Relevant bibliographies by topics / Impressionism

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Impressionism'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 December 2024

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Journal articles on the topic "Impressionism"

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Yamash, Yurii, Inna Prokopchuk, Mariana Pelekh, Olena Padovska, and Olena Zherebetska. "Theme of Flowers as a Sign of Impressionism on the Example of the Work of Ivan Trush (1869-1941)." Herança 7, no. 1 (December 29, 2023): 126–35. http://dx.doi.org/10.52152/heranca.v7i1.812.

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The end of the 19th and the beginning of the 20th century in art are associated with light and color in Europe, which were characteristic of the artistic philosophy of Impressionism. Prominent representatives of this movement created artworks based on a new approach to color choices and subject matter, including the depiction of real landscapes and floral compositions. The relevance of this research is driven by the need to study the artistic representation of floral compositions by the Ukrainian artist I. Trush through the prism of Impressionist stylistic elements. The research aims to identify the features of Impressionist philosophy in the works of I. Trush through a comparison of the artist's body of work with that of Impressionist contemporaries in the field of visual arts. In this research, scientific methods such as description, systematization, analysis, comparison, cultural-historical analysis, and generalization were employed. As a result of this scientific investigation, the fundamental characteristic traits of Impressionism as an art style in visual arts were studied, as well as the particular features that distinguish this artistic movement from previous artistic philosophies. The research also analyzed the conceptual framework of the term "Impressionism" and its origins. Furthermore, it examined the characteristic traits and features of the works of the Ukrainian painter I. Trush and Impressionist artists, allowing for the integration of the distinctive traits and features of Impressionism in the artist's work through comparison. Through the comparative analysis conducted in this scientific work between Impressionists and the artistic output of I. Trush, the involvement of the Ukrainian artist in the broader Impressionist movement was highlighted. This research can be utilized by scholars and art historians for further exploration of Impressionism as an artistic movement and its influence on the development of Ukrainian art.
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Grushitskaya, Marina. "Impressionism in Pierre Loti’s “Madame Chrysanthème”." Ideas and Ideals 12, no. 3-2 (September 23, 2020): 305–13. http://dx.doi.org/10.17212/2075-0862-2020-12.3.2-305-313.

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Pierre Loti was a novelist and a marine officer who visited lots of countries. He gained popularity writing about his travels and travel impressions. This article analyses his travel to Nagasaki back in 1885 where he lived for half a year and had a ‘temporary wife’. His novel written during that travel is called “Madame Chrysanthème”. It’s one of his most extravagant and interesting pieces which made the author world-famous. It reflected common interest in the oriental life typical for that time and it predetermined the image of Japan in the European consciousness of the second half of the 19th century. Pierre Loti wrote about his ambition to make the novel as impressionist as possible determining impressionism not as an intellectual but as a decorative phenomenon related mostly to arts and translation of sensory perception. His interpretation of impressionism was expressed in “Madame Chrysanthème”, which is an attempt to describe the world around us, represented not only by the material world but by the author’s sensory perceptions and feelings. To be exact, this is impressionism in fiction. The world is a product of our sensory experience, and the author’s goal is to fix this experience, which is the sum of his observation and impressions. Pierre Loti creates his work where color plays the main role together with sounds and words. They are a sum total of the elements determining the reality in equal amounts. Stylistically “Madame Chrysanthème” is created according to impressionist canons, with lots of epithets, comparisons, metaphors, the author’s neologisms. The novel is written as a diary where separate episodes in chapters are separated from one another by large white empty gaps. The article discusses similarity of impressionism and the Japanese culture. However, a closer look demonstrates considerable differences between the European and the Oriental minds.
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Andoskina, Valeriya A. "Impressionism in Anton Chekhov’s works: History of the term." Vestnik Tomskogo gosudarstvennogo universiteta, no. 499 (2024): 12–19. http://dx.doi.org/10.17223/15617793/499/2.

