Relevant bibliographies by topics / 1925-1936

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

Academic literature on the topic '1925-1936'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "1925-1936"

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Rieber, Alfred J., Lars T. Lih, Oleg V. Naumov, Oleg V. Khlevniuk, Catherine A. Fitzpatrick, Robert C. Tucker, and L. Kosheleva. "Stalin's Letters to Molotov 1925-1936." American Historical Review 101, no. 5 (December 1996): 1585. http://dx.doi.org/10.2307/2170277.

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David-Fox, Michael, Lars Lih, Oleg V. Naumov, Oleg V. Khlevniuk, Catherine A. Fitzpatrick, and Stalin. "Stalin's Letters to Molotov, 1925-1936." Russian Review 55, no. 2 (April 1996): 335. http://dx.doi.org/10.2307/131855.

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Lalana Soto, José Luis. "Reseña del libro: “Las primeras autopistas españolas (1925/1936)”." Ciudades, no. 11 (December 1, 2017): 283. http://dx.doi.org/10.24197/ciudades.11.2008.283-287.

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Кан, Валерия Сергеевна. "Этапы радиофикации в Тувинской Народной Республике (1925–1944 гг.)." New Research of Tuva, no. 3 (September 5, 2020): 111–27. http://dx.doi.org/10.25178/nit.2020.3.8.

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В статье впервые предпринята попытка выделить и охарактеризовать этапы радиофикации в Тувинской Народной Республике с 1925 по 1944 гг. Анализ документов федеральных российских архивов и Национального архива Республики Тыва, в том числе впервые вводимые в научный оборот, позволил выявить достижения и сложности на каждом этапе. На первом этапе (1925–1936) были подготовлены условия для радиофикации ТНР. Намерение установить радиотелеграфный обмен для установки бесперебойной связи с ТНР прописано в Соглашении об установлении дружественных отношений с СССР. В 1925 г. в Кызыле заработала электростанция, с 1929 г. велась подготовка кадров связи в СССР. В 1930 г. на почте Кызыла принимали советские передачи, в 1932 г. — сводки погоды. В 1932 г. Главное управление связи начало подготовку с целью радиофикации. В 1934 г. СССР предоставил Туве коротковолновую радиостанцию мощностью 1 кВт, в 1935 г. доставил и в 1936 г. установил ее. Предоставление радиостанции слабой мощности из-за дефицита финансовых средств и радиоматериалов в СССР ограничит возможности радиофикации республики. На втором этапе (1936–1941) система радиовещания функционировала, но нестабильно. 6 и 7 июля 1936 г. были проведены радиоконцерты, а первый раз в эфир официально вышли в августе 1936 г. В 1939 г. Управление связи, получив статус министерства, укомплектовало штат радиоспециалистами и ускорило радиофикацию районных центров. К концу 1930-х гг. с завершением строительства станции в Кызыле радио регулярно слушали в столице и близлежащих районах. На третьем этапе (1941–1944 гг.) система радиовещания была укреплена. 8 июля 1941 г. при Совете Министров ТНР был учрежден Радиокомитет, в 1944 г. — Радио-Телеграфное агентство ТНР. Сформирована республиканская радиосеть из 5 радиостанций и 11 радиоузлов Радиосеть ТНР послужила основой для формирования системы радиовещания Тувинской автономной области, получившей динамичное развитие в 1944–1961 гг.
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Tsend, D. "RESEARCH OF WOMEN'S MAGAZINES COVERS IN MONGOLIA FROM 1925 TO 1936." Вестник Восточно-Сибирского государственного института культуры 176, no. 1 (2020): 33–37. http://dx.doi.org/10.31443/2541-8874-2020-1-13-33-37.

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Richter, Jochen. "Pantheon of Brains: The Moscow Brain Research Institute 1925–1936." Journal of the History of the Neurosciences 16, no. 1-2 (February 22, 2007): 138–49. http://dx.doi.org/10.1080/09647040600550335.

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Salas-Alvarez, Jesús. "Manuel Camacho Moreno, Arqueología, museo y sociedad. Juan Lafita y el Museo Arqueológico de Sevilla. La etapa 1925-1936." SPAL. Revista de Prehistoria y Arqueología de la Universidad de Sevilla 1, no. 30 (2021): 340–44. http://dx.doi.org/10.12795/spal.2021.i30.14.

