Dissertations / Theses on the topic '1907-1937'

O presente trabalho se propôs a investigar as concepções educacionais de Firmino Costa (1869-1939) por meio da análise de seus textos publicados. O fio condutor desse percurso doi o trânsito de suas concepções acerca do metodo intuitivo para o ativismo educacional, sempre na perspectiva da dinâmica da aprorpiação e circulação de idéias, como forma de produção da cultura escolar em Minas Gerais. O tratamento das fontes foi ancorado em três grandes períodos, os quais estão relacionados aos deslocamentos de Firmino Costa, entre os lugares a partir dos quais os discursos são produzidos e veiculados. Cada um desses lugares representa um momento específico na trajetória de Firmino Vosta com atribuições, atuações e formas distintas de dar visibilidade ao seu pensamento. O primeiro é o de diretor do Grupo Escolar de Lavras. Nessa ocasião, seu pensamento esteve publicado nos relatórios anuais do grupo enviados à secretaria do Interior e no Boletim vida Escolar. O segundo focaliza-se especificamente seus livros, ainda que tenham sido produzidos concomitantemente aos textos publicados tanto nos relatórios como na da Revista do Ensino. O terceiro, na capital, a partir de 1926, como Diretor Técnico do Curso de Aplicação, com uma maior visibilidade do seu pensamento e novas formas de atuação como educador e , consequentemente, com uma ampliação em sua rede de sociabilidade, seus textos passam a ser publicados na Revista do Ensino.Estamos considerando que os suportes têm implicações distintas em seus discursos, principalmente os livros. Nesse sentido, articulamos os três tempos ás respectivas publicações e deslocamentos, isto é, aos lugares a partir dos quais os textos publicados foram produzidos. A proposta foi a de realizar uma análise de sua obra e atuação educativa, ou seja, a formação do seu pensamento político e educacional no contexto recente da República, com uma atuação diferenciada e ricas contribuições para o debate educacional de Minas Gerais, sobretudo no que diz respeito á instituição de uma cultura escolar, orientada pela concepção de escola ativa. Ao mesmo tempo, compreender, através de suas relações e interlocuções, como as concepções educacionais que pronunciavam novas práticas educacionais foram produzidas e postas em circulação, em Minas Gerais, nos anos iniciais do século XX.

Cette thèse a deux objectifs: une étude sur le poète et traducteur Nakahara Chûya (1907-1937) et une autre sur les cercles poétiques des années 1930 au Japon. Ces deux études constituent les éléments indispensables pour l'appréhension de l'histoire de la poésie moderne. Un nombre important de pages est accordé à la traduction française des textes du poète et à leur commentaire afin de mettre en lumière la quintessence de sa poésie. Pour y parvenir, trois méthodes sont appliquées: la première est une approche biographique, la deuxième se base sur la littérature comparée, et la troisième fait appel à l'autres discipline (psychologie, linguistique. . . ). Dans la première partie est décrit l'éveil de Nakahara dans le monde poétique aux contacts de multiples poètes, représentant différentes formes poétiques asiatiques et occidentales. Les symbolistes français du XIXe siècle ont constitué une influence primordiale. Le parcours singulier de Nakahara est tracé étape par étape. Il noue des relations avec les personnalités du monde littéraire et artistique comme Kobayashi Hideo. La deuxième partie est consacrée aux cercles poétiques qui émettent leur revue, auxquels Nakahara a contribué. La troisième partie retrace la vie courte et intense de Nakahara vers son épanouissement. Miné par la solitude et la neurasténie il cherche un soutien moral dans le catholicisme. Sa création inextricablement mêlée à des crises d'aliénation donne naissance à un sonnet hors du commun, "Le Chant des grenouilles". L'ensemble des recherches aboutit à apprécier à leur juste valeur les oeuvres de Nakahara et sa traduction intégrale des poésies rimbaldiennes
The purpose of this thesis is twofold on the one hand to study the poet and the translator Nakahara Chûya (1907-1937) and, on the other hand, to study the poetry societies of the 1930's in Japan. Those studies are necessary in order to fully understand the history of modern poetry. A large number of pages will be devoted to the French translation of the poet's works and their commentaires to highlight the quintessence of this poetry. In order to do so, three methods will be used and will be based on: biographical approach, compared literature, and other disciplines such as psychology or linguistics. The first part of this thesis will depict Nakahara's "awakening" to the world of poetry through contacts with many poets who represent various forms of Asian and Western poetry. The influence of the French symbolists of the 19 century was of the utmost importance. Nakahara's unusual route was drawn stage by stage. He became acquainted with well-known members of the literary and artistic world, especially with Kobayashi Hideo. The second part will study poetry societies tha published reviews to which Nakahara contributed. The third part will focus on Nakahara's short but intense life to his bloom. Solitude and depression undermined the poet's strength. He looked for moral support through Catholicism. However, his creativity intricately mixed with fits of madness, like a most remarkable sonnet: "Song of the frogs". Research allows us to have an idea of the true worth of Nakahara's works and his translation of all of Rimbaud's poems