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The article explores the history of the term “impressionism” in reviews of Chekhov’s prose and drama, which were written by his contemporaries, and in modern research of Chekhov’s creativity (the meaning of this word in historical context). Nowadays the term “impressionism” is popular with researchers of Chekhov’s prose and drama, but there is no strict and generally accepted meaning of it. Researchers suppose various features of impressionism in literature: the impressionistic writer depicts moments of a usual daily life, uses bright and light “paints” in descriptions of nature, prefers short stories and “sketches” instead of voluminous novels and the works of such a writer resemble the “unfinished” and “slipshod” pictures of impressionists created by inconsistent brush strokes, etc. The author of the article does not deny these conceptions of impressionism but believes that the understandings of impressionism should be studied firstly in the historical way. This article studies the uses of the term “impressionism” for more than 150 years: from first readers of Chekhov’s prose and viewers of his dramas to latest researchers. The analysis of the critical articles and research papers about Chekhov created in 1890–2020 showed that the definition “an impressionist” for Chekhov’s contemporaries meant “the author who wants to impress the reader/viewer of the work by creating a certain atmosphere and does not wish to examine ethical and social issues like previous writers/artists did”; and for researches of the 20th century this word meant “the author who belongs to impressionism as a style in art”. Nowadays the term “impressionism” is ambiguous: modern researchers often use this term unsystematically in both its meanings, so it is necessary to specify what a researcher means in a particular paper.
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Ozturk, Fatma, and Ozlem Berksan. "A study for the impact of impressionism period’s coloring, style and mode on fashion designers." Global Journal of Arts Education 5, no. 2 (November 15, 2015): 40. http://dx.doi.org/10.18844/gjae.v5i2.243.

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Impressionism is a result of scientific and social developments’ influence on art and cultural movements during 1870’s. Impressionism, as being the brand new and the most important development in art during 19th century, has represented the modern painting with a strict separation from former understanding of art. While other art movements of 19th century have been maintained the relations or bore trace from classical understanding, impressionists severed all these ties. Instead of observing the nature in a realistic manner, they used impressions of observing it on art.Fashion in the most general sense, is representing the change. Whereas, fashion has been seen as the synonym of dressing, it involves all the aspects of human life. The Belle Epoque Era (1890-1914) that comprised a coy eroticism in fashion overlaps with the Impressionism period. It was a period characterized by an extensive freedom, economic growth and scientific development in Europe. New daily sport clothes and expensive night dresses were the source of inspiration in fashion. Trains and cars made it possible to spend time at the outside for everybody and new fashion styles adopted for social activities.This study is intended to analyze Impressionism Period’s impact on fashion designers. The clothes of the period are going to be investigated from the view point of their color, style, models and accessories. Keywords: Fashion, art, impressionism, belle epoque
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Liu, Jiabei. "Explore the Influence of Impressionism on Post-Impressionism: Taking Van Gogh's Works as an Example." Journal of Education, Humanities and Social Sciences 31 (April 27, 2024): 135–39. http://dx.doi.org/10.54097/3qjw2990.

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Impressionism is a pivotal movement in the history of Western art. It revolutionizes the traditional approach to Western painting. This artistic movement emphasized the spontaneous, direct, and visual representation of natural light and its effect on colors, shapes, and textures. Impressionism is a special kind of non-traditional art without a doubt. Vincent van Gogh is one of the most famous impressionist artists. He has many special characteristics: swirl-like brushstrokes, painting themes that are full of compassion and suffering consciousness, and bold and exaggerated colors. Van Gogh's works often express different emotions through strong contrast and bright colors. His works are very distinctive and full of beauty. He is also one of the most representative impressionist artists. This article will use the survey method and document retrieval method to discover the specialties of impressionism works through Van Gogh's paintings. After the discovery, this article has found three main specialties of impressionism: colors, unrealistic descriptions, and nature elements. In conclusion, this article has discovered why impressionist artworks are so special and so ‘impressive’ through the research.
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Jiao, Shizuo, and Xuanjian Zhu. "Post-impressionism: implicit salute towards its predecessors." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 302–7. http://dx.doi.org/10.54097/ehss.v1i.675.