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Recensión de la obra de Manuel Camacho Moreno, Arqueología, museo y sociedad. Juan Lafita y el Museo Arqueológico de Sevilla. La etapa 1925-1936. Sección Historia, Serie 1ª, nº 80. Sevilla, Diputación Provincial, 2018, 215 páginas con ilustraciones. ISBN 978-84-7798-425-2
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JENDEK, EDUARD. "Taxonomic and nomenclatural notes on the genus Agrilus Curtis (Coleoptera: Buprestidae: Agrilini)." Zootaxa 1073, no. 1 (November 1, 2005): 1. http://dx.doi.org/10.11646/zootaxa.1073.1.1.

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The following taxonomic or nomenclatural changes are proposed: Agrilus acastus Kerremans, 1913 (= ohbayashii Tôyama, 1987 syn. nov.); A. adonis Deyrolle, 1864 (= falsulus Obenberger, 1924 syn. nov.); A. albopunctatus Deyrolle, 1864 (= nepos Kerremans, 1900 syn. nov.); A. angustulus (Illiger, 1803) (= laeticeps Semenov, 1890 syn. nov.); A. basilewskyanus Descarpentries & Villiers, 1963 correct original spelling; A. birmanicus Kerremans, 1892 (= legitimus Obenberger, 1936 syn. nov.); A. cairnensis Obenberger, 1959 correct original spelling (= cairnsensis Curletti, 2001 unjustified emendation syn. nov.); A. chekiangensis Gebhardt, 1929 (= semivittatus Tôyama, 1985 syn. nov.); A. confutus Obenberger, 1936 (= conjectus Obenberger, 1936 syn. nov.); A. convergens Fisher, 1930 (= japanensis Obenberger, 1935 syn. nov.); A. croaticus Abeille de Perrin, 1897 (= serbicus Obenberger, 1927 syn. nov.); A. cyanipennis Gory & Laporte, 1837 (= ornativentris Saunders, 1866 syn. nov.; = agilis Kerremans, 1894 syn. nov.; = amabilicolor Obenberger, 1936b syn. nov.); A. decoloratus decoloratus Kerremans, 1892 (= afghanistanicus Alexeev in Alexeev, Volkovitsh & Kabakov, 1992 syn. nov.); A. dignus Kerremans, 1912 (= csikii Gebhardt, 1925 syn. nov.; = kayan Fisher, 1930 syn. nov.); A. discicollis Deyrolle, 1864 (= punctiventris Kerremans, 1900 syn. nov.); A. ecarinatus Marseul, 1866 (= gracilicornis Ganglbauer, 1890 syn. nov.); A. erythrostictus Bourgoin, 1922 (= barmensis Obenberger, 1936 syn. nov.); A. fleischeri Obenberger, 1925 (= kurosawai Obenberger, 1940 syn. nov.; = tscherepanovi Stepanov, 1954 syn. nov.); A. lineariformis new replacement name (= lineatus Kerremans, 1899 syn. nov.); A. maculiventris Deyrolle, 1864 (= opulentus Kerremans, 1900b syn. nov., = woodlarkianus Kerremans, 1900c syn. nov., = viridissimus Cobos, 1964 syn. nov.); A. marginicollis Saunders, 1873 (= beppuensis Obenberger, 1936 syn. nov.); A. moerens Saunders, 1873 (= araxicola Abeille de Perrin, 1897 syn. nov.); A. monogrammus Thomson, 1879 (= kabakovi Alexeev in Alexeev,Volkovitsh & Kabakov, 1992 syn. nov.); A. ocularis Deyrolle, 1864 (= bidentellus Obenberger, 1924 syn. nov.); A. paganettii Obenberger, 1913 (= pisanus Curletti, 1980 syn. nov.); A. perniciosus Deyrolle, 1864 (= perniciosus Obenberger unavailable name, = subperniciosus Obenberger, 1936 unavailable name); A. perviridis Kerremans, 1894 (= singaporensis Obenberger, 1924 syn. nov.); A. quadrisignatus Marseul, 1866 (= mongoliae Obenberger, 1922; = lama Obenberger, 1935 syn. nov.); A. sospes Lewis, 1893 (= kinoshitae Obenberger, 1936 syn. nov.; = quadristictulus Oben-
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Popovic, Ivan. "Structural changes in accommodation capacity of Nis Spa in the period between the two world wars." Glasnik Srpskog geografskog drustva 86, no. 1 (2006): 257–65. http://dx.doi.org/10.2298/gsgd0601257p.

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After a brief introduction on some previous studies of the accommodational capacities of Nis Spa, an analysis has been made of smaller and greater changes which occurred, in its various accommodational structure during five-year phases (1921-1925, 1926-1930, 1931-1935 and 1936-1940) of the two-decade interwar period (1921-1940).
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Rossouw, Martin P. "Mr K meets Modern Times: Intertextual closure in La Vis." Short Film Studies 11, no. 1 (January 1, 2021): 31–35. http://dx.doi.org/10.1386/sfs_00026_1.

