Academic literature on the topic 'French art song'
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Journal articles on the topic "French art song"
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Leonard, Douglas. "The Art of Walt Whitman's French in "Song of Myself"." Walt Whitman Quarterly Review 3, no. 4 (April 1, 1986): 24–27. http://dx.doi.org/10.13008/2153-3695.1118.
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Van der Mescht, H. "Die agtergrond en ontstaansgeskiedenis van Hubert du Plessis se Duitse en Franse liedere." Literator 24, no. 2 (August 1, 2003): 125–44. http://dx.doi.org/10.4102/lit.v24i2.294.
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The background and genesis of Hubert du Plessis’s German and French songs On 7 June 2002 the South African composer Hubert du Plessis turned 80. Among his 77 art songs there are (apart from songs in Afrikaans, Dutch and English) eleven on German texts and one on a French text. The aim of this article is to investigate the genesis of these German and French songs. Du Plessis was influenced by his second cousin, the Afrikaans poet Barend J. Toerien, who lived in the same residence as Du Plessis at the University of Stellenbosch where they studied in the early 1940s. Toerien introduced Du Plessis to the work of Rilke, of whose poetry Du Plessis later set to music “Herbst”. Du Plessis’s ten Morgenstern songs were inspired by a chance gift of a Morgenstern volume from Susanne Stark-Schwietering, a student in Grahamstown where Du Plessis taught at Rhodes University College (1944-1951). During his studies in London (1951-1954) Du Plessis also received a volume of Morgenstern poetry from Howard Ferguson in 1951. The choice of French verses from Solomon’s Song of Songs was influenced by the advice of Hilda de Wet (Stellenbosch, 1966). It is notable that Du Plessis’s main composition teachers, William Bell, Friedrich Hartmann and Alan Bush, had practically no influence on the choice of the texts of his German and French songs.
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ALDEN, JANE. "Excavating Chansonniers: Musical Archaeology and the Search for Popular Song." Journal of Musicology 25, no. 1 (January 1, 2008): 46–87. http://dx.doi.org/10.1525/jm.2008.25.1.46.
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What constitutes popular song? This seems an unlikely question to raise in connection with chansonniers copied in the Loire Valley during the later decades of the fifteenth century. But in fact it was a special preoccupation with France's popular musical heritage that led to the discovery in the nineteenth century of the largest two such manuscripts——the Laborde and Dijon Chansonniers. A government-sponsored search for materials emblematic of national identity was directly responsible, in 1857, for bringing the Laborde Chansonnier to light. Although this manuscript was deemed ““unable to qualify for the distinction of popularity,”” when the Dijon Chansonnier emerged——at approximately the same time——there was a scholarly consensus regarding its popular contents. Since ancient popular songs were believed to represent the indigenous heritage of the French people, the ““Frenchness”” of the songs unearthed was of paramount importance. But as many of the composers found in the Loire Valley chansonniers were born in areas under Burgundian control, their Frenchness was not self-evident. The earliest explorations of the formes fixes chanson repertory were made as part of the search for the true songs of the people. Later scholars rejected the idea that polyphonic art songs, composed by known individuals, could be part of a popular song tradition. But in focusing on the composers in these manuscripts, rather than the artifacts themselves, they divorced this repertory from its historical context. In the 1920s, a group of scholars working in Paris offered a broader approach, one that considered the manuscripts as art objects in their own right. The pioneering work of these scholars suggested a type of inquiry that remains relevant today.
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VanHandel, Leigh, and Tian Song. "The Role of Meter in Compositional Style in 19th Century French and German Art Song." Journal of New Music Research 39, no. 1 (March 2010): 1–11. http://dx.doi.org/10.1080/09298211003642498.
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Oboladze, Tatia. "The Myth of the City in the French and the Georgian Symbolist Aesthetics." International Journal of Social Sciences and Humanities Invention 5, no. 3 (March 16, 2018): 4519–25. http://dx.doi.org/10.18535/ijsshi/v5i3.07.
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“Modern Art is a genuine offspring of the city… the city created new images, here the foundation was laid for the literary school, known as Symbolism…The poet’s consciousness was burdened by the gray iron city and it poured out into a new unknown song” (Tabidze 2011: 121-122), - writes Georgian Symbolist Titsian Tabidze in his program article Tsisperi Qantsebit (With Blue Horns). Indeed, in the Symbolist aesthetics the city-megalopolis, as a micro model of the material world, is formed as one of the basic concepts.
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Ustinovskaya, Alena. "ПЕРЕВОД КАК ДИАЛОГ ТРАДИЦИЙ И КУЛЬТУР («АНАКРЕОНТИЧЕСКАЯ ПЕСЕНКА» Н. С. ГУМИЛЕВА)." Проблемы исторической поэтики 18, no. 4 (November 2020): 288–305. http://dx.doi.org/10.15393/j9.art.2020.8722.
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The article is devoted to the analysis of the Anacreontic Song by Théophile Gautier, translated by N. S. Gumilev, which is examined against the background of the Russian and global Anacreontic tradition. Imitation of Anacreon is rooted in antiquity: his figure became a symbol of light lyric poetry that glorified sensual pleasures. Anacreon’s own legacy is not as extensive as pseudo-Anacreontic poetry: this tradition is present in English, French, German, Italian and Russian literature. In the process of translating Odelette anacréontique by Théophile Gautier, Gumilev enters into intercultural and inter-traditional communication: his translation is a dialogue with both the French poet and the Anacreontic and pseudo-Anacreontic genre tradition. Despite the statements N. S. Gumilev proposed in his theoretical works on translation issues, which stated that it is necessary to rely on the original text during translation, and that deviations and loose retellings are unacceptable, in some cases he still departs from the original text, deliberately building the subtext of the poem that is absent in the original. Gumilev’s translation makes Gautier’s poem “more Anacreontic” than the original: Gumilev intensifies the motives of love, pleasure, sensual pleasure that are significant for pseudo-Anacreontics, introduces the image of wine as a symbol of love that was absent in the original. Gumilev’s translation solutions considered in the article represent a kind of editing of Gautier’s text that approximated it to the complex of motives traditionally associated with the work of Anacreon.
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Dillon, Emma. "The Art of Interpolation in the Roman de Fauvel." Journal of Musicology 19, no. 2 (2002): 223–63. http://dx.doi.org/10.1525/jm.2002.19.2.223.
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The music of Paris, BN fonds fr. 146 has long held a special place in medieval musicology as one of the most abundant records of musical taste and style in the early decades of the 14th century, particularly so in its famous version of the Old French satire of the Roman de Fauvel, interpolated with no less than 169 musical items. In the last decade, however, perspective on the manuscript has radically altered in a new climate of interdisciplinary research. If there was once a tendency for scholars to extrapolate information from the manuscript, to allow its abundant visual, musical, literary and political texts to speak of cultures exterior to the book's bindings, recent collaborative approaches have focused attention on how those different media work together within the boundaries of the parchment. One consequence of such an approach is to raise new questions about music's role in the book, most particularly about its relationship to the narrative into which it is cast. This study explores perhaps the most startling and perplexing aspect of music's position in Fauvel: the numerous occasions where music is uncued and unprepared in the narrative. I focus on the most famous moment of narrative disjunction brought about by the presence of song: the interpolated bifolio, 28 bis and ter, containing the lai Pour recouvrer alegiance. Long viewed by musicologists as an ill-conceived afterthought, it is suggested that the song's intrusion (narrative and bibliographic) may be interpreted poetically, as a moment of lyric suspension engineered by its singer, Fauvel, in der to defer his lady's final, deadly refusal of his marriage suit. That deferral occurs not just in an abstract moment of lyrical time, but in the real, unfurling space of the parchment: As time passes (the reader turning the folios), Fortuna's impatience finally becomes palpable as she dramatically enters the landscape of the song in its closing moments. Song may thus be understood to occupy not only time but also space; the manuscript, it is argued, is witness to a new form of music-making in France at the turn of the 14th century, music-making that is material as well as sonic.