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Post-impressionism, as one of the world's most popular schools of art, was focused mostly on its influence on its descendants. However, this paper examines the undiscovered aspect of post-impressionism by giving a perspective on its relations with its predecessors rather than its influence on its successors. It studies the forms and flows of post-impressionist paintings. Comparisons, investigations, and observations were made during the period. It is also reviewed in the thesis about the previous articles on comparisons between post-impressionism and its contemporaries as ukiyo-e paintings. Between post-impressionism and its ensuing schools, such as the art nouveau, these comparisons are made to illustrate the influence. The investigation pointed out that there have always been relationships and similarities between post-impressionism and its predecessors, either implicit or explicit ones. The work could endorse further studies on post-impressionism and break the common sense on post-impressionism that it only had an impact on its posts and was not influenced much by its predecessors.
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Surat, Irina Z. "On Osip Mandelstam’s Poem “Impressionism”." Studia Litterarum 6, no. 3 (2021): 166–83. http://dx.doi.org/10.22455/2500-4247-2021-6-3-166-183.

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This article focuses on Osip Mandelstam’s poem “Impressionism”. The main objective of this work is to analyze the key motifs and images of the poem and to offer an integral, non-contradictory reading of the poem based on its immediate context as well as on the specific features of Mandelstam’s poetics. Mandelstam treated impressionism with great enthusiasm considering it an innovative phenomenon in art; impressionism in its broad meaning most fully corresponded with his idea of the life-giving capacities of art as reflected in this poem. The article discloses the plot of the gradual immersion in the world of an impressionist painting in Mandelstam’s poem. A verse-by-verse analysis of the text complemented by the parallel reading of the fragments of Mandelstam’s prose, and also with impressionist paintings the poet was familiar with as a backdrop, allows me to define the particularities of Mandelstam’s symphonic and solid perception of plastic arts, including impressionist painting. The article shows how the antinomies of Mandelstam’s creative art affect the poetic text. “Impressionism” is not a reflection of specific motifs of particular paintings but a cocreative effort of resurrecting reality in art that Mandelstam thought to be the art’s prime purpose.
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Gu, Ranran. "Explore the similarity of impressionist music and impressionist painting." Highlights in Art and Design 2, no. 3 (April 24, 2023): 24–26. http://dx.doi.org/10.54097/hiaad.v2i3.7547.

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The 19th, the end of the century, impressionist painting and impressionism music in the background of innovation, the development of impressionism witnessed the transformation of western traditional art and the rise of modern art, in the history of western art left a heavy, painting, music and other art genres, discipline fusion reached a new step. This paper analyzes and compares the subject matter, structure and expression techniques of impressionist painting and music, explores the similarities of two different arts, and explores the important role of the interaction and integration of art in the development of art.
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Skorobogacheva, Ekaterina Aleksandrovna. "Genesis of Russian Impressionism and its first interpretations." Pan-Art 3, no. 4 (November 8, 2023): 231–35. http://dx.doi.org/10.30853/pa20230037.

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The aim of this research is to identify the specific features of the artistic language of Russian Impressionism. The article presents the content of this stylistic direction, distinguishing it from the general concept of "impressionism." The characteristics of Russian Impressionist art are revealed in its "dialogue" with both Western and Eastern painting, within the chronological framework of the late 19th to the first half of the 20th century. It is determined that the combination of Impressionist language with other styles, including realism, remains significant in both the latter half of the 20th century and contemporary Russian culture.
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Zavyalova, Anna E. "Konstantin Somov’s Early Works and Impressionism: A New View on the Issue." Observatory of Culture 18, no. 4 (October 11, 2021): 409–15. http://dx.doi.org/10.25281/2072-3156-2021-18-4-409-415.

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The article reveals literary (Emile Zola’s novel “L’Œuvre”, Richard Muther’s work “History of Painting in the 19th Century”), literary and artistic (magazines “Mercure de France”, “L’Ermitage”, “La Revue Blanche”, “La Plume”) and artistic (exhibits of the French art exhibition of 1896) sources of Konstantin Somov’s acquaintance with the art of French impressionism at the beginning of his independent activity (before leaving for Paris in the late 1890s). There are also identified sources of phenomena in his work that are similar to impressionism only externally. These issues become the subject of special consideration for the first time. The scientific novelty of the work lies in the fact that it first reveals that the artist did not address to impressionism in the period before his departure to France, as it has been long believed. To study the tasks set, the article involves sources of personal origin (letters and diaries of K.A. Somov and his friend A.N. Benois), as well as A.N. Benois’s articles of the 1890s, published on the pages of the magazine “World of Art”. The author comes to the conclusion that K.A. Somov did not turn to the artistic method of the impressionists in his work at that time, since the information he had been able to get from the identified sources was of a verbal and theoretical nature. Black-and-white reproductions of impressionist paintings in literary and art magazines and in Muther’s “History of Painting in the 19th Century” had not provided sufficient information for the artist. The phenomena similar to impressionism in Somov’s works are based on the study of nature, the heritage of the old European artists, the art of the Barbizonians, J.-F. Millet, W. Turner.
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Dissertations / Theses on the topic "Impressionism"