Thesis (Ph. D.)--West Virginia University, 2000.
Title from document title page. Document formatted into pages; contains vi, 246 p. : maps (some col.). Vita. Includes abstract. Includes bibliographical references (p. 223-236).

The purpose of the Boy Scout Movement was to create boys who were honest, obedient to constituted authority and loyal to the King and the British Empire. This thesis examines the influence that Scouting's founder, Lord Robert Baden-Powell, had on the development of Scouting in Queensland in the period 1907 to 1937, and concludes that that influence was profound. Baden-Powell conceived the Boy Scout Movement, and its non-formal educative method as an answer to some of the social, economic, and political problems at the beginning of the twentieth century – a paradigm recognised and acknowledged by educators of the day.

This dissertation politically analyses the principles of literary evaluation (here called "axiology") argued and applied by the English critics Christopher Caudwell, Raymond Williams, and Terry Eagleton. The paradoxical fact that all three claim to be working within a Marxist framework while producing mutually divergent rationales for literary evaluation prompts a detailed examination of Marx and Engels. Moreover, since Caudwell and Eagleton acknowledge Leninism to be Marxism, and, further, since Eagleton and I both in our own ways argue that Trotskyism--as opposed to Stalinism--is the continuator of Leninism, the evaluative methods of Lenin and Trotsky also become relevant. Examined in light of that revolutionary tradition, however, and in view of the (English) critics' high political self-consciousness, the latter's principles of "literary" evaluation reveal definitive political differences between each other and with Marxism itself, centrally over the question of organised action. Thus, each of the chapters on the English critics begins with an examination of the chosen critic's purely political profile and its relationship to his general theory of literature. Next, I show how the contradictions of his "axiology" express those of his politics. Finally, with Hardy as a focus, I show the influence of each critic's political logic on his particular "literary" assessment of individual authors and texts. The heterogeneity of these critics' evaluations of Hardy, the close correspondence of each critic's general evaluative principles to his political beliefs, and the non-Marxist nature of those beliefs themselves all concretely suggest that none of the three English critics is strictly a Marxist. I do not know whether a genuinely Marxist axiology is inevitable; however, I do admit such a phenomenon as a logical possibility. In any case, I argue, this possibility will never be realised unless aspiring Marxist axiologists seek to match their usually extensive knowledge of literature with an active interest in making international proletarian revolution happen. And, since it can only happen if it is organised, the "Marxist" axiologist without such an orientation will be merely an axiologist without Marxism.
Arts, Faculty of
English, Department of
Graduate