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Faber, Riemer A. "INTERMEDIALITY AND EKPHRASIS IN LATIN EPIC POETRY." Greece and Rome 65, no. 1 (March 15, 2018): 1–14. http://dx.doi.org/10.1017/s0017383517000183.
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The concept of intermediality arose in the theoretical discourse about the relations between different systems or products of meaning, such as the relations between music and art, or image and text. The word gained currency in the 1980s in German- and French-language studies of theatre performance, and in scholarship on opera, film, and music, in order to capture the notion of the interconnections between different art forms. For reasons of utility, the concept has been divided into three kinds: intermediality may refer to the combination of media (as in opera, in which music, dance, and song are conjoined into one aesthetic experience); the transformation or transposition of media (as in a film version of a book); and intermedial references or connections, whereby attention is drawn to another system of meaning, as in the references in literature to a work of art. The term has entered the field of classics especially via the study of the relations between the narrative and inscriptional modes in literary epigram.
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Di Grazia, Donna Marie. "Melodies en 2 volumes, and: The Art of French Song: 19th and 20th Century Repertoire, and: 10 Melodies, and: 11 Melodies (review)." Notes 58, no. 2 (2001): 430–33. http://dx.doi.org/10.1353/not.2001.0196.
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Chystiakova, Katerina. "Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 190–206. http://dx.doi.org/10.34064/khnum2-16.11.
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Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French author as a pioneer in tradition of chamber song cycle. The aim of given research is to reveal the essence of orchestration as a part of songs cycle’s artistic whole. In order to achieve it, semantical, compositionally-dramaturgical and intonational methods of research are used. Originally, “Summer Nights” were meant to be performed by a duo of voice and piano (1834). It was not until 1856 that composer orchestrated this cycle, similarly to the way G. Mahler and in several cases R. Strauss done it later. The foundation of cycle by H. Berlioz are six poems from a set by T. Gautier «La Comédie de la mort», published in 1838. In spite of having epic traits, this set is still an example of lyrical poesy, where subjective is being generalised, while chosen motive of death, according to L.Ginzburg, corresponds to existential essence of lyric (L. Ginzburg). French poet, prose writer, critic, author ow the poems set to music in “Summer Nights” by H. Berlioz – Théophile Gautier (1811–1872) – is one of the most enigmatic and singular figures in history of XIX century art. He was eclipsed by his contemporaries, although his creativity paved the way for upcoming symbolism, that incarnated in poetry of C. Baudelaire, and set “Émaux et Camées” became an aesthetic ideal for Parnassian School. A work by H. Berlioz on lyrics by T. Gautier consists of four songs: “Villanelle”, “Le Spectre de la Rose”, “Sur le lagunes”, “Absence”, “Au cimetiere. Clair de Lune” and “L`ile Inconnue”. It is founded on a plot of lyrical type, that is built according to the principle of appearing associations. Lyrical “I”, whose inner world is revealed during the cycle, provides logical congruity of the work. Each mélodie has its own spectrum of images, united by general lyrical plot. The first and last songs, grounding on a theme of nature, create thematic arch. The denouement of the plat falls on “L`ile Inconnue”, where hero’s conclusion about impossibility of everlasting love is proclaimed. The orchestra part is equal significance with the voice and intonated verbal text, simultaneously playing an important role in illuminating underlying meaning of the lyrics. H. Berlioz doesn’t tend to use supplementary woodwind instruments. Although, each instrument reveals its unique sonic and expressive possibilities, demonstrating its singular characteristics. Due to that an orchestra becomes differentiated, turning into a flexible living organism. Composer doesn’t use exceedingly large orchestra, moreover, each song has its unique set of performers. However, there are stable players: strings (including double basses), two flutes, 2 clarinets (in A and in B). Besides of that, H. Berlioz occasionally uses the timbre of solo oboe, bassoons, natural French horns in different keys, and in the second song he employs coloristic potential of the harp. From a standpoint of the semantics, the score is built according to the principle of the opposition between two spheres. The former one is attached to the motives of the nature and has pastoral mod. At the same time, it reveals idealistic expanse of dreams and vision, thus being above the existing realm. This sphere is represented by woodwinds and brass. The latter, on the contrary, places the hero in real time. It is a sphere of sensuality, of truly human, it also touches themes of fate and inevitable death. It is characteristic that this sphere is incarnated through string instruments. Although, the harp cannot be bracketed with either of the groups. This elusive timbre in instrumental palette is saved for “Le Spectre de la Rose” and creates unsubstantial image of a soul ascending to Heaven. H. Berlioz evades usage of mixed timbers in joining of different groups of the orchestra. Even when he does it, it has sporadic nature and provides emphasis on a particular motive. Orchestral tutti are almost non-existent. Composer uses concerto principle quite regularly as well. Additional attention must be drawn to psychologising of role of clarinet and semantisation of flute and bassoon. Clarinet becomes a doppelganger of lyrical “I” and, quite like a personality of a human, acquires ambivalent characteristics. Because of that, it interacts not only with its light group, but with low strings as well, thus demonstrating an ability to transformation of the image. Bassoon reflects the image of the death. This explains its rare usage as well as specific way of interaction with other instruments and groups. Flute is attached to the image of the nature, symbolises a white dove, that in a poetry of T. Gautier represents an image of beautiful maiden. Consequently, this allows to state that timbre of flute incarnates the image of lyrical hero’s love interest. The most significant instruments of string group are the low ones, accenting either the aura of dark colours or sensuality and passion. Neglecting the tradition requiring lyrical hero to be paired with a certain voice type, H. Berlioz in each mélodie uses different timbres, that suit coloristic incarnation of the miniature the most in the terms of tessiture and colour. A conclusion is made, that composer become a forefather of chamber song cycle of new type, with its special trait being equivalence of the voice and the orchestra, that allows them to create united multi-layered integrity
Dissertations / Theses on the topic "French art song"
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Talbott, Christy Jo. "The French art song style in selected songs by Charles Ives." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000455.
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Nolan, Shanna. "Extended Program Notes for Thesis Voice Recital." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/646.
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This thesis presents extended program notes for a sixty-minute vocal graduate recital consisting of the following repertoire for soprano: “How Beautiful are the Feet of Them” and “He Shall Feed His Flock” from Messiah and “Lascia ch’io pianga” from Rinaldo by George Frederick Handel; “La morte d’Ophélie” by Hector Berlioz; the Swedish art songs “Vingar i natten” by Ture Rangström and “Jung fru Blond och jung fru Brunette” by Wilhelm Stenhammar; the contemporary art song “Animal Passion” by Jake Heggie; and the following arias and duets by Wolfgang Amadeus Mozart: “Mi tradi quell ‘alma ingrata” from Don Giovanni, “Bei Männern, welche liebe fuhlen” and “Papageno, Papagena” from Die Zauberflöte, “Deh vieni, non tardar o gioja bella,” “Venite inginochiatevi,” and “Via resti servita” from Le nozze di Figaro, and the Concert Aria “Ch’io mi scordi di te?...non temer, amato bene,” K.505. These works encompass a variety of styles, musical periods and forms spanning over four centuries. The recital itself is documented on the accompanying compact disc, while these program notes contain discuss historical context, musical analysis, and performance practice for this repertoire.
