Academic literature on the topic 'Gustavian style'

Björn Gustavsen, with an original professional background as a lawyer and judge in his native Norway, had a formative role in organisational development processes in Norway, Sweden, Scandinavia and the European Union over four decades. Following in the tradition of Norwegian working life research by Trist and Thorsrud, he provided the conceptual framework and practical case studies which have driven major national and international programmes. He learned from different experience of organisational change in, for example, the USA and Japan, but he identified a distinctive way forward for the European Union, where he acted as a senior adviser. In contrast to conventional Taylorist top-down management and reliance on expert consultants, his approach was bottom up and concept driven, with a focus on empowering workers. With a commitment to long-term sustainable processes, he emphasised the importance of capacity building and succession planning, highlighting development organisations. His approach to partnership and coalition building enabled collaboration across sectors, in the cause of creating collaborative advantage. He had a distinctive fluent academic writing style, but spentmost of his time engaged in the design and practice of development, and editing the work of younger colleagues. He saw the role of academic journals and edited books in the development process, so encouraged new publications, but without seeking to dominate. He took ideas of Action Research and case studies, and applied them to national enterprise development programmes, working with the labour market parties. This resulted in a distinctive research and development culture.

AbstractIntermediate levels of the Larga-Fatţa Báii field, Metaliferi Mts., Romania, are host to epithermal vein mineralization, small skarn-like bodies and ‘geode’-like replacement ores, that together form a complex hydrothermal system rooted in the subjacent andesite stock. Silver-Pb-Bi sulphosalts, some with Sb and/or Se, are intimately associated with hessite and a range of Bi-tellurides with Bi/(Te+S+Se) ≤1 (tetradymite, tellurobismuthite, tsumoite, Pb-free rucklidgeite) within all these ore types. Lillianite homologues, both ordered 4L and 7L derivatives (lillianite, gustavite), and disordered varieties are the most abundant sulphosalts, with subordinate bismuthinite derivatives (aikinite, krupkaite, bismuthinite). An exceptionally Ag-rich lillianite homologue, intimately intergrown with tetradymite and hessite, is identified as treasureite on the basis of chemical composition. Porphyry-style mineralization from 600 m beneath the studied level contains rucklidgeite as the single stable Bi-telluride. The trace mineralogy of the system is suggestive of a hydrothermal system strongly zoned with respect to fTe2 and, to a lesser extent, also fS2. Mineralogical and textural evidence suggests that initial crystallization took place at temperatures in excess of 400°C. The association of gold with Bi-minerals is linked to the role of Bimelt as a scavenger for gold, and deposition within ‘droplets’ simultaneous with the formation of arsenopyrite from löllingite + pyrrhotite. Both Bi-tellurosulphides and sulphosalts are commonly non-stoichiometric, a fact that can be correlated with order-disorder in both series. When widely distributed, as in the Larga system, trace amounts of Bi-minerals (sulphosalts, tellurides/tellurosulphides) have considerable, untapped potential as tracers of the physical-chemical character of an evolving hydrothermal system.

Björn Gustavsen, with an original professional background as a lawyer and judge in his native Norway, had a formative role in organisational development processes in Norway, Sweden, Scandinavia and the European Union over four decades. Following in the tradition of Norwegian working life research by Trist and Thorsrud, he provided the conceptual framework and practical case studies which have driven major national and international programmes. He learned from different experience of organisational change in, for example, the USA and Japan, but he identified a distinctive way forward for the European Union, where he acted as a senior adviser. In contrast to conventional Taylorist top-down management and reliance on expert consultants, his approach was bottom up and concept driven, with a focus on empowering workers. With a commitment to long-term sustainable processes, he emphasised the importance of capacity building and succession planning, highlighting development organisations. His approach to partnership and coalition building enabled collaboration across sectors, in the cause of creating collaborative advantage. He had a distinctive fluent academic writing style, but spent most of his time engaged in the design and practice of development, and editing the work of younger colleagues. He saw the role of academic journals and edited books in the development process, so encouraged new publications, but without seeking to dominate. He took ideas of Action Research and case studies, and applied them to national enterprise development programmes, working with the labour market parties. This resulted in a distinctive research and development culture.

This is a study of the intersection between art historical theory and practice, and cultural heritage, where the revivals and mediations of the neoclassical Gustavian style have been used as a platform for further exploration. In relation to this, the use and changing meanings of the concepts authenticity and style have been examined. The research has a historiographical and multidisciplinary character, drawing on the fields of art history, critical heritage studies and design history. The study shows how the Gustavian style has been routinely used when Swedish culture has been staged, nationally and internationally, but also when shaping ideas of the ideal home and good taste. The focus is placed on three periods – the 1890s, the 1930s-40s and the 1990s – during which the Gustavian style was defined, revived and mediated in different modes of representation such as textbooks, exhibitions, period furniture and historically informed performances. In the study we meet the actors, human and non-human, that have contributed to the resilient position of the Gustavian style in the public consciousness and in a commercial context. The Gustavian style, perhaps like no other, has been systematically embraced by the official heritage institutions in Sweden, including the academic discipline of art history, which has been an important influence on the way the past has been presented, valued, categorised, preserved and re-used. The author argues that the style has been able to maintain its relevance due to its ability to embody many different prevailing aspects across the 20th century, for example tradition and modernity, nationalism and internationalism, but also the past, present and visions of retro-utopia.

The colourful past of the late 18th century marquetry furniture has seldom been highlighted. Through ageing and environmental influences, colourful marquetry furniture has lost their original expression. The current knowledge of how Swedish cabinet-makers in the late 18th century used dyes to colour their furniture is limited. Trace of colour has been observed and the use of dyes has been mentioned, but deeper research in this filed is missing. A visual examination and studies of archive documents and previous research have been performed to investigate the colourful past of Gottlieb Iwerssons masterpiece, a secretaire in Gustavian style made for the king Gustav III. The result shows that the secretaire has a colourful past in accordance with its original drawing. A hypothetical picture has been created to illustrate the colourful original appearance.

This thesis examines the conception of style in Sentimental Education as a pure formal beauty. The first part of the study traces the evolution of this conception by analysing the thought of several critics : A. Thibaudet, R. Barthes, L. Cellier and J.-P. Duquette. This analysis leads us to claim that the conception of style as an ornament is conditioned by a certain interpretation of the novel : the fact that Frédéric and his friends have not brought their efforts to a close is considered as a failure and Flaubert is branded as a pessimist. Since the examined critics are annoyed by this in-achievement of the narrated tasks, they need to compensate it with something achieved : a perfect beauty. Thus, it's a desire of the absolute that shows through this conception of style. Postulating that style and sense are two inseparable phenomena, the second part of the study shows that this desire is exactly what the novel seeks to dissuade us from. Our analysis reveals in the text a systematic use of irony, which suggests the destruction of the missions imposed to the characters at the same time that these are narrated to us. Thus, the aspirations for the absolute (for the unity) are esposed through the expectations of the reader.