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Storskog, C. C. "Literary Impressionisms. Resonances of Impressionism in Swedish and Finland-Swedish Prose 1880-1900." Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/261135.

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This dissertation aims to locate and draw out resonances of impressionism in Swedish and Finland-Swedish prose at the end of the nineteenth century, a field hitherto overlooked in the critical debate on literary impressionism. Through the initial examination of the use of the term in an international context comprising the Scandinavian scene, the aim is to show the many alternative accesses to literary impressionism. By focusing on three landmark discussions on the theme in the Nordic countries of the late nineteenth-century (Herman Bang, the Kristiania Bohème, August Strindberg) the inclusive, wide-ranging Scandinavian understanding of the relationship between impressionism and literature is introduced. Accordingly, the texts thereafter chosen for closer scrutiny are intended to disclose this extensive interpretation of impressionist writing: Helena Westermarck’s short story Aftonstämning (Evening Mood) from 1890 is read as an example of interart transposition, i.e., as a piece of prose adopting a theme, as well as the compositional aesthetics, of painterly impressionism; Stella Kleve’s novels and short stories are instead seen as indicative of the narrative modes of a literary impressionism drawing on theatrical representation, as in Bang’s impressionist poetics, but also present textual features such as the ‘metonymic mode’ and ‘delayed decoding’, elements central to the international approach to impressionist prose. The concluding analysis of fictional impressionists in the prose of authors such as Gustaf af Geijerstam, Mathilda Roos, and Georg Nordensvan advances a many-sided portrait of the impressionist painter while remaining true to this study’s pluralistic approach to literary impressionism by including a discussion of K. A. Tavaststjerna’s Impressionisten (The Impressionist) from 1892, whose protagonist is not an artist but a hypersensitive, impressionable subject. This last section also investigates how fiction is used to convey a critical discussion of the means and methods of painterly impressionism, as well as the function of the use of the visual arts in the texts.
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Dahlrot, Erik, and Kristofer Nilsson Fransson. "Impressionism och Digitala Spel." Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-5506.

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Abstrakt För att utveckla och förändra spelmediet behandlar detta arbete impressionism och digitala spel. Båda ämnena diskuteras och belyses från olika vinklar för att undersöka hur de två ämnena kan sammanföras i en spelproduktion. Spelproduktionen har testats av spelstudenter för att få deras åsikter om hur spelet fungerar och deras syn på kopplingen mellan impressionism och digitala spel. Arbetet avslutas med en diskussion och slutsats där alla fakta som tagits in under kandidat-arbetet analyserats. I diskussionen lyfts följande ämnen fram: impressionism, konst, hur spelmediet ser ut idag, tv- och dataspelsgestaltning, interaktion och hur dessa två ämnen, impressionism och digitala spel kan föras samman. Resultatet tyder på att detta är möjligt. Nyckelord: Spelideologi, Impressionism, Ideologin, Estetiken. Upplevelse, Digitala Spel och Spelmediet. Abstract To develop and alter digital games this work treats impressionism in relation with digital games. Both topics are being discussed from different angles and viewpoints to investigate how these two subjects can be brought together in a game production. The production has been trialed by game development students to receive their views on how the game is working and their view on the connection between impressionism and digital games. The candidate work concludes with a discussion where all facts which have been gathered throughout the work have been analyzed. In this discussion the following subjects have been brought forward; impressionism, art, the digital game today, television and digital games interpreta-tion, interaction and how the two subjects, impressionism and digital games can be brought together. The result of the work indicates that this should be possible. Keywords: Digital Game Ideology, Impressionism, Ideology, Aesthetics. Experience, Digital Games and Game as a Media.
Erik Dahlrot Email: erik.dahlrot@hotmail.com Kristofer Nilsson Fransson Email: nisse_frasse@hotmail.com
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Santos, Júnior Moisés Gonçalves. "Silêncio, sensações e segredos : o narrador e a personagem feminina no romance O lustre (1946), de Clarice Lispector /." Assis, 2015. http://hdl.handle.net/11449/132103.