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Lee, Hyun Min. "French art songs for high voice by famous opera composers." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3198.
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Champagne, Mario Joseph Serge Gérard. "The French song cycle (1840-1924) with special emphasis on the works of Gabriel Fauré /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122196j.
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Raad, Tyler. "Art Songs by French Composers on Subjects Related to Venice, with Particular Emphasis on Reynaldo Hahn’s (1874-1947) Venezia (1901)." Diss., North Dakota State University, 2019. https://hdl.handle.net/10365/29732.
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Venice, Italy has received a considerable amount of attention throughout the centuries from French poets, painters, and composers. However, little scholarship exists to date that has drawn any definitive connection between Venetian culture and the French humanities and even less regarding art song. In this disquisition, I concentrate on how French art song composers treated cultural themes of Venice in their music. I establish a field of study by selecting art songs for voice and piano written by French composers from Hippolyte Monpou (1804-1841) to Jacques Leguerney (1906-1997). From this selection, I discuss several composers that demonstrate contrasting approaches to using cultural themes in their songs. I then choose to emphasize Reynaldo Hahn’s (1874-1947) Venezia (1901) because of its deep connection with Venetian culture. Hahn’s Venezia exemplifies Venetian culture. This is evident through the composers’ use of the Venetian dialect and Venetian street-song forms. The lighthearted and charming character in Hahn’s six musical settings reflects the composer’s positive outlook on his stay in Venice, and historical documents confirm that he had a deep admiration for the city’s culture. The musical analysis I perform on Venezia, together with the analysis of its respective texts and authors, provides evidence that Venetian culture had significant effects on Hahn. By extending my analysis to other songs from my selection, I establish that there exists a strong connection between Venetian culture and French composers’ art songs.
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Packer, Jeremy. "Tracing the intertext in old French song : relations between music, text, and genre, circa 1200-1300 /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37103456z.
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Raad, Tyler. "Art Songs by French Composers on Subjects Related to Venice, with Particular Emphasis on Reynaldo Hahn?s (1874-1947) Venezia (1901)." Diss., North Dakota State University, 2019. https://hdl.handle.net/10365/29732.
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Venice, Italy has received a considerable amount of attention throughout the centuries from French poets, painters, and composers. However, little scholarship exists to date that has drawn any definitive connection between Venetian culture and the French humanities and even less regarding art song. In this disquisition, I concentrate on how French art song composers treated cultural themes of Venice in their music. I establish a field of study by selecting art songs for voice and piano written by French composers from Hippolyte Monpou (1804-1841) to Jacques Leguerney (1906-1997). From this selection, I discuss several composers that demonstrate contrasting approaches to using cultural themes in their songs. I then choose to emphasize Reynaldo Hahn?s (1874-1947) Venezia (1901) because of its deep connection with Venetian culture. Hahn?s Venezia exemplifies Venetian culture. This is evident through the composers? use of the Venetian dialect and Venetian street-song forms. The lighthearted and charming character in Hahn?s six musical settings reflects the composer?s positive outlook on his stay in Venice, and historical documents confirm that he had a deep admiration for the city?s culture. The musical analysis I perform on Venezia, together with the analysis of its respective texts and authors, provides evidence that Venetian culture had significant effects on Hahn. By extending my analysis to other songs from my selection, I establish that there exists a strong connection between Venetian culture and French composers? art songs.
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Youngs, Jennifer (Soprano). "The Historical and Pedagogical Significance of Excerpts by André-Ernest-Modeste Grétry (1741-1813)." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505272/.
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This collection of 9 vocal works, taken from the oœuvre of André-Ernest-Modeste Grétry (1741-1813), was chosen for their utility in teaching undergrad voice majors. This collection offers a group of songs that are attractive in their simplicity allowing the time in their lessons to be devoted to the instruction of French pronunciation. Grétry's attention to detail in the setting of French prosody provides undergraduate singers with a collection of songs that offer an immediate understanding as to the nuances of the French language. With funding from an I-GRO grant through the University of North Texas, research was conducted in the archives of the Bibliothèque nationale de France, and work continued in the Grétry Museum in Liège, Belgium. The primary sources found within these locations formulated valuable insights into to the life and influence of Grétry, and provided first-hand experience with research techniques within foreign libraries. This research has solidified the relationship between Grétry's compositional style and its usefulness within the undergraduate voice studio.
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Decorniquet, Sylvie. ""L'énergie de l'espace" : André du Bouchet. : Reprendre à la peinture son bien." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA128/document.
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La spécificité de l’œuvre d’André du Bouchet se tient dans un lien extrêmement étroit avec les arts plastiques et les artistes. Son écriture engage la poésie, à l’égal de la peinture, dans la compréhension de l’énigme de la visibilité, en inventant sa propre mise en espace. La page est traitée comme une surface où le fait d’agencer des termes selon des orientations spécifiques octroie au support le bénéfice de l’énergie exercée par cette spatialisation des éléments, en plus de la tension déployée par les entrelacs du sens. Trois axes sont ainsi successivement abordés : le Tracé, la Vision, et le Support. Chacune des opérations lexicales comme syntaxiques procèdent du souci de désenclaver les notions qui viennent clore le sens et de porter l’accent sur la mobilité. Ainsi, André du Bouchet entend approcher les procédés que les peintres mettent en œuvre pour rendre compte, et de leur vision du monde, et de cette échappée du réel à laquelle ils se confrontent. S’interrogeant sur le regard porté sur le monde, puis retournant la question sur la façon dont le monde vient au regard, il façonne cette « langue sans parler…..aveuglément peinture » qui fait entrevoir une réalité inédite. Sa conception d’une épaisseur du support s’appuie sur une pensée en volume qui substitue aux coordonnées spatio-temporelles de la géométrie de l’espace des qualités intensives liées à une appréhension kinesthésique du monde. Il fonde une énergétique de l’espace et engage, ce faisant, une conception de la place de l’homme dans le monde entendue comme déplacement, emportement incessantThe specificity of André du Bouchet's work lies in its intimate connection with the fine arts and artists. His writing commits poetry - the way painting does - to understanding the riddle of invisibility by inventing its own spatial disposition. The page of a book is treated like a surface which disposing terms together according to specific orientations gives the medium the energy exerted by that spatialisation of elements, on top of a tension displayed by the interweaving of word meaning. Three lines of research are thus treated in succession : Layout, Vision and Medium. Each lexical and syntactic operation aims at opening up the notions which give a limit to meaning, and to emphasise mobility. in this manner, André du Bouchet, intends to come close to the techniques that painters apply in order to express their vision of the worl, but also the escape from reality which they confront themselves to. Pondering on the way we look at the world and then - conversely - on the way the world appears to the eye, he shapes that "speechless language ... dazzlingly painting" which gives a glimpse of an unfamiliar reality. His thinking in terms of volume explains his conception of a multi-layer medium ; its substitutes the space-time coordinates of space geometry for intensive qualities linked to a kinaesthetic apprehension of the world. He brings into being a form of energetics of space and thus introduces a conception of man's place in the world as movement and constant flow
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Lecosse, Cyril. "Jean-Baptiste Isabey (1767-1855) : l'artiste et son temps." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20119.