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Among the many functions that the doppelgänger-twist in La Vis fulfils, it also stages a convergence of the film’s two most self-conscious influences – Kafkaesque bureaucracy in The Trial (1925) and The Castle (1926); and Charlie Chaplin’s Modern Times (1936) – in which Mr K comes face-to-face with the Tramp.
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Dissertations / Theses on the topic "1925-1936"

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Aldridge, Mark Peter Alfred. "British television, 1925-1936 : attitudes and expectations." Thesis, University of Southampton, 2008. https://eprints.soton.ac.uk/344528/.

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This thesis assesses attitudes towards, and expectations of, British television between 1925 and 1936. This covers the period from the first public demonstration of an early form of the technology until the official launch of a full high-definition BBC service. The assessment is achieved via an analysis of four key factors. Chapter One covers the first of these, the private individuals working on television, with an emphasis on the publicity-hungry efforts of John Logie Baird. The second chapter investigates the public institutions, most particularly the BBC and the Post Office, which would eventually be of great importance to television’s ongoing development. Chapter Three covers the reporting of the developments in television by the popular press, allowing us to gain an insight into broader attitudes towards television. The final chapter considers the content of the first official broadcasts, which demonstrate how television was ultimately implemented. The study argues that television’s development was not pre-determined, and that its placement under the control of the BBC as a part of its public service broadcasts was not inevitable. This forms part of the wider question of what was expected from television, and how people’s attitudes toward it changed. This is answered through use of new empirical research, based on original documentation and an extensive survey of press reports. The findings of this research question many presumptions about early television’s development and the subsequent pre-war service. This study’s conclusions demonstrate how fluid the medium was in its early years, and that pre-war programming requires close analysis so as to more clearly demonstrate that television as seen in this period was distinct from later eras that have been more heavily researched and assessed.
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Richard, Picchi Anne-Isabelle Gijsbregtje Claire Frederieke Sophie Valérie. "Colonialism and the European movement in France and the Netherlands, 1925-1936." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609320.

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Matsumura, Misako. "Abe Tomoji, Japanese modernist novelist as social critic and humanist, the early years (1925-1936) /." Connect to resource, 1998. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1176215501.

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Aguila, Jésus. "Histoire du Domaine musical (1953-1973) : la pensée boulézienne et son institutionnalisation." Paris 4, 1991. http://www.theses.fr/1990PA040136.

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Étude historique sur le "Domaine musical", association française spécialisée dans la diffusion des compositions contemporaines de provenance internationale, créée par P. Boulez en 1953 et reprise par G. Amy jusqu'en 1973. Permet d'observer l'intégration de l'innovation musicale dans la société française : réactions du public, attitude des critiques et des média, soutien financier du mécénat privé, hostilité puis aide de l'état. Mise en relation de la pensée compositionnelle de Boulez avec ses activités de chef d'orchestre et d'organisateur de concerts. L'étude de l'esthétique de Boulez à travers ses choix de programmes permet de situer sa pensée par rapport aux principaux compositeurs joués : Schönberg, Gerg, Webern, Stravinsky, Varese, Bartók, Messiaen, Stockhausen, Pousseur, Berio, Kagel, Boucourechliev, Nono, Maderna, Henze, Barraqué, Xenakis, Cage, Amy, Eloy, Bussotti, etc. Evaluation de la fidélité de G. Amy à la pensée de son prédécesseur tout en acceptant des orientations esthétiques divergentes. Parenté entre le domaine musical et l'IRCAM-EIC. En annexes : programmes, textes inédits de Pierre Boulez et références d'articles de presse classes par concert
A historical study of the "Domaine musical", a French association specialized in the performing of contemporary compositions from international origin, created by Pierre Boulez in 1953 and pursued by Gilbert Amy between 1967 and 1973. Allows to observe the integration of musical innovation into French society: reactions of the public, attitude of the critics and the media, financial support of private patronage, hostility of the state, followed by national assistance. Relationship between Boulez' compositional thought and his activity as a conductor and a promoter of concerts. Study of Boulez' aesthetics through the choice of programs which allows to define his thought as regards the main performed composers : Schonberg, Berg, Webern, Stravinsky, Varese, Bartok, Messiaen, Stockhausen, Pousseur, Berio, Kagel, Boucourechliev, Nono, Maderna, Henze, Barraqué, Xenakis, Cage, Amy, Eloy, Bussotti, etc. Appraisal of G. Amy' s faithfulness to his predecessor's ideas while accepting divergent aesthetic orientations. Connection between the Domaine musical and the IRCAM-EIC. In appendix, unpublished writings by Pierre Boulez and references of articles in the press classified according to concert
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Girardi, Clément. "Le Morceau de sucre et la fleur de papier. Écrire avec et contre Bergson, 1890-1940." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL063.