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Orientadora: Cleide Antonia Rapucci
Banca: Ana Maria Carlos
Banca: Betina Ribeiro Rodrigues da Cunha
Resumo: Este projeto de pesquisa tem por premissa maior realizar uma análise do segundo romance de Clarice Lispector, O lustre, publicado em 1946 e considerado pela crítica literária e as pesquisas acadêmicas, até o momento, como uma das obras "menores" da escritora. O estudo analisa a construção do narrador e da personagem principal Virgínia, articulados como as categorias narrativas de maior expressividade e ruptura dentro da história. A pesquisa também objetiva evidenciar as marcas de estéticas vanguardistas e modernas, sobretudo do Impressionismo, que reverberam na escritura de Lispector nesse livro. Todo esse percurso investigativo visa firmar O lustre como obra de grande qualidade estético-literária, desmistificando a opinião crítica sobre a menor relevância dessa narrativa, consolidando-o, deste modo, como um dos primeiros romances em que Clarice Lispector conseguiu com maestria transgredir e ampliar os horizontes da prosa brasileira do século XX
Abstract: This project has as its main purpose to analyze Clarice Lispector's second novel, O lustre, published in 1946 and currently considered by literary criticism one of her minor works. The study analyze mainly the development of the narrator and the main character Virginia, as the most expressive categories in the novel, as well as categories of disruption. The research has also the purpose of highlighting the avant-garde and modern aesthetics, especially of Impressionism, which reverberate in Lispector's writing this book. The whole investigation has the purpose of establishing O lustre as a work of great aesthetic and literary quality, demystifying the critical position which defends the little relevance of the book. In fact, in this book Lispector was able to transgress radically Brazilian prose in the 20th century
Mestre
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Veyna, Alejandra. "Virginia Woolf and Literary Impressionism." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/440.

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Hannah, Daniel Kevin. "Henry James : impressionism and the public." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428260.

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Marre, Oriane. "La réception de l’avant-garde artistique dans la presse politique en France, de l’impressionnisme au fauvisme (1874-1905)." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040074.

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Cette thèse a pour objet la réception de l’avant-garde artistique dans la presse politique pendant les trente premières années de la Troisième République en France. Dans la perspective d’analyser la politisation non de la scène artistique mais de sa perception, nous nous proposons d’étudier la notion d’avant-garde artistique à travers le prisme du politique, de rechercher ce que les contemporains politisés des artistes considèrent comme un art à l’avant-garde. Nous nous sommes intéressés à la période longue, de 1874 à 1905, de l’impressionnisme au fauvisme. La première exposition du groupe impressionniste intervient sur la scène parisienne après la proclamation de la Troisième République le 4 septembre 1870, l’échec de la tentative de restauration monarchique de l’automne 1873 mais avant le vote de l’amendement Wallon le 30 janvier 1875 qui officialise la République. Sa réception s’inscrit dans le contexte de l’instauration puis de l’enracinement de la République en France, du passage des républicains de l’opposition au gouvernement. L’analyse de la réception des mouvements artistiques qui se développent à la fin des années 1880 permet quant à elle d’appréhender la perception du paysage artistique par le monde politique, de la gestion de l’État par les républicains modérés à l’accession au gouvernement des radicaux, intransigeants des années 1870. La presse politique, qui n’a pas vocation à discourir sur l’art mais constitue un miroir quotidien présentant une hiérarchie des événements dont elle garde la trace, nous est apparue un médium très pertinent afin de mettre à jour les réactions des spectateurs politisés dont les articles contiennent en filigrane les empreintes
In this thesis we study how the artistic avant-garde was perceived by the political press in France during the first thirty years of the Third Republic. We propose to question the notion of avant-garde by studying it through the political prism, trying to ascertain what the artists’ politically aware contemporaries used to consider avant-garde art. We do not focus on the political commitments of the artists, but on the way their art was perceived. We chose to consider a rather long period of time, ranging from 1874 to 1905, from Impressionism to Post-impressionism. The first exhibition of the impressionist group took place just after the Third Republic was proclaimed, on the 4th of September 1870, and the unsuccessful attempt to restore the Monarchy in 1873, but before the Wallon amendment voted in 1875, which formalized the establishment of the Republic. We study its reception both in the wake of the establishment of the Republic and as this political regime settles in France, when the Republicans cease to be part of the opposition and start leading the country. Analysing the reception of the art movements emerging in the late 1880’s allows us to grasp how the political audience reacted to the artistic production from the Moderate Republican government to the Radicals’ – formerly called intransigeants in the late 1870’s. Although the purpose of the political press was not to discuss art per se, it still reported artistic and political events, hierarchically presenting them on a daily basis. Acting as a powerful tool to explore the expectations and reactions of its intended politically aware readers, the political press remains a very relevant source for art historians
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Mauney, Nancy Jewell. "An architecture of impressionism : an abstraction of the principles of impressionistic painting into a set of principles of impressionist architecture." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23423.