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Jean-Baptiste Isabey (1767-1855) connaît une carrière exceptionnellement longue qui s’étend de la Révolution au Second Empire. Après avoir exposé ses premières œuvres au Salon de 1791, cet élève de Jacques-Louis David s’impose sur la scène artistique du Directoire comme le premier dessinateur et miniaturiste de son temps. En s'inscrivant dans un contexte favorable à la diffusion de portraits de moindre coût et de moindre format, sa réussite peu commune rend compte de l'évolution des critères de la reconnaissance artistique à la fin du XVIIIe. Elle témoigne également de la promotion du statut social de l'artiste autour de 1800. Lié aux proches du clan Bonaparte sous la Consulat, Isabey est un des portraitistes de la période les mieux introduits auprès des élites. Son habileté à exploiter des sujets qui répondent aux goûts de ses contemporains permets de mesurer l'importance des relations mondaines dans la naissance et la diffusion des réputations artistiques au tournant du XIXe siècle. Entre 1800 et 1805, Isabey est l'auteur de plusieurs grands dessins de propagande qui scandent les principales étapes de la consolidation du nouveau pouvoir. Familier de la noblesse impériale, l'artiste accumule honneurs et commandes officielles au lendemain du Sacre. Sa réputation est associée aux portraits miniatures de l’Empereur destinés à la caisse des présents diplomatiques et à quelques-unes des plus célèbres représentations officielles de Marie-Louise et du roi de Rome. Ses responsabilités sont extrêmement variées et sa production considérable : il est à la fois peintre des relations extérieures, dessinateur du cabinet et des cérémonies et décorateur en chef de l'Opéra. L'étude de ce parcours pluridisciplinaire offre un champ d'étude remarquable, qui nous fournit bien des clefs pour comprendre la carrière et le statut des artistes de cour sous l'Empire. Après Waterloo, Isabey est mis à l’écart du pouvoir en raison de ses engagements bonapartistes. L'artiste exécute alors plusieurs caricatures et portraits qui le montrent prompt à critiquer la monarchie restaurée. L'analyse des effets de la résistance au régime royaliste dans le monde des arts entre 1815 et 1820 aide à saisir le sens de son engagement dans l'opposition. La période qui s’ouvre au lendemain des Cent-Jours est également fondamentale pour comprendre le parcours artistique d'Isabey et pour apprécier la place que lui assignèrent ses contemporains dans l’art de la première partie du XIXe siècle. Son abondante production, qui se décline en miniatures sur vélin, dessins, lithographies, aquarelles et peintures à l’huile le montre soucieux de l'évolution du goût. Elle met aussi en lumière la difficulté qu'il éprouve à conserver sa réputation de portraitiste après 1820. Cette thèse fournit pour la première fois un catalogue de l’œuvre d'IsabeyJean-Baptiste Isabey (1767-1855) had an exceptionally long career that spanned from the French Revolution until the Second French Empire. After his early works' exhibition at the Salon of 1791, this student of Jacques-Louis David rapidly became, on the art scene of the French Directory, the finest artist and miniaturist of his time. In a context that made the dissemination of low-cost and small-sized portraits easier, his unusual success reflects the change of artistic recognition criteria in the late eighteenth century. It also reflects the improvement of the social status of artists around 1800. Linked to people that were close to Bonaparte under the French Consulate, Isabey is one of the period's best introduced portraitists. His cleverness in using themes that meet his contemporaries' tastes clearly shows how important social relationships can be in the making and spreading of artistic reputations at the turn of the nineteenth century. Between 1800 and 1805, Isabey is the author of several large propaganda drawings that punctuate the main steps of the new power's consolidation. Familiar with the imperial nobility, the artist collects honours and official commissions in the wake of the Coronation. His reputation is associated with miniature portraits of the Emperor made for the fund of diplomatic presents and with some of the most famous official representations of Marie-Louise and of the King of Rome. His responsibilities are manifold and he produces a lot: he is the official painter for external relations, designer of the Cabinet, designer of Ceremonies and chief decorator of the Opera. The study of this multidisciplinary career gives many keys to a better understanding of the career and status of court artists under the Empire. After Waterloo, Isabey is sidelined because of his bonapartist commitments. At this time the artist performs several caricatures and portraits where he clearly criticizes the freshly restored monarchy. Analysing the effects of this resistance to the royalist regime in the world of arts between 1815 and 1820 helps in understanding his commitment to the opposition. The period opening in the aftermath of the Hundred Days is also fundamental to understanding Isabey's artistic career and to appreciate the place he was assigned by his contemporaries in the art of the first part of the nineteenth century. His prolific output, which comes in miniature on vellum, drawings, lithographs, watercolours and oil paintings shows his constant concern about changing tastes. It also highlights the difficulty he has to maintain his reputation as a portraitist after 1820.This thesis provides for the first time a catalogue of Isabey's works
Books on the topic "French art song"
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Exploring art song lyrics: Translation and pronunciation of the Italian, German & French repertoire. New York: Oxford University Press, 2011.
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Montgomery, Cheri. French lyric diction workbook: A graded method of phonetic transcription which employs frequently used words from French art song literature. Nashville, TN: S.T.M., 2004.
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He, Zhengguang, and Auguste Renoir. Leinuowa: Ge song ren ti mei hua jia = Renoir. Taibei Shi: Yi shu jia chu ban she, 1996.
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Wilkins, Nigel E. The lyric art of medieval France. 2nd ed. Fulbourn, Cambs: New Press, 1989.
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Wilkins, Nigel E. The lyric art of medieval France. Fulbourn, Cambs: New Press, 1988.
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Bijutsukan, Akita Kenritsu Kindai, and Saitama Kenritsu Kindai Bijutsukan, eds. Mone kara Sezannu e inshōha to sono jidai: Impressionists and their epoch. [Tokyo]: Yomiuri Shinbun Tōkyō Honsha, 2002.
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Mirecourt, Eugène de. Where we going, Daddy?: Life with two sons who are unlike any others. New York: Other Press, 2010.
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Mirecourt, Eugène de. Where we going, Daddy?: Life with two sons who are unlike any others. New York: Other Press, 2010.
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Mirecourt, Eugène de. Where we going, Daddy?: Life with two sons who are unlike any others. New York: Other Press, 2010.
Find full textBook chapters on the topic "French art song"
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Gross, Geneviève. "Songs and Singing in a Developing Reformation. From a Scattered Community of Believers to a Visible Church (French-Speaking Switzerland, Bern-Geneva-Neuchâtel, 1530–1536)." In ‘Church’ at the Time of the Reformation, 161–74. Göttingen: Vandenhoeck & Ruprecht, 2021. http://dx.doi.org/10.13109/9783666570995.161.
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Elhariry, Yasser. "Wine Song." In Pacifist Invasions. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940407.003.0005.