Tese (doutorado)—Universidade de Brasília, Intituto de Ciências Sociais, Departamento de Sociologia, 2011.
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O advento das instalações e de obras que visam à interação com o público, criando ambientes que envolvem percepções sinestésicas, estão presentes nas mais célebres bienais e exposições de arte pelo mundo. A arquitetura e a arte brasileiras contribuíram bastante para a mudança espacial da obra de arte. O modernismo brasileiro forjou o discurso de ampliação dos princípios das artes plásticas para a construção da cultura nacional. A dimensão construtiva das artes plásticas refletiuse na ampliação da criação plástica dos singelos quadros de cavalete burgueses para os murais sociais de Portinari e para a nacional e monumental arquitetura do Grupo Carioca. Oscar Niemeyer e Lucio Costa projetaram a pretensão máxima de ampliação de escala da obra de arte: Brasília. Frustrada a utopia, irrompe o Movimento Neoconcreto, cuja crítica infligiu-se contra a arquitetura, o espaço clássico e o conceito de cultura nacional, por meio da quebra da tradicional associação simbólica entre arte e cultura. A ligação entre a arquitetura e o Movimento Neoconcreto só faz sentido se ligada à análise iconográfica, pois o exame do discurso escrito – que é uma das obsessões de nossa cultura pela palavra – é insuficiente para estabelecer tal ligação. Entre maquetes e instalações labirínticas de Hélio Oiticica, observa-se a crítica visual da coerência espacial imposta pela política cultural das elites brasileiras. Mais do que isso, a arte brasileira deu sua contribuição, modificando a configuração espacial da obra de arte. Foi preciso destruir a última grande regra da arte, através da morte do Plano. ___________________________________________________________________________________ ABSTRACT
The advent of installations and artworks that aims interaction with the public by creating environments that involve synesthesic perceptions are present in the most famous biennial art exhibition around the world. Brazilian art and architecture contributed enough for the change of the spatial notions of work of art. Brazilian modernism created a speech which aimed to extend the principles of art for the construction of national culture. The constructive dimension of art reflected on an expansion: from the creation of single plastic easel paintings of bourgeois, to the social murals of Portinari, and to the national and monumental architecture of Carioca School. Oscar Niemeyer and Lucio Costa projected the intention of extending the maximum scale of the work of art: Brasilia. The utopia was over, and then the Neo-concrete Movement breaks with its criticism against the architecture, classical space and the concept of national culture, destroying the traditional symbolic association between art and culture. The connection between architecture and Neo-concrete Movement only makes sense if it is related to the iconographic analysis, because the examination of written speech – which is one of the obsessions of our culture – is not enough to establish such connection. Between Helio Oiticica’s models and neo-concretist labyrinthine installations, there is the criticism against visual spatial coherence imposed by the cultural policy of the Brazilian elites. More than this, the Brazilian arts contributed with the changing of the spatial scope of work of art. It was necessary to destroy the last great rule of the art, through the death of the Plan. ___________________________________________________________________________________ RESUMÉ
L'avènement de l’installation et d’ oeuvre d’art qui visant à l'interaction avec le public à travers de la création des environnements qui impliquent des perceptions synèsthesique sont présentes dans la plus célèbre exposition biennale d'art dans le monde. L'art et l'architecture brésilienne ont contribué suffisamment à la transformation spatiale de l'oeuvre d'art. Le modernisme brésilien a établi un discours de vulgarisation des principes de l'art pour la construction de la culture nationale. La dimension constructive de l'art reflète dans l'expansion d’oeuvres d’art plastiques: de la peintures de chevalet de bourgeois, à travers les peintures murales de Portinari et jusqu’à social et national monumentale l'architecture d’École Carioca. Oscar Niemeyer et Lucio Costa ont conçu l'intention d'étendre la maximale l'échelle de l'oeuvre d'art: Brasília. Frustré l'utopie, le Mouvement Neo-concrète a provoqué des critiques contre l'architecture, l'espace classique et le concept de la culture nationale, a travès de la rupture de la traditionnelle association symbolique entre l'art et culture. Le lien entre l'architecture et le Mouvement Neo-concrète n'a de sens que si liées à l'analyse iconographique, parce que l'examen du discours écrit – qui est l'une des obsessions de notre culture, le mot – est insuffisante pour établir tel lien. Entre les labyrinthiques et rhizomateuses maquettes et installations de Hélio Oiticica, il y a une critique de la cohérence dans l'espace visuelle imposée par la politique culturelle de l'élite brésilienne. Plus que cela, l'art brésilien donnait sa contribution, la modification de la notion spaciale de l’oeuvre d'art. Il faut détruire la dernière grand règle de l’art, à travers de la mort du Plan.