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Nous considérons quelques écrivains et critiques littéraires chez qui la lecture de la philosophie d'Henri Bergson, du vivant de celui-ci, a fait naître une réflexion intense et rigoureuse quant à sa signification et à son avenir. Charles Péguy, Marcel Proust, Jacques Rivière, Albert Thibaudet et Jean Paulhan – l'antibergsonien Julien Benda leur servant de contrepoint – éprouvent la nécessité de contester la quiétude de Bergson ou la manière qu'il a de refermer son problème. Ils restent néanmoins fidèles à ce problème, apparaissant dès lors surtout soucieux de recommencer le bergsonisme, de repartir de sa table rase. Bergson leur semble trahir inconsciemment ses propres principes : soit qu'il échoue à faire attention aux découpages propres du réel et qu'il cède à de faux problèmes, soit qu'il cède plutôt à de fausses solutions et laisse ses lecteurs dans l'incertitude, initiant malgré lui une « crise de la durée ». Ils ont le sentiment de pouvoir être bergsoniens mieux que Bergson, indissociablement avec et contre lui. Il leur semble surtout que l'accomplissement du bergsonisme comme philosophie ne puisse se faire que dans une œuvre de littérature : soit qu'ils trouvent dans Bergson une théorie inattendue de l'urgence d'écrire, soient qu'ils voient dans la littérature, notamment romanesque, la réalisation vraie de l'intention bergsonienne, ou le moyen d'atteindre une philosophie enfin durable. L'heure n'est plus à mettre la vérité du morceau de sucre dans sa dissolution, mais bien à laisser l'eau du temps gonfler les arêtes de la fleur de papier japonais – et refaire d'elle l'occasion de retrouvailles, de soi avec soi et de soi avec tous les autres
I consider a few literary writers and critics whose reading of Henri Bergson's philosophy was careful and passionate enough to make them reflect on its true meaning and possible future. Each in their own way, Charles Péguy, Marcel Proust, Jacques Rivière, Albert Thibaudet and Jean Paulhan – Julien Benda working here as a counterpoint – needed to criticize Bergson's tranquillity and rejected part of the solutions he offered. They nevertheless stayed true to his fundamental problem, thus offering more of a new beginning to bergsonism than a condemnation. They felt that Bergson unconsciously betrayed his own principles: either because he failed to pay attention to the true divisions of reality and was led to the formulation of fake problems, or because he accepted fake solutions on the contrary, and therefore left his readers in distress. In the latter case, they argued, the philosophy of duration did nothing but increase the destructive effect of time. They felt that they could be better bergsonians than Bergson. More importantly, they came to the idea that bergsonism as a philosophy could only be accomplished within the pages of a literary work. Some discovered in Bergson an unexpectedly positive theory of language. Some saw in the writing of novels the true realization of Bergson's intention. Others understood literature as the only way to escape the anguish created by philosophy and to slow down the pace of history. The truth of sugar lies not in its dissolving, unlike Bergson suggested, and one should rather let the water of time swell the edges of Proust's flower of japanese paper. In it lies the possibility of finding oneself again, as well as regaining a community
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Dufourg, Frédéric. "Le voyage comme quête d'absolu chez quelques autres contemporains." Bordeaux 3, 1995. http://www.theses.fr/1995BOR30028.