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Chapter 3 takes as its focal text a beautiful colour art book by Stétié, Le vin mystique précédé de Al-Khamriya d’Omar Ibn al-Farîdh (1998). Realized in collaboration with the Iraqi calligrapher Ghani Alani, Stétié’s bilingual edition and translation of Ibn al-Fāriḍ’s most celebrated mystical wine poem presents an original reading of a sacred ode to wine and god, which itself forms part of an idiosyncratic genealogy of wine in classical Arabic verse. I analyze the comparative, translational poetics and politics of Stétié’s French translation, which he appends with a long essay composed in French on the fraught relationship between alcohol and Islam, and between Islamic and Western views and representations of wine. Through his polyvalent idiomatic French translations of the key Sufi term for the ritual of rememberance, dhikr (defined by ʿĀʾishah al-Bāʿūniyyah in The Principles of Sufism), Stétié opens the translingual Franco-Arabic text to the poetics of the breath through the practice of rememoration. I show how his texts offer remarkable sites of the transference of one language and tradition into another, to the point where the translations permanently transform and transfigure the French of subsequent readings of such canonical authors as Baudelaire. I follow with a reading of Baudelaire that reveals a preoccupation with the poetics of the human breath, and an identical mystical Sufi idiom in all of his wine poetry and writings on wine and hashish. Stétié thus enacts and realizes the very ‘pacifist invasion’ that he announces elsewhere in his critical œuvre (Le français, l’autre langue, 2001). With Stétié, we hear whispers of the translational genesis-in-progress of a new Francophone lyric. I close this chapter with one illustrative example of the new Francophone lyric, through a consideration of how Franco-Arabic poetic modulations of the breath assume a performative aspect for Stétié in the context of the live ritual of his poetry readings.
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DiSavino, Elizabeth. "8. Introduction by Katherine Jackson French." In Katherine Jackson French, 141–44. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178523.003.0009.
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This little volume has a modest, though distinctly unique, purpose—the securing of these quaint renditions of the old English and Scottish ballads for future generations; these, journeying across the seas to Virginia and the Carolinas, were later hidden away in the Kentucky hills for 150 years. They are peculiarly Anglo-American, most characteristic of the traditional history and spirit of their composers of the fourteenth, fifteenth, and sixteenth centuries, and likewise, after generations of contact, made to be a part of the blood, bone, and sinew of the settlers in the remote land. Though told in their own homely household speech and illustrative of their own crude life, withal they are poems of the highest art—because they are not artful. They have lived because they were loved, and, with this excuse for existence, they have played for ages on free, generous, and impulsive minds. This, then, becomes an immemorial record of sentiment, loyalty, principle—a conserver of their love for poetry of song. Ballads are then an immemorial record of the pure ancestry of the singer and an undoubted proof of the sturdiness and truth of song in having been sufficient for another period of long yesterdays....
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"Keeping Up with the French." In Stolen Song, edited by Eliza Zingesser, 81–114. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501747571.003.0003.
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This chapter examines Jean Renart's Roman de la rose (early thirteenth century). It specifically assesses the way in which francophone lyric and other French artistic objects—the symbolic significance of which has previously been dismissed by critics—are circulated with a peculiar frenzy by the elite of the Holy Roman Empire in Rose. Renart implies that instead of taking an interest in the artistic traditions more native to the Empire—such as Minnesang (the German analog of troubadour and trouvère song)—the cultural elite of the Empire are infatuated with French cultural products. The chapter then looks at the processes through which Occitan song is assimilated into the broader francophone lyric landscape, one of which is linguistic Gallicization. This process has resulted in this text, as elsewhere in the French reception of the troubadours, in occasional moments of nonsensicality, and the chapter documents the various ways in which this nonsensicality is accounted for within the narrative. Finally, it considers the ramifications of this staging of French culture (including Gallicized Occitan) within the narrative.
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"The Rustic Troubadours." In Stolen Song, edited by Eliza Zingesser, 169–203. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501747571.003.0006.
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This chapter reflects on a corpus, which can be called Occitanizing lyric, that might appear to contradict this book's thesis regarding the assimilation of Occitan lyric in francophone space. The pieces examined here are generally thought to have been composed by native French speakers but made to look and sound Occitan through phonological coloring. Although this phenomenon—which makes French pieces look more like Occitan rather than Occitan pieces look more like French—would seem to work against the francophone trend toward assimilation, it occurs primarily in a lower register. Thus, while the prestigious genre of the Occitan canso or grand chant came to look increasingly French, low-register forms such as the dance song and pastourelle came to look increasingly Occitan. While the high-register cansos of the troubadours have effectively been transformed into French texts, songs of a lower register are passed off as Occitan, so that French is associated with the most refined cultural productions and Occitan with those that are rustic and unsophisticated. The latter repertoire, faux-archaic Occitanizing song, served as a factitious mirage of origins.
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"Introduction." In Stolen Song, edited by Eliza Zingesser, 1–48. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501747571.003.0001.
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This introductory chapter provides an overview of how troubadour song came to occupy a unique place in the French literary canon. The story of the current misprision of troubadour song as French begins in the earliest stages of its transmission in francophone space. Far from being treated as a foreign entity, Occitan lyric was already considered “native” in French sources, even long before Occitan-speaking territories were officially annexed to France. To tell this story of assimilation, the process through which Occitan song was domesticated, this book surveys the two types of medieval material—songbooks and lyric-interpolated narratives—that quote or compile Occitan song in native francophone territory. The chapter then looks at the relationship between the troubadours and their francophone counterparts, the trouvères. It also describes birdsong, and explains two of the assimilative strategies that are common to both songbooks and the lyric-interpolated romances that quote the troubadours: Gallicization and geographical remapping of troubadour song into either francophone or transitional regions between French- and Occitan-speaking territories.
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Dijkink, Gertjan. "Soldiers and Nationalism : The Glory and Transience of a Hard-Won Territorial Identity." In The Geography of War and Peace. Oxford University Press, 2004. http://dx.doi.org/10.1093/oso/9780195162080.003.0012.
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Anton von Werner’s Im Etappenquartier vor Paris (In quarters before Paris) is based on a sketch done by the painter during the German military campaign against France in October 1870. German soldiers amuse themselves with songs at the piano in a requisitioned manor house near Paris (Brunoy). Attracted by the music, the French concierge and child appear in the doorway. Some mundane activities to further enhance the atmosphere are in progress: lamps are lighted and a fire is kindled in the fireplace. We even know the song that is performed: Schubert’s “Am Meer” (By the sea), with words by Heinrich Heine. Nothing yet anticipates the disillusioned statement of George Steiner that became characteristic of late-twentieth-century reflection on war and culture: “We know now that a man can read Goethe or Rilke in the evening, that he can play Bach and Schubert, and go to his day’s work at Auschwitz in the morning.” In Werner’s painting, war still seems to be an innocent affair that first of all produces mud-stained boots. These boots and the sphere of fraternization that even encompasses the French housekeeper were meant to evoke the impression of sincerity in German soldiers, according to a German art historian. Ultimately converted into a painting, the picture became really popular when it was sold on the German market as a small tapestry after 1895. As the German writer and critic Ludwig Pietsch wrote at the time, “[Such pictures show] the good-natured and sentimental nature of the national character [. . .] which even in the rough and wild times of war and in the midst of an irreconcilable enemy cannot be denied.” Not surprisingly, the French reading of this picture (once or twice on exhibition in Paris) is somewhat different: “The attitudes of the lumpish soldiers with their blusterous posture, their heavy mud-stained boots, are completely in contrast to the refinement of the furniture. The conquerors behave somewhat like vandals. At the right in the doorway, the maid, on whom an officer seems to have designs, watches the scene accompanied by her daughter, who is hardly able to hide her fear.”
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Davis, Ellen F. "Job and the Song of Songs." In Opening Israel's Scriptures, 347. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190260545.003.0035.