Les litteratures nationales negro-africaines sont aujourd'hui l'objet d'une etude approfondie. De nombreux travaux : memoires de maitrise et de dea, theses de doctorat et essais attestent avec brio cette realite culturelle. Ils font emerger et restaurent l'image des litteratures jusqu'alors meconnues sur l'echiquier international. Ces travaux s'appuient en general sur la tradition orale et offrent une vision poetique et esthetique pour peu qu'ils mettent en valeur les traits saillants de l'oralite. L'etude que nous presentons ici, souligne les donnees formelles de l'oralite et ses interferences avec l'ecriture romanesque. L'oralite s'inscrit donc implicitement dans l'ecrit litteraire. Cette peinture que nous vous offrons est un reservoir de resonances de la litterature congolaise d'expression francaise. Mais, cette peinture glose avant tout les gisements profonds du roman congolais meme si nous evoquons parfois d'autres genres litteraires aussi pregnants et signifiants
Negro-african national litteratures are nowadays the object of a thorough study. Numerous works : master's degree and detailed studies diploma papers, doctoral thesis and essays attest brilliantly to this cultural reality. They rise up and restore the image of litteratures which have remained unrecognized for a long time. Those works are generally based on oral tradition and offer a poetic and esthetic vision of the world so far as they lay on the outstanding aspects of orality. The study we present here underlines the definite data of orality and its interferences qith novelistic works. Orality is implicity framed in literary written work the painting here presented has a wealth of literary resonances from the congo a french speaking country. But this painting glosses before all the deep deposits of the congolese novel even if we sometimes evoke other literary styles which are so stately and so significant

Nicolas Calas (Lausanne, 1907 - New York, 1988) grandit à Athènes où il publie ses premiers poèmes et articles au début des années trente. Ses poèmes sont influencés par le futurisme russe et ses articles prônent la révolution sociale ainsi que l'art « utile ». En 1937, Nicolas Calas se déclare ouvertement partisan du mouvement surréaliste, en le qualifiant de « romantisme sans mysticisme ». En 1938, il adhère au mouvement surréaliste, en publiant un essai en français, intitulé Foyers d'Incendie. Dans le Prière d'insérer pour Foyers d'Incendie, André Breton affirme que Nicolas Calas a donné une « réponse inspirée » et « décisive » à « toutes les questions qui se sont posées à nous depuis vingt ans ». Toutefois, cet essai relève d'un paradoxe : Même s'il est publié sous l'égide d'André Breton, il fait entendre une voix discordante au sein du groupe surréaliste. La raison en est que Nicolas Calas n'est pas disposé à défendre le « modèle purement intérieur » requis auparavant par André Breton. Dans les années quarante, Nicolas Calas reprochera à André Breton d'accorder une importance démesurée à l'écriture automatique et de négliger Je champ de la conscience. Il est donc permis de soutenir que l'engagement de Nicolas Calas aux côtés d'André Breton n'aboutira jamais à une véritable adhésion du premier au surréalisme. La confrontation des oeuvres de ces deux écrivains nous permet en outre d'essayer de répondre à des questions qui concernent la véritable visée du surréalisme : Ce mouvement est-il réellement attaché au monde des phénomènes ? Le surréalisme opère-t-il une ouverture à l'altérité ? Réussit-il à concilier action politique et expérience esthétique ?
Nicolas Calas (born 1907 in Lausanne, died 1988 in New York) grew up in Athens where he published his first poems and articles at the beginning of the 1930s. His poems are influenced by the Russian futurism and his articles refer to the social revolution and to the usefulness" of art. In 1937, Nicolas Calas openly declared to be favourably disposed to the surrealist movement, which he describes as "romanticism without mysticism". In 1938, he becomes attached to the surrealist movement, publishing an essay entitled Foyers d'Incendie. In his review of the essay, André Breton emphasises that Calas had given an "inspired" and "decisive answer" to "all the questions of the past twenty years". However, this essay also reveals a paradox: Although published under the auspices of Breton, it emerges as a discortant voice from among the surrealist group. The reason for this is that Calas is not disposed to defend the model of the "pure interior" as Breton did before him. In the 1940s, Nicolas Calas reproaches André Breton for granting an excessive measure of importance to automatic writing and for neglecting the area of conscience. Thus, we can establish the fact that the involvement of Nicolas Calas alongside André Breton never borders on the attachment of the first to surrealism. The confrontation of the works of these two writers allows us among other things to answer a number of questions touching the very core of surrealism: Is this movement really concerned with the world of phenomena? Does surrealism open up a way to otherness? And, does it succeed in reconciling political action and aesthetic experience?