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Denisoff, Dennis 1961. "Impressionism and the writing of Audrey Thomas." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60466.

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This thesis explores Audrey Thomas's adaptation of Impressionist methodologies to analyse verbal discourse. It confirms that Impressionism is the major visual influence on Thomas's work, and clarifies the complex relationship between the tenets of the movement and Thomas's literary concerns. Since the author's intentions in using visual methodologies are most clearly and thoroughly formulated in Latakia and Intertidal Life, the principal analytic focus of this study is these two texts. First Thomas's critical understanding of Impressionism is verified, and the tenets of the movement which are central to Thomas's writing are defined. Once the sociopolitical issues backgrounding Thomas's adaptation of Impressionism are clarified, the author's actual application of the visual methodologies to challenge both social alienation and the alienating characteristics of verbal communication are analysed. This thesis proves that an understanding of Thomas's adaptation of Impressionism is necessary for a thorough comprehension of her struggle against the sociopolitical infringements of her own artistic medium.
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DiMarco, Christa Rose. "Painting in Paris: Vincent van Gogh, 1886-1888." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/350384.

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Art History
Ph.D.
In Painting in Paris: Vincent Van Gogh, 1886-1888, Christa DiMarco explores the two-year period Van Gogh lived and worked in Paris. The paintings the artist made in The Netherlands, where he lived prior to Paris, and those he produced in Arles, where he moved afterward, usually receive scholarly attention. The imagery from the artist’s time in the capital is generally marginalized. DiMarco considers how and why the artist used a brighter palette and energetic brushwork while painting in Paris. Considering that his artistic practice spanned only a decade from 1880 to 1890, the artist’s time in the capital represents a significant period of growth in terms of his engagement with the art market, his exposure to avant-garde imagery, and his understanding of Symbolist theory in the visual arts. Van Gogh accomplished significant goals in Paris, though some of his well-developed imagery does not necessarily figure into discussions regarding the canonical paintings of the artist’s body of work. Attention to the Paris-period not only locates Van Gogh’s pictorial development within the context of the Impressionists and Neo-Impressionists, but also establishes the ways in which the artist diverged from the artistic aims of the Parisian avant-garde, such as Claude Monet and Camille Pissarro, as he developed his Symbolic approach.
Temple University--Theses
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Santos, Júnior Moisés Gonçalves [UNESP]. "Silêncio, sensações e segredos: o narrador e a personagem feminina no romance O lustre (1946), de Clarice Lispector." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/132103.