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These are books of impassioned dialogue and language that pushes the boundaries of intelligible religious speech. The book of Job does not treat God’s character or yield fresh thinking about theodicy. Rather, it is a book of wisdom theology (exploring the limits of human knowledge), of creation theology (considering the human place in the created order), and of mystical theology (exploring how character is transformed through suffering and, finally, through direct encounter with God). Options for interpreting the Song are now more contested than at any time since early in the Common Era. Origen’s approach is exemplary, with his lack of moralism and recognition of the Song’s poetics of relationality. Primarily through intertextual references, the Song uses the language of desire to evoke a longing that may include sexual desire and present ways to transcend it.
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"THE VERBS ARE IMPORTANT, SIR Les verbes sont importants, monsieur." In French Made Simple, 46–51. Routledge, 2014. http://dx.doi.org/10.4324/9781315831589-11.
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Martin, Henry. "Other 32-Bar AABA Compositions." In Charlie Parker, Composer, 81–118. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923389.003.0004.
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Chapter 3 examines the complete 32-bar compositions Parker wrote that do not make use of rhythm changes. There are six of these, and they include his first composition (“Yardbird Suite”), one of his most admired compositions (“Confirmation”), a work that borrows from two French popular songs (“My Little Suede Shoes”), and three works that were not recorded (“Alesia,” “Throckmorton the Plumber,” and “Tail Feathers”). “Yardbird Suite” was originally titled “What Price Love?” and is his only song for which he wrote a lyric. “Confirmation” features a bridge with apparently original chord changes. The source songs for “My Little Suede Shoes” were discovered in the early 2000s. Of the unrecorded songs, only “Alesia” was definitely written by Parker.
Conference papers on the topic "French art song"
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Xiang, Yu. "Analysis on the Creative Features of French Art Song in Impressionist Period." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.70.
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Ruan, Chunli. "Discussions on the Artistic Features and Singing Styles of the French Art Songs." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.233.
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Araldi, Alessandro, and Giovanni Fusco. "The Nine Forms of the French Riviera: Classifying Urban Fabrics from the Pedestrian Perspective." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5219.
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The Nine Forms of the French Riviera: Classifying Urban Fabrics from the Pedestrian Perspective. Giovanni Fusco, Alessandro Araldi ¹Université Côte-Azur, CNRS, ESPACE - Bd. Eduard Herriot 98. 06200 Nice E-mail: giovanni.fusco@unice.fr, alessandro.araldi@unice.fr Keywords: French Riviera, Urban Fabrics, Urban Form Recognition, Geoprocessing Conference topics and scale: Tools of analysis in urban morphology Recent metropolitan growth produces new kinds of urban fabric, revealing different logics in the organization of urban space, but coexisting with more traditional urban fabrics in central cities and older suburbs. Having an overall view of the spatial patterns of urban fabrics in a vast metropolitan area is paramount for understanding the emerging spatial organization of the contemporary metropolis. The French Riviera is a polycentric metropolitan area of more than 1200 km2 structured around the old coastal cities of Nice, Cannes, Antibes and Monaco. XIX century and early XX century urban growth is now complemented by modern developments and more recent suburban areas. A large-scale analysis of urban fabrics can only be carried out through a new geoprocessing protocol, combining indicators of spatial relations within urban fabrics, geo-statistical analysis and Bayesian data-mining. Applied to the French Riviera, nine families of urban fabrics are identified and correlated to the historical periods of their production. Central cities are thus characterized by the combination of different families of pre-modern, dense, continuous built-up fabrics, as well as by modern discontinuous forms. More interestingly, fringe-belts in Nice and Cannes, as well as the techno-park of Sophia-Antipolis, combine a spinal cord of connective artificial fabrics having sparse specialized buildings, with the already mentioned discontinuous fabrics of modern urbanism. Further forms are identified in the suburban and “rurban” spaces around central cities. The proposed geoprocessing procedure is not intended to supersede traditional expert-base analysis of urban fabric. Rather, it should be considered as a complementary tool for large urban space analysis and as an input for studying urban form relation to socioeconomic phenomena. References Conzen, M.R.G (1960) Alnwick, Northumberland : A Study in Town-Planning Analysis. (London, George Philip). Conzen, M.P. (2009) “How cities internalize their former urban fringe. A cross-cultural comparison”. Urban Morphology, 13, 29-54. Graff, P. (2014) Une ville d’exception. Nice, dans l'effervescence du 20° siècle. (Serre, Nice). Yamada I., Thill J.C. (2010) “Local indicators of network-constrained clusters in spatial patterns represented by a link attribute.” Annals of the Association of American Geographers, 100(2), 269-285. Levy, A. (1999) “Urban morphology and the problem of modern urban fabric : some questions for research”, Urban Morphology, 3(2), 79-85. Okabe, A. Sugihara, K. (2012) Spatial Analysis along Networks: Statistical and Computational Methods. (John Wiley and sons, UK).
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Chiarelli, Silvia Raquel, and Ruth Verde Zein. "Le Corbusier et les relations avec le Brésil." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.285.
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Résumé: Les relations preofessionelles établies par l’architecte suisse-français Le Corbusier avec le Brésil ont été énormes et variées. Ayant été initiées dans les années 1920, elles ont été étendues jusqu’à sa mort en 1965, lorsque son projet de l’Ambassade de la France à Brasilia était en train de se développer (1964). Les informations disponibles sur l’ensemble des projets, des œvres et des événements qui montrent la relation de Le Corbusier avec le Brésil ont été dispersés par plusieurs sources, et ils sont étudiés par plusieurs rechercheurs. Cet étude recueille et présente, de façon organisée et systématique, les informations clés sur les événements, en cherchant à élucider les cas où les informations soient différentes ou contradictoires, en présentant un résumé de ses informations sous une forme graphique compacte. L’article propose également une premiàre approche de l’étude d’un cas, celui du projet original de Le Corbusier pour l’Ambassade de la France au Brésil. Une des dernières œvres de l’architecte sera étudiée à la lumière de ses relations antérieures avec le Brésil, en tenant compte de sa position face aux relations stratégiques projectives proposées par l’architecte tout au long de son œuvre, et en considérant d’une façon spécifique mais pas exclusive, les projets realisés ou non, qui ont été élaborés par l’architecte au cours de sa dernière période créative dans les années 1960. Abstract: The preofessionelles relationships established by Swiss-French architect Le Corbusier with Brazil was huge and varied. Having been initiated in the 1920s, they have been extended until his death in 1965, when the project of the Embassy of France in Brasilia was being developed (1964). The information available on all projects, works provided and events that show the relationship Le Corbusier with Brazil were dispersed by several sources, and they are studied by several rechercheurs. This study collects and presents an organized and systematic way, key information about events, seeking to clarify the cases where the information is different or contradictory, presenting a summary of information in a compact graphical form. The article also offers a premiere approach to the study of a case, that the original project by Le Corbusier for the Embassy of France in Brazil. One of the last works provided the architect will be studied in the light of its previous relationship with Brazil, taking into account its position to projective strategic relationship proposed by the architect throughout his work, and considering a specifically but not exclusively, realized or unrealized projects, which were developed by the architect during his last creative period in the 1960s. Mots clés: Architecture moderne; Brésil; Ambassade de la France; Le Corbusier; œuvres; projets. Keywords: modern architecture; Brazil; Embassy of France; Le Corbusier; buildings; projects. DOI: http://dx.doi.org/10.4995/LC2015.2015.285
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Tarancón Royo, Héctor. "Publicidad y escritura teórica: Vendiendo la experiencia estética." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9617.