This thesis argues that the term Kailyard is not a body of literature or cultural discourse, but a critical concept which has helped to construct controlling parameters for the discussion of literature and culture in Scotland. By offering an in-depth reading of the fiction of J.M. Barrie - the writer who is most usually and misleadingly associated with the term - and by tracing the writing career of Ian Maclaren, I argue for the need to reject the term and the critical assumptions it breeds. The introduction maps the various ways Kailyard has been employed in literary and cultural debates and shows how it promotes a critical approach to Scottish culture which focuses on the way individual writers, texts and images represent Scotland. Chapter 1 considers why this critical concern arose by showing how images of national identity and national literary distinctiveness were validated as the meaning of Scotland throughout the nineteenth century. Chapters 2-5 seek to overturn various assumptions bred by the term Kailyard. Chapter 2 discusses the early fiction of J.M. Barrie in the context of late nineteenth-century regionalism, showing how his work does not aim to depict social reality but is deliberately artificial in design. Chapter 3 discusses late Victorian debates over realism in fiction and shows how Barrie and Maclaren appealed to the reading public because of their treatment of established Victorian ideas of sympathy and the sentimental. Chapter 4 discusses Barrie's four longer novels - the works most constrained by the Kailyard term - and chapter 5 reconsiders the relationship between Maclaren's work and debates over popular culture. Chapter 6 analyses the use of the term Kailyard in twentieth-century Scottish cultural criticism. Discussing the criticism of Hugh MacDiarmid, the writing of literary histories and studies of Scottish film, history and politics, I argue for the need to reject the Kailyard term as a critical concept in the discussion of Scottish culture.