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Des auteurs representatifs chacun d'une tendance et tous de la meme generation, francois-rene daillie, allen ginsberg, claude pelieu et kenneth white ecrivent des oeuvres ou le voyage tient une grande part. Si ces auteurs expriment des tendances distinctes, ils s'apparentent neanmoins par leurs influences en rejetant le rationalisme productiviste gerant notre vision de l'espace. Les oeuvres de certains refletent le malaise des annees 60 et 70 qui predispose au voyage et repandent des idees sur l'ecologie, la liberation sexuelle, sur la societe de consommation et critiquent une politique qu'ils disent spectaculaire et repressive,. Dans l'ensemble, ils montrent une societe qui genere, disent-ils, une mauvaise relation avec l'espace naturel et dont la guerre du viet-nam est l'illustration. Ces poetes possedent une perception globale d'un monde non-cloisonne. Ressentant une crise d'identite, ils se lancent alors dans une quete ontologique. La modernite, ressentie par certains comme une corruption, est rejetee en faveur de valeurs plus archaiques. Leur recherche d'un absolu se fait a travers des experiences avec des psychotropes mais aussi a travers l'ecriture, souvent influencee par le bouddhisme. Les poetes-voyageurs trouvent leur identite dans une osmose erotique avec le monde. L'investigation d'un nouvel espace les renvoie a eux-meme vers leurs experiences matricielles. Le voyage deviendrait un non-voyage s'il n'etait pas l'expression d'un desir d'alterite comme miroir. Le poete-voyageur est impressionne par un paysage quand celui-ci correspond a un espace anterieur qui aurait laisse des traces dans son psychisme. Le bonheur de l'espace n'existe donc qu'avec l'imagination ou le souvenir des sensations primordiales
Some writers, each representative of a particular trend but all belonging to the same generation - francois-rene daillie, allen ginsberg, claude pelieu and kenneth white write works where travelling plays an important part. While these authors all express distinct trends, they have certain similarities through their influences and in that they reject the productivist rationalism which conditions our vision of space. The works of some of them reflect the feeling of ill-being of the sixties and seventies which predisposed to travelling, spread ideas on environnementalism, sexual liberation, the consumer society and criticize what they term spectacular and repressive policies. Altogether, they all depict a society generating, they say, bad relations with our natural environment, examplified by the vietnam war. These poets share a global perception of a non-compartimentalized world. Undergoing an identity crisis in their own countries, they set off on an ontological quest. Modernity, then felt by some as a form of corruption, is rejected for more archaic values. Their search for an absolute is carried out through the use of psychotrops but also through writing, often influenced by buddhism. The poet-traveller discovers his self in a sometimes erotic osmosis with the world. Investigating this new space makes them go back to their experiences of the womb. Travelling would be of no avail if it was not also the expression of a powerful desir for otherness, a mirror for the self. This is the price to pay for experiencing the enjoyment of space. The poet-traveller is impressed by a landscape when it corresponds to a former space that would have left traces in his mind. Therefore, the enjoyment of space can only occur through imagination or memories of primeval sensations
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Bassuel-Lobera, Cécile. "Poésie plastique et plastique scénique : la dimension visuelle de théâtre de Fédérico Garcia Lorca (1925-1931)." Paris 3, 2007. https://tel.archives-ouvertes.fr/tel-01503813.

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Cette étude se propose d’analyser la dimension visuelle de trois pièces de Federico García Lorca, écrites entre 1925 et 1931 : Amor de don Perlimplín con Belisa en su jardín, El Público et Así que pasen cinco años. Partant des liens privilégiés qui ont uni le théâtre et les arts plastiques – particulièrement la peinture –, dès le milieu du XIXe siècle, je resitue l’Espagne dans le contexte culturel européen cosmopolite des années 20. Je m’intéresse aux relations que cet artiste protéiforme entretient avec les arts et les artistes de son époque, ainsi qu’aux diverses influences qu’il reçoit et qui ransparaissent autant dans les thèmes que dans la conception plastique de ses pièces. Baroque et Rococo, Symbolisme, Expressionnisme et Surréalisme s’interpénètrent et se répondent, dans des oeuvres qui stimulent sans cesse l’imagination du lecteur et du spectateur, activement associés au processus de création. Véritable « poésie plastique », comme Lorca se plaisait lui-même à la définir, son écriture dramatique devient le lieu de toutes les analogies, un lieu propice à la fusion des sensations et des émotions au coeur même des mots, l’écran de projection d’une multitude d’images, poétiques et plastiques, dont la fonction semble bien être de nous faire accéder aux mystères insondables de l’Homme. Mais Lorca ne se limite pas à une rénovation du théâtre par le texte. Dans la lignée de metteurs en scène de premier plan comme Appia, Craig, Copeau, Meyerhold et Artaud, c’est par l’utilisation de l’espace, de la lumière et par le jeu de l’acteur, par tous les moyens plastiques à sa disposition sur scène, qu’il réconcilie le verbe et le corps
This study aims to analyze the visual dimension present in three plays written by Federico García Lorca between 1925 and 1931: Amor de don Perlimplín con Belisa en su jardín, El Público and Así que pasen cinco años. Taking as a point of departure the aspects that linked theatre and plastic arts (particularly that of painting) from the mid nineteenth century, an attempt is made to resituate Spain in the vaster cosmopolitan European cultural context of the Twenties. The study is also concerned with the relationships wraught by this versatile writer with the different arts and artists of the period, as well as with the diverse influences that he received and that can be seen not only at a thematic level but also in the plastic conception of his plays. Baroque and rococo, symbolism, expressionism and surrealism interact and respond to one another in works that constantly stimulate the reader or spectator’s imagination, actively linked to the creative process. Veritable « plastic poetry », as Lorca himself liked to call it, his dramatic writings become the place to which all analogies converge, a propitious place for the fusion of sensations and emotions at the very heart of the words he employs; a screen where an infinite number of images are projected, both poetic and plastic, whose function seems to be that of allowing us to fathom the deepest mysteries of Man. But Lorca does not stop at the renovation of the theatre by way of the text. In the line of stage managers of renown such as Appia, Craig, Copeau, Meyerhold and Artaud, it is by way of the use of space, of lighting, of the actors performance, and by all the other means at his disposal, that he is able to reconcile the body with the verb
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Fernández, Cardona Sergio. "Modelos estéticos y narrativos en la obra de Ignacio Aldecoa." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/671455.

