belic_slv.2018.3.ch17.

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Conference papers on the topic "1900-1914"

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Sherstinova, Tatiana, Anna Moskvina, Margarita Kirina, Asya Karysheva, and Evgenia Kolpashchikova. "Topic modeling of the Russian short stories of 1900–1930s: the most frequent topics and their dynamics." In Dialogue. RSUH, 2022. http://dx.doi.org/10.28995/2075-7182-2022-21-512-526.

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The article describes the results of an experiment on topic modeling of Russian short stories for three successive historical periods of the early 20th century: 1) the beginning of the 20th century until 1913, 2) the warrevolutionary period (1914–1922), and 3) the early Soviet period (1923-1930). Using the Latent Dirichlet Allocation (LDA) algorithm, 9 models were built — 3 samples of different sizes (100, 500, and 1000 stories) for each of the periods. It turned out that in every model there are very frequent “themes” (topics) that characterize with a high probability a fairly significant share of texts in each sample. Moreover, one can also observe a meaningful dynamics of these frequent topics over different time periods, which allows us to consider them as thematic and stylistic markers of the analyzed text collections along with the more traditional quantitative measures of text analysis. The variety of frequent topics turned out to be higher in the second and third periods, which can be explained by the greater lexical and stylistic diversity of the prose of the “era of change”.

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