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As its main aim, the present research intended to show how the Cearense Legion of Work (Legião Cearense do Trabalho), founded in Fortaleza by Severino Sombra, which dates back to 23rd August 1931, had a penetration within the means of working masses, being initially courted and then unified to the movement created by Plinio Salgado, the AIB. Having by reference the ultramountainous Catholicism, extremely well characterized within the works of catholic thinkers as De Bonald, De Maistre, Donoso-Cortés, who had their followers here in Brazil during the 1920s and 1930s. For instance, Jackson de Figueiredo e Alceu Amoroso Lima, being their ideas spread from the Centre D. Vital, place regularly attended by the youth official Severino Sombra, still in the Military School of Realengo, in Rio de Janeiro. The Legion was committed to resolve the social problems installed by capitalism and its reflexes such as liberalism and communism. Here relies the reason why the Catholic Church gave such a strong support to the Legion. The Legion searched for a perfect day to day and it tried to overcome the conflicts between the capital and the work. In order to accomplish this last task, the Legion elaborated strategies encompassed in a speech composed by images that talked about another possible world through the creation of organisms responsible for coordinating social relations (such a parallel can be found in the Medieval Age). In this sense, it was elaborated the establishment of a communication between the Legion s leaders and its legionaries
A pesquisa apresentada teve o intuito de mostrar como a Legião Cearense do Trabalho, criada por Severino Sombra, em Fortaleza-CE, em 23 de agosto de 1931, teve uma penetração dentro dos meios das massas trabalhadoras, a ponto de ser cortejada e, posteriormente, unificada ao movimento criado por Plínio Salgado, a AIB. Tendo por referência o catolicismo ultramontano, muito bem caracterizado nas obras de pensadores católicos como; De Bonald, De Maistre, Donoso-Cortés, que tiveram seus seguidores aqui no Brasil, durante as décadas de 20 e 30; caso de Jackson de Figueiredo e Alceu Amoroso Lima, onde suas idéias foram difundidas a partir do Centro D. Vital, local que o jovem oficial Severino Sombra, quando ainda na Escola Militar do Realengo, Rio de Janeiro, se fez assíduo freqüentador. A Legião se comprometia resolver os problemas sociais instaurados pelo capitalismo e seus desdobramentos como o liberalismo e o comunismo; daí ser aceita pela Igreja Católica, que lhe deu total apoio. Procurava a busca de um cotidiano perfeito e a tentativa de superar os conflitos entre capital e trabalho, para tanto, elaborou estratégias consubstanciadas em um discurso elaborado a partir de imagens, que falavam de um outro mundo possível, pela criação de organismos ordenadores das relações sociais, parâmetro encontrado na Idade Média. Com isso, foi elaborado o estabelecimento de comunicação entre os seus líderes e os legionários