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La presente investigación ofrece un primer acercamiento al estudio de la obra de Ignacio Aldecoa desde un enfoque comparativo con el que se pretende demostrar la relación de la narrativa aldecoana con los que consideramos algunos de sus principales modelos: Ramón del Valle-Inclán y Pío Baroja. De cada uno de ellos, y siempre utilizando su propio punto de vista personal y artístico, Ignacio Aldecoa toma aquellos elementos que le permiten, como testigo veraz y auténtico de un tiempo y un lugar durante algunos de los años más difíciles de la historia de España, plasmar en su literatura una serie de vidas humildes, injustas y vacías. En Valle-Inclán aprendió cuestiones de estilo y de técnica narrativa, además de, en algunos momentos de su obra, modelos estéticos; en Baroja, que los espacios más bajos de la sociedad podían ser los absolutos protagonistas de cualquier obra literaria, y que podía poblarse un cuento o una novela con los tipos o personajes más humildes y marginales.
The present research offers a first approach to the studies of Ignacio Aldecoa’s works from a comparative perspective in which we pretend to demonstrate the connection between the Aldecoan narrative with those whom we consider to be his main models: Ramón del Valle-Inclán and Pío Baroja. From every one of them, and always using his own personal and artistic point of view, Ignacio Aldecoa takes those elements that allow him, as a truthful and genuine witness of a time and a place during some of the most difficult times of Spain’s history, to portray in his literature a series of poor, unfair and empty lives. In Valle-Inclán he learnt style and narrative technique issues, in addition to, in some moments of his works, aesthetic models; in Baroja, that the lowest places of society could become the absolute protagonists of any literary work, and that any tale or novel could be populated with the poorest and most disadvantaged types and characters.
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Bosman, Maria Elizabeth. "Op hom die groot hosannas : enkele aspekte van die modern Christelike poësie in Afrikaans." Thesis, Rhodes University, 1989. http://hdl.handle.net/10962/d1002089.

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This study is concerned with modern Christian poetry in Afrikaans. Afrikaans poetry, which initially carried the clear stamp of the Afrikaner's Calvinistic view of life, gradually assumed a new image to the extent that it could no longer be recognised as religious and specifically Calvinistic poetry. To the contrary, modern Afrikaans Christian poetry is the expression of a contemporary conceptualisation of the very same gospel. The occasional violent reaction especially of conservative institutions to so called "unchristian" modern poetry in Afrikaans during the past three decades, has prompted this study which attempts to illustrate that modern Afrikaans poetry still exhibits a strong Christian element. The essential qualities of contemporary Christian poetry in Afrikaans are illustrated in the discussion of the works of particular leading Afrikaans poets. Chapter 3 attempts to indicate a transitional stage between traditional and modern Christian poetry by means of an overview of the latest tendencies and approaches, with brief references to the recent poetry of the Louws, the poetry of Peter Blum as the initial exponent of the poetry of the Sixties, and the poetry of Ina Rousseau. The work of Sheila Cussons, eminent Roman Catholic (and thus also Christian) poet who is probably the most impressive contemporary exponent of metaphysical/mystic poetry in Afrikaans, is discussed in chapter 4. Chapter 5 illustrates the traditional Calvinistic Christian point of view and Christian experience as represented in the poetry of I.L. de Villiers. The poetification of the ministry adds new dimension to religions poetry in Afrikaans. Chapter 6 constitutes a discussion of the works of T.T . Cloete, the most significant contemporary Reformed poet in Afrikaans indicating the extent to which the many related facets embodied in his poetry consistently reflect a Christian attitude and are unified in and encompassed by the principle of Soli Deo Gloria. Chapter 7, by way of conclusion, reviews the religious poetry of Lina Spies and Petra Müller who write accessible popular poetry, nevertheless exploring interesting references. In conjunction with the poetry of Ina Rosseau, this poetry represents a contribution to modern Afrikaans religious poetry from a feminine point of view
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Lacoste, Frédéric. "L'oiseau dans la poésie de Saint-John Perse, Kenneth White et Philippe Jaccottet : une pensée analogique au service du mystère." Bordeaux 3, 2006. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2006BOR30021.