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Frente al culto a la individualidad artística del siglo XXI, el origen de la obra de arte, supeditado a los valores religiosos y rituales de un contexto socio-histórico determinado, lleva aparejado su anonimato. Sin embargo, esa dinámica prehistórica cambia rápidamente con el desarrollo de la civilización griega, que en su época de esplendor cuenta con artistas notables como Fidias, Zeuxis o Apeles. Sus obras son perfectamente reconocibles a simple vista y sus personalidades aparecen ligadas al virtuosismo, la mímesis, o la perfección. Como en otros muchos terrenos de la cultura occidental, este período marcará gran parte del desarrollo de Europa, de manera que ya desde entonces surge una percepción que nunca más se va a abandonar: el poder divino del artista. En la actualidad, desde un punto de vista sociológico, cultural y formal, aunque la supuesta divinidad del artista parece que ha desaparecido, se ha transformado para influir en textos curatoriales, hojas de sala, ensayos y reflexiones. Por un lado, estos no dejan de mencionar que, frente a la ingente cantidad de imágenes que nos rodean, la exposición o artista que estamos viendo es especial, único y virtuoso en su temática, lo que debería provocar una experiencia estética extraordinaria, robada del tiempo ordinario. Por otro, como resto del “capitalismo emocional” y de la abundancia de artistas que crean, dichos elementos inciden en los valores humanos que promueve el creador o la muestra, creando así un elemento de marketing que le de renombre y, cómo no, una subida en las ventas. Si la mayoría de las exposiciones reclaman ser únicas, ¿no será que no lo es ninguna? ¿No se produce, a menudo, cierta decepción ante lo leído y lo experimentado? Solamente la crítica de la escritura puede recuperar para sí el análisis formal, desmitificado, que devuelva al arte su lugar real.
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Huerta Ramón, Ricard. "El proyecto artístico Mujeres Maestras en Perú, Colombia y Ecuador." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5085.
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El proyecto “Mujeres Maestras” es un homenaje a las docentes, acercando la educación en artes hacia la investigación artística. Ricard Huerta, director del Grupo CREARI de Investigación en Pedagogías Culturales de la Universitat de València, propone esta indagación a partir de la creación artística, implicando a profesorado y alumnado de centros educativos, al tiempo que gestiona la ubicación de las muestras en museos y salas de arte de todo el mundo. En 2017 la visitará Lima (Perú) y Medelín (Colombia). Para 2018 está previsto exponerla en Cuenca (Ecuador). La exposición Mujeres Maestras está compuesta por 21 obras que son realizadas en exclusiva para el país en el que se organiza la muestra. El grafismo y la poética de los gestos acompañan al homenaje que el autor rinde a estas mujeres que representan a un colectivo tan importante y al que se siente vinculado, debido a su trayectoria durante más de tres décadas como profesor de educación artística. Además del trabajo del artista también se expone un mural con los dibujos del alumnado de los colegios que colaboran. La voz de estos niños y niñas se completa con la mirada de las propias maestras a través del video en el que pueden oírse sus reflexiones personales, sus ideas acerca de su trabajo, la realidad educativa que viven, y las situaciones a las que deben hacer frente cada día. Mujeres Maestras es un homenaje a un colectivo poco valorado. El proyecto intenta acercar al terreno artístico una realidad social, cultural y especialmente educativa: entre los profesionales de la docencia la mayoría son mujeres. Estamos tratando una cuestión de identidad. Este tipo de iniciativas también están animando a las maestras a generar nuevos parámetros y usos de la educación artística en la escuela.http://dx.doi.org/10.4995/ANIAV.2017.5085
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Rey Villaronga, Gonzalo José. "El tapado de la imagen como estrategia de producción artística." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5843.
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Proponemos el análisis de la obra “Mirror” de David Hammons, para demostrar como el tapado de la obra de arte continúa siendo una estrategia crítica de antivisualidad frente a la sobre abundancia de imágenes. Éste es un análisis y una interpretación que forma parte de un trabajo más extenso que desarrollamos sobre las prácticas antivisuales en la contemporaneidad. David Hammons (U.S.A., 1943). En su trabajo, negar la posibilidad de ver y provocar la curiosidad es una de las estrategias que utiliza el artista a través de su obra. Un artista que comenzó burlándose del mercado cuando al principio de su carrera vendía durante el invierno de Harlem bolas de nieve como obras de arte. Comprometido con los derechos civiles, su trabajo reflexiona sobre las experiencias de la vida afroamericana y el papel que juega en la sociedad americana. En el artículo describimos y analizamos el conjunto de la serie mirrors (espejos) y la ponemos en relación a una destacada trayectoria donde performance, pintura, escultura, y toda clase de prácticas artísticas son utilizadas para provocar la curiosidad en el espectador. Analizamos la serie que aparece en la fotografía superior para revelar como frente a la eficacia e inmediatez con la que el sistema del arte y el sistema en general categoriza, digiere y canibaliza los acontecimientos, la negación sostenida se convierte en un valor añadido para las obras de arte. Sólo hay que pensar en el contexto en el que nos movemos con las políticas de visibilidad, donde si las redes de vigilancia se multiplican y los individuos abiertamente nos exponemos al mundo, cualquier muestra de ocultación es tomada como un acto de rebeldía. Interpretar el concepto de tapado de la imagen heredado de sus pinturas ocultas o pinturas de lona (Kool Aids) nos ayuda a establecer relaciones con otras obras de la antivisualidad y la ocultación como estrategia de cuestionamiento. Terminamos con unas conclusiones que nos permiten afirmar que estas estrategias presentes en éste y en otros artistas logran mantener expectante la mirada del visitante de forma que más allá de su antivisualidad sus obras en realidad logran que nos detengamos y pensemos más allá de lo que se muestra. Entre otras referencias hemos utilizado los textos de: Meana Martínez, Poéticas de la negación de lo visual; Galder Reguera, La cara oculta de la luna; y Hernández-Navarro, La so(m)bra de lo real: El arte como vomitorio.http://dx.doi.org/10.4995/ANIAV.2017.5843
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GUTIÉRREZ REYES, CINTIA. "La estética del silencio: Juan Muñoz y la esquizofonía." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5755.
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Esta ponencia tiene como objeto analizar el silencio como una categoría estética, intrínseca de los planteamientos artísticos posmodernos. Atendiendo para ello a la poética de un discurso rizomático, en donde la obra, material o inmaterial no posee ya una única lectura, no hay una relación clara entre el significante y el significado por tanto, queda abierta la polisemia que invita al receptor a configurar su propia vía de acercamiento a la experiencia artística. Una experiencia que aparece como sistema que facilitará su reconocimiento en lo ajeno. Frente a estas premisas se extiende una habitación vacía, como zona de meditación para una experiencia faústica, o como afirma Rilke como dura prueba que culmina con la conquista del derecho a hablar. Sin embargo, el diálogo que se establece está huérfano de cuerpo, y aparece una voz en la que nos distinguimos la fuente. Estableceremos qué tipos de silencio se vislumbran entre los planteamientos del arte actual: esquizofónico, panofónico o de conversión y cuáles son los autores que plantean esta categoría estética como elemento primordial en su obra. Nos acercaremos de forma específica a la obra de Juan Muñoz, como ejemplo garante de un tipo de silencio donde el extrañamiento se yergue como baluarte en el que se sostienen nuestros propios pensamientos. Para concluir como dijo Cage, que el silencio se presenta con su propia ironía devastadora, «el silencio es contar con un espacio de tiempo vacío y dejar que actúe con su propiedad magnética».http://dx.doi.org/10.4995/ANIAV.2017.5755
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Martínez Domingo, Yolanda, and Josefina González Cubero. "El "hameau" vertical de Le Corbusier. Una alternativa residencial al bloque lineal." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.778.