Malgré l’ancienneté du personnage populaire, la notion de bouffon a tardé à entrer dans le vocabulaire critique des études littéraires. Pourtant le bouffon, qui s’appréhende à travers la fonction sociale de critique dont il s’acquitte, peut se définir par le prisme de l’histoire de la folie, qui implique une réflexion anthropologique et sociologique, et de l’histoire du spectacle, à la croisée de la littérature et des arts. Le présent travail élucide donc, à travers leurs représentations au théâtre, les attributs et les fonctions des bouffons du XXe siècle. Le XXe siècle a été choisi comme cadre temporel car ce siècle est marqué par deux transformations majeures. D’une part, il est frappé par ce que Jean-François Mattéi appelle une « crise du sens », phénomène global de mise en péril de la signification et de l’orientation de l’existence dans une ère post-métaphysique. Le bouffon pouvant être considéré comme un vecteur de critique socio-politique et de médiation métaphysique, interroger son insertion dans une telle crise permet de mettre en lumière les aspects saillants de sa définition. D’autre part et concomitamment, le siècle connaît aussi une révolution théâtrale opérée grâce à la libération des codes langagiers, à l’avènement de l’espace dans la théorie et la pratique théâtrales, et à l’exploitation des moyens électriques nouveaux qui promeuvent l’art de la scénographie. En tant qu’outil d’exploration esthétique, la figure du bouffon permet de mettre en lumière les caractéristiques de cette révolution, et vice-versa. Il s’agit donc ici de questionner le réinvestissement moderne de la figure traditionnelle du bouffon comme reflet de la révolution théâtrale et, par conséquent, comme réponse à la crise du sens. Le corpus réunit une sélection parmi les œuvres théâtrales d’Alfred Jarry, Michel de Ghelderode, Samuel Beckett, Roland Dubillard et Alain Badiou. La période s’étend de 1896, année marquée par la création d’Ubu roi, à 2018, date à laquelle le dernier chapitre de la saga d’Ahmed est proposé à la scène. L’étude repose majoritairement sur l’étude de texte en s’appuyant au maximum sur la réalisation scénique, par l’entremise de témoignages ou d’articles de presse. La première partie est consacrée à un parcours historique du bouffon depuis l’Antiquité afin de mieux mettre en perspective sa modernité dans la deuxième partie, où il fait l’objet d’une typologie. On y voit alors que les bouffons modernes se réapproprient toutes les traditions dans un grand syncrétisme. La troisième partie met l’accent sur les spécificités modernes dans l’inventivité langagière, dans l’exploitation du comique burlesque et dans la promotion d’un humour empreint de tragique. La dernière partie peut alors clarifier les réponses socio-politiques, métaphysiques et théâtrales apportées par ces bouffons qui accèdent au titre de « morosophes », c’est-à-dire de « fous sages »
Even if jesters are very popular characters, the very concept barely exists in critical vocabulary. Jesters, which play an important role in every society, can be defined throughout the history of madness, implicating a sociological and anthropological approach, as well as throughout the history of theater, located at the cross-section of arts and literature. This research sheds light on the characteristics and functions of jesters in the 20th century. The 20th century was a post-metaphysical age marked by two significant transformations. First, a “crisis of purpose” defined by Jean-François Mattéi as a loss of meaning in life. Since jesters invite us into a socio-political and a metaphysical critique, it only makes sense to question their role in that matter. Secondly, the 20th century was home to a revolution in drama, seen through linguistic experimentations, the introduction of space in theatrical theory and practice, and the exploitation of new electrical technologies that advanced the art of scenography. As natural explorers of new aesthetic forms, jesters had a great role to play in this revolution. This research questions the use of jesters in the modern times, showing how they echo the dramatic revolution, and therefore help society to overcome the crisis of purpose. The corpus is a selection of theatrical works from Alfred Jarry, Michel de Ghelderode, Samuel Beckett, Roland Dubillard and Alain Badiou. The period of investigation stretches from 1896, the year in which Alfred Jarry’s Ubu Roi premiered, to 2018, marked by the debut of the final segment of Alain Badiou’s saga Ahmed. This study is primarily based on textual analysis, relying heavily on stage performances documented through interviews and press articles. The first section deals with the history of jesters, from Antiquity to the beginning of the 20th century, in order to understand their role in modernity, in contrast. It allows us, in the second part, to show how jesters reappropriated symbolic attributes in modern times, under the form of a typology. The third part returns to the fundamentals of madness, insisting on linguistic creativity and on a complex form of humour, a mix of burlesque and tragic effects. Only with this understanding of jesters can we begin to uncover how they came to be named “morosophs”, meaning “wise fools”, and how they can provide solutions to the crises of modern times

La littérature fantastique au XXe siècle semble est issue d'un triple conflit qui est aussi celui de l'homme contemporain : rupture avec la réalité, crise identitaire et perte de sens de l'univers caractéristiques à l'époque postmoderne, profanisation graduelle de l'espace urbain. Dans ce contexte difficile troublé encore plus par des prévisions alarmistes de l'avenir proche, l'homme contemporain exorcise ses peurs à travers les œuvres fantastiques, il s'invente des monstres pour arriver à supporter le quotidien. Pourtant, l'intrusion de la Surnature ou de l'étrange dans l'espace urbain moderne se rapproche du besoin que les sociétés traditionnelles avaient pour la présence du sacré dans leurs univers. A travers l'œuvre de trois écrivains, Mircea Eliade, Jean Ray et H.P. Lovecraft, l'espace urbain profane devient paradoxalement l'espace fantastique par excellence et le désenchantement du monde moderne se trouve confronté aux anciennes et nouvelles croyances simultanément. Ainsi, l'effet de fantastique urbain revalorise les aspects du sacré et permet des incursions analytiques interdisciplinaires, oscillant entre la littérature et l'histoire des religions.