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La question de l'oiseau dans la poésie contemporaine se pose avec une certaine évidence. Impossible, semble-t-il, d'ouvrir un recueil de poèmes sans tomber à de nombreuses reprises sur des références explicites à l'oiseau : à son vol bien sûr, mais aussi à son chant, à sa présence discrète mais permanente. Comment expliquer cette re��currence dans la production contemporaine ? Et qu'est-ce qui constitue la singularité de l'oiseau dans le règne animal ? Après avoir justifié le rapprochement des trois poètes de notre corpus, nous avons fondé notre travail selon des perspectives analogiques et transdisciplinaires. Renouant à un certain degré avec la mystique médiévale, la poésie cherche les frontières de l'homme dans l'univers-macrocosme. L'oiseau, qui semble une limite ultime pour le psychisme humain, nous permet de redéfinir l'animalité selon un principe de "consanguinité" (Saint-John Perse). Contre la propension moderne à l'émiettement, au dispersé, au catalogique, cette pensée analogique à l'œuvre dans la production poétique de nos auteurs, cherche à reconstituer la trame et à "recoudre l'univers". La dimension métaphysique, souvent non revendiquée chez nos poètes, reste ainsi constamment sous-jacente. Au-delà d'une lecture du réel qui s'appuie sur la précision de la science, une "autre dimension", proche de l'Ouvert rilkéen, imprègne leurs œuvres. L'oiseau, à travers les motifs du vol et du chant, dessine alors les contours d'une poétique liée à la modernité esthétique
The question of the bird in contemporary poetry seems to be obvious. It's really impossible to open a collection of poems without seeing lots of explicit references to the bird : his fly, his singing, and his discreet but permanent presence. How to explain this recurrence in contemporary production ? And what's the foundation of the bird's particularity in the animal kingdom ? After justifying the connection of the three poets of our corpus, we based our work on analogical and transdiciplinary viewpoints. Reviving the medieval mysticism, poetry looks for the limits of human nature in the world-macrocosm. The bird, that seems the last limit for the human psychism, allows us to redefine animality in accordance with a principle of "consanguinity" (Saint-John Perse). Against the modern proclivity to dispersion and catalogue, this analogical thought circulating in the poems of our authors, wants to reconstruct the weft, to "sew up the universe". The metaphysical dimension, that is not often clearly claimed by our poets, is always underlying. Beyond a description of the real world, that is leaning on the precision of the science, another dimension, verging on rilkean "Ouvert", impregnates their works. The bird, through the patterns of the flight and the singing, draws the lines of poetics linked by aesthetic modernity
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Books on the topic "1925-1936"

1

Miguel, Pardeza Pichardo, ed. Obra periodística, 1925-1936. [Madrid, Spain]: Fundación Cultural MAPFRE Vida, 2002.

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Stalin, Joseph. Stalin's letters to Molotov, 1925-1936. New Haven: Yale University Press, 1995.

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Stalin, Joseph. Stalin's letters to Molotov, 1925-1936. New Haven: Yale University Press, 1995.

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Lázaro, Francisco Javier Rodríguez. Las primeras autopistas españolas (1925/1936). Madrid: Colegio de Ingenieros de Caminos, Canales y Puertos, 2004.

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Intifāḍat Ṣāṣūn: Āl ʻAlī Yūnus, 1925-1936. Dimashq: [s.n.], 1995.

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Kertész, André. André Kertész in Paris: Photographien 1925-1936. München: Schirmer/Mosel, 1992.

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Hougland, Margaret W. Washington County, Tennessee, death records, 1925-1936. Johnson City, TN: Watauga Association of Genealogists--Northeast Tennessee, 2009.

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Gurevich, Stella Davidovna. Leningradskoe kinovedenie. Zubovskiĭ osobni︠a︡k 1925-1936: Istoriko-kriticheskiĭ ocherk. Sankt Peterburg: Rossiĭskiĭ in-t istorii iskusstv, 1998.