Full textAbstract:
Resumen: El "hameau" vertical de Le Corbusier es un prototipo de alojamiento colectivo, desarrollado como alternativa plástica a la "Unité d'habitation de grandeur conforme", quizás su obra más sintética. La torre residencial se concreta a partir de las teorías urbanas de la regla de las 7V, a través de la impronta de una de las formas elementales: el volumen cilíndrico, manteniendo prácticamente inalteradas capacidad, forma y dimensiones en cualquiera de los entornos urbanos donde se inserta, los proyectos no construidos de su última etapa para Europa. Lejos de ser un modelo genuino es deudor de otras construcciones previas, los albergues para las colonias infantiles italianas, promovidas por la fábrica FIAT en los años 30, y algunos experimentos residenciales del arquitecto francés Auguste Bossu, erigidos también por esos años en la ciudad de Saint-Étienne. El artículo traza las relaciones entre estas construcciones y las aldeas cilíndricas para solteros, analizando las particularidades de su estructura formal y la dinámica de su organización interna, para comprobar cómo son adoptadas por Le Corbusier en la constitución de la identidad de un nuevo tipo de vivienda colectiva que permanece todavía a la sombra de sus proyectos más reconocidos. Abstract: The vertical "hameau" of Le Corbusier is a prototype of collective housing, developed as a plastic alternative to “Unité d’habitation de grandeur conforme", perhaps his most synthetic work. The residential tower is generated from urban doctrine of 7V theory through the shape of one of the elementary forms: the cylindrical volume. The towers keep capacity, shape and dimensions unchanged in any urban environments where they are inserted: the unbuilt urban projects in his last stage in Europe. Far from being a genuine type, is based in other previous constructions; the children's summer camps sponsored by the Fiat factory in the 30s, and some residential experiments by French architect Auguste Bossu erected by those years in the city of Saint-Etienne. The article describes the relationship between these structures and the cylindrical villages for singles and analyzes the peculiarities of their formal structure and the dynamic of their internal organization in order to check how those constructions were adapted by Le Corbusier for the constitution of a new collective type dwelling which still remains in the shadow of his most famous projects. Palabras clave: Le Corbusier; hameaux verticaux; comuna cilíndrica; torre residencial. Keywords: Le Corbusier; hameaux verticaux; cylindrical commune; residential tower. DOI: http://dx.doi.org/10.4995/LC2015.2015.778
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Svitak, Frantisek, Karel Svoboda, and Josef Podlaha. "Research Reactor Spent Nuclear Fuel Shipment From the Czech Republic to the Russian Federation." In ASME 2009 12th International Conference on Environmental Remediation and Radioactive Waste Management. ASMEDC, 2009. http://dx.doi.org/10.1115/icem2009-16195.
Full textAbstract:
In May 2004, the Global Threat Reduction Initiative agreement was signed by the governments of the United States and the Russian Federation. The goal of this initiative is to minimize, in cooperation with the International Atomic Energy Agency (IAEA) in Vienna, the existing threat of misuse of nuclear and radioactive materials for terrorist purposes, particularly highly enriched uranium (HEU), fresh and spent nuclear fuel (SNF), and plutonium, which have been stored in a number of countries. Within the framework of the initiative, HEU materials and SNF from research reactors of Russian origin will be transported back to the Russian Federation for reprocessing/liquidation. The program is designated as the Russian Research Reactor Fuel Return (RRRFR) Program and is similar to the U.S. Foreign Research Reactor Spent Nuclear Fuel Acceptance Program, which is underway for nuclear materials of United States origin. These RRRFR activities are carried out under the responsibilities of the respective ministries (i.e., U.S. Department of Energy (DOE) and Russian Federation Rosatom). The Czech Republic and the Nuclear Research Institute Rez, plc (NRI) joined Global Threat Reduction Initiative in 2004. During NRI’s more than 50 years of existence, radioactive and nuclear materials had accumulated and had been safely stored on its grounds. In 1995, the Czech regulatory body, State Office for Nuclear Safety (SONS), instructed NRI that all ecological burdens from its past activities must be addressed and that the SNF from the research reactor LVR-15 had to be transported for reprocessing. At the end of November 2007, all these activities culminated with the unique shipment to the Russian Federation of 527 fuel assemblies of SNF type EK-10 (enrichment 10% U235) and IRT-M (enrichment 36% and 80% U235) and 657 irradiated fuel rods of EK-10 fuel, which were used in LVR-15 reactor.
Reports on the topic "French art song"
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Ruiz, Susana. ¿Quién paga la cuenta? Gravar la riqueza para enfrentar la crisis de la COVID-19 en América Latina y el Caribe. Oxfam, July 2020. http://dx.doi.org/10.21201/2020.6317.
Full textAbstract:
Las previsiones de retroceso económico y social en América Latina y el Caribe son alarmantes. La COVID-19 golpea con fuerza la región marcada que tendrá que afrontar una contracción del 9,4%, una de las más severas en todo el planeta. La desigualdad, la informalidad y la insuficiente dotación sanitaria lastran las posibilidades de hacer frente a la pandemia. Pero son los más vulnerables quienes asumen el costo, hasta 52 millones de personas que podrían caer en la pobreza y 40 millones podrían perder sus empleos, un retroceso de 15 años para la región. Pero la COVID-19 no afecta a todos por igual, una élite se mantiene inmune al contagio de la crisis económica. Desde el principio de los confinamientos, hay 8 nuevos milmillonarios en América Latina y el Caribe, personas con un patrimonio superior a los mil millones de dólares. Las personas más ricas han aumentado su fortuna en US$ 48 200 millones desde marzo 2020, lo que equivale a un tercio del total de los paquetes de estímulo de todos los países de la región. Para hacer frente a esta crisis tan profunda, Oxfam propone una serie de reformas que recaigan sobre quienes más tienen y menos han sufrido la pandemia. Entre otros un impuesto sobre el patrimonio neto de las personas más ricas con el que se podría recaudar al menos US$ 14 260 millones, 50 veces más de lo que ahora se estaría recaudando sobre esta élite de grandes fortunas. In the context of the COVID-19 pandemic, forecasts for economic and social decline in Latin America and the Caribbean are alarming. The region will face a 9.4% contraction in its economy, among the most severe in the world. Coping with the pandemic is hindered by inequality, weak and insufficient social protection and limited public health capabilities. Up to 52 million people could fall into poverty and 40 million could lose their jobs – a 15-year setback for the region. Yet, an elite remains ‘immune’ to the contagion of the economic crisis. Since the beginning of the pandemic, there have been 8 new billionaires in LAC: 1 every 2 weeks since the lockdowns began. The richest people have increased their fortune by $48.2bn since March 2020, equivalent to a third of the total stimulus packages of all countries in the region. In this paper, Oxfam proposes a series of reforms targeting those who have being less affected by the pandemic. They include a net wealth tax that could potentially generate $14.3bn, 50 times more than billionaires in the region pay now in theory, under current tax systems.