This dissertation follows the activism of Korean students in New York City and the trajectory of their American education as it applied to Korea’s colonization under the Empire of Japan. As a focused historical account of the educational experiences of Korean students in New York from 1907 to 1937, this dissertation uses archival evidence from their associations, correspondence, publications, and the institutions they studied at to construct a transnational narrative that positions the Korean students operating within and outside the confines of their colonial experience. The following dissertation answers how the Korean students applied their American education and experiences to the Korean independence movement, and emphasizes the interplay of colonization, religion, and American universities in contouring the students’ activism and hopes for a liberated Korea.

碩士
國立中央大學
藝術學研究所
105
With the integration of Chinese and Western cultures in early Shanghai in the Republic of China, large numbers of foreign magazines, clothing companies, and foreign-funded textile factories affected the diversity of Shanghai fashion. As Chinese and Western clothing styles were blended, many costume pictures appeared in printed materials. Artists were being engaged by apparel companies to arrange costume pictures in different publications. They cleverly used fashion illustrations in clothing ads, feminine care products, accessories, and other advertising on the same page to cause readers to purchase them. The main idea of this thesis is about Ye Qianyu’s fashion prints before 1937, including Three day pictorial(Sanri huabao), The Young Companion, Shanghai Sketch(Shanghai manhua), Modern Miscellany(Shidai), and Ling Long Women’s Magazine. These fashion prints not only recorded the changes of Ye Qianyu’s concepts of clothing design but also showed the association of women's clothing and Western outfits. It even pulled out the discussion of the position of fashion designers. Chapter1 focuses on the early experiences of Ye Qianyu, discusses the family and the education that gave him the root of art, and explains his painting techniques and styles. The analyses begin from his earlier Three day pictorial(Sanri huabao) and The Young Companion, including screen character modeling, gestures, and fashion detail comparison. The second chapter goes to Shanghai Sketch (Shanghai manhua) on fashion prints. Because of the large number, I divide them into qipao, coat, and dress for detailed analyses. Discussions focus on the overall atmosphere of the picture to create a contrast with the attitude of the character. During this period, costume paintings are like shop windows, giving the viewer more imagination and a greater longing for clothing. Based on Modern Miscellany(Shidai), published by Shanghai Sketch (Shanghai manhua), and the clothing painting which Shanghai Garment Research Institute published in the Ling Long Women’s Magazine, Chapter 3 shows this period of clothing painting focused more on clothing proofing than on clothing advertising painting, serving mostly the middle-class or socialites. Ye Qianyu’s fashion prints at each stage of development show he was a unique figure in the fashion prints.

The present work “Self-portrait and self-representation: variations on a theme” addresses the issue of self-representation in art through the creation of a series of drawn self-portraits. The project has an investigative character, and the drawings were developed in series from the exploration of varied techniques and materials, sometimes traditional, sometimes less conventional. The creative process focused on making selfportraits using a mirror, an indispensable item that allows us to observe our face directly. The drawings created from the reflection’s observation were transformed throughout the development process of the series, enabling the discovery of new representational forms that deviate from the mimetic reproduction of the mirror image. The way the face was represented went through major changes throughout the development of the self-portraits. The use of chance in the creation of accidental stains contributed to a more freely and subjective graphic registration, avoiding the more objective figurative representation of the face. From experiences with various tools and techniques, it was possible to find new answers that increased the exploration of structural elements of the drawing’s graphic language with stains, strokes, textures or color. The project presents a theoretical research related to the theme in question, and a practical part that reports the experiments performed during the development of the work, as well as the results obtained from the artistic research. The first two parts focus on the study of the emergence of self-portrait in art history; the concept of self-representation, especially in modern and contemporary art; in the theoretical study concerning the creation of serial drawings; and in approaching the issue of variation of the same theme in artistic practice. The third and last part focuses on the practical work, ie the process of creating the self-portraits.