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Lluch, Carles. La novel·la catòlica a Catalunya: Precedents teòrics, (1925-1936). [Barcelona]: Editorial Cruïlla, 2000.

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Hall, Cristóbal. Cartas de Cristóbal Hall a Jorge Guillén (1925-1936). [Murcia]: Ramón Gaya, 1992.

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Book chapters on the topic "1925-1936"

1

Ramos do Ó, Jorge. "Dewey on Lima or the Social Prosthesis in the Construction of the New Education Discourse in Portugal (1925–1936)." In Inventing the Modern Self and John Dewey, 111–32. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403978417_5.

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"DELEUZE, GILLES (1925–1995) AND GUATTARI, FÉLIX (1936–1992)." In Cultural Theory: The Key Thinkers, 39–43. Routledge, 2005. http://dx.doi.org/10.4324/9780203996423-18.

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Hübner, Klaus. "„Der junge Jurist“ – eine Beilage der Deutschen Juristen-Zeitung 1925 - 1936." In Recht im Dialog, 57–65. Nomos Verlagsgesellschaft mbH & Co. KG, 2013. http://dx.doi.org/10.5771/9783845247311-57.

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"Economic Relations Between the Soviet Union and China in 1925-1936." In History of Economic Relations between Russisa & China, 164–201. Routledge, 2017. http://dx.doi.org/10.4324/9780203789995-6.

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"D. W. HARDING, T. S. Eliot, 1925-1935, 'Scrutiny', September 1936." In T.S. Eliot Volume I, 379–83. Routledge, 2012. http://dx.doi.org/10.4324/9780203444818-105.

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Branciard, Laetitia. "Diffusion de l’art espagnol contemporain en Europe : 1925-1936, la mobilisation de l’avant-garde madrilène." In Un art sans frontières, 123–32. Éditions de la Sorbonne, 1995. http://dx.doi.org/10.4000/books.psorbonne.443.

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Cassiers, Isabelle. "Managing the Franc in Belgium and France: The Economic Consequences of Exchange‐Rate Policies, 1925–1936." In Banking, Currency, and Finance in Europe Between the Wars, 214–36. Oxford University Press, 1995. http://dx.doi.org/10.1093/0198288034.003.0008.

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McLoughlin, Kate. "Three War Veterans Who Don’t Tell War Stories." In The First World War. British Academy, 2018. http://dx.doi.org/10.5871/bacad/9780197266267.003.0002.

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Veterancy is a natural figure for the kind of wisdom-through-experience that is purveyed, as Walter Benjamin noted in ‘The Storyteller’ (1936), through traditional storytelling. But these three veterans have been stupefied by their experiences in mass, industrial, globalized war – William Wordsworth’s ‘Discharged Soldier’ in the French Revolutionary Wars, Rebecca West’s Chris Baldry (The Return of the Soldier (1918)) and Virginia Woolf’s Septimus Warren Smith (Mrs Dalloway (1925)) in the First World War. Consequently, they are unable to process their experiences into communicable wisdom – a different thing from being able to describe them. Those who encounter these veterans (and this includes the texts’ readers) may feel sadness or anger at their plight. But, though there is affect, there is no empathy, whether through body or mind. All that remains is to look upon these unfathoming, unfathomable characters with consternation.
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"7.3 „Fridericus“ 1925–1927." In Werner Hegemann (1881-1936), 566–614. De Gruyter Saur, 2005. http://dx.doi.org/10.1515/9783110951356.566.

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Zogry, Kenneth Joel. "Crack-Brained Professors and Baby Radicals." In Print News and Raise Hell. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469608297.003.0003.

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This chapter chronicles the student newspaper’s evolution to an on-campus daily publication in the 1920s, and how it rapidly professionalized and became both a critical laboratory for aspiring journalists, and helped to push for the creation of a school of journalism at UNC. The chapter also discusses causes the paper fought for or against, including defeat of the 1925 anti-evolution teaching bill in the state legislature, promotion of labor unions and rights in North Carolina’s mills and factories, and freedom for the students to have speakers on campus of all political persuasions. The chapter examines the universities growing reputation as a liberal institution, both in the classical sense and politically, and the beginnings of state politicians and media to question these issues, most notably David Clark. The first attempt to racially integrate the school, by Pauli Murray, is examined. Other topics covered include the Great Depression, the major university cheating scandal of 1936, the burning of all issues of a campus humor magazine considered indecent in 1939, and the anti-war sentiment at UNC, 1939-1941.
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