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Este projeto de pesquisa tem por premissa maior realizar uma análise do segundo romance de Clarice Lispector, O lustre, publicado em 1946 e considerado pela crítica literária e as pesquisas acadêmicas, até o momento, como uma das obras menores da escritora. O estudo analisa a construção do narrador e da personagem principal Virgínia, articulados como as categorias narrativas de maior expressividade e ruptura dentro da história. A pesquisa também objetiva evidenciar as marcas de estéticas vanguardistas e modernas, sobretudo do Impressionismo, que reverberam na escritura de Lispector nesse livro. Todo esse percurso investigativo visa firmar O lustre como obra de grande qualidade estético-literária, desmistificando a opinião crítica sobre a menor relevância dessa narrativa, consolidando-o, deste modo, como um dos primeiros romances em que Clarice Lispector conseguiu com maestria transgredir e ampliar os horizontes da prosa brasileira do século XX
This project has as its main purpose to analyze Clarice Lispector's second novel, O lustre, published in 1946 and currently considered by literary criticism one of her minor works. The study analyze mainly the development of the narrator and the main character Virginia, as the most expressive categories in the novel, as well as categories of disruption. The research has also the purpose of highlighting the avant-garde and modern aesthetics, especially of Impressionism, which reverberate in Lispector's writing this book. The whole investigation has the purpose of establishing O lustre as a work of great aesthetic and literary quality, demystifying the critical position which defends the little relevance of the book. In fact, in this book Lispector was able to transgress radically Brazilian prose in the 20th century
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Books on the topic "Impressionism"

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Marina, Bessanova, Williams William James, Ermitazh, Gosudarstvennyĭ muzeĭ izobrazitel'nykh iskusstv imeni A.S. Pushkina., and National Gallery of Art, eds. Impressionism and Post-Impressionism. Leicester: Galley Press, 1989.

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Leighton, Mike, and David Manson. Passion and revolution ; A new vision. New York: Ambrose Video Pub., 2001.

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Gualdoni, Flaminio. Impressionism. Milan: Skira, 2008.

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Britain), National Gallery (Great. Impressionism. London: National Gallery, 1990.

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David, Bomford, State University College at Buffalo. Dept. of Art Conservation., and National Gallery (Great Britain), eds. Impressionism. London: National Gallery, in association with Yale University Press, 1991.

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((Magazine)), Réalités, ed. Impressionism. London: Bracken Bks., 1988.

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1954-, Howard Michael, ed. Impressionism. New York: Smithmark Publishers, 1993.

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Gunderson, Jessica Sarah. Impressionism. Mankato, MN: Creative Education, 2009.

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Martha, Kapos, ed. Impressionism. Köln: Könemann, 1994.

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Hyman, Kay. Impressionism. Leicester: Magna, 1990.

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Book chapters on the topic "Impressionism"

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Roque, Georges. "Impressionism." In Encyclopedia of Color Science and Technology, 1–5. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-642-27851-8_246-6.

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Roque, Georges. "Impressionism." In Encyclopedia of Color Science and Technology, 1–5. Berlin, Heidelberg: Springer Berlin Heidelberg, 2020. http://dx.doi.org/10.1007/978-3-642-27851-8_246-7.

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Eitner, Lorenz. "Impressionism." In An Outline of 19th Century European Painting, 334–418. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-13.

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Roque, Georges. "Impressionism." In Encyclopedia of Color Science and Technology, 750–54. New York, NY: Springer New York, 2016. http://dx.doi.org/10.1007/978-1-4419-8071-7_246.

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Roque, Georges. "Impressionism." In Encyclopedia of Color Science and Technology, 929–32. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89862-5_246.

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Roque, Georges. "Neo-impressionism." In Encyclopedia of Color Science and Technology, 1–7. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-642-27851-8_247-3.

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Roque, Georges. "Neo-impressionism." In Encyclopedia of Color Science and Technology, 1–7. Berlin, Heidelberg: Springer Berlin Heidelberg, 2020. http://dx.doi.org/10.1007/978-3-642-27851-8_247-4.

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Price, Alice M. Rudy. "Impressionism Projected." In Mapping Impressionist Painting in Transnational Contexts, 175–91. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003044239-13.

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Chinghsin, Wu. "Institutionalizing Impressionism." In Mapping Impressionist Painting in Transnational Contexts, 133–44. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003044239-10.

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Roque, Georges. "Neo-impressionism." In Encyclopedia of Color Science and Technology, 953–59. New York, NY: Springer New York, 2016. http://dx.doi.org/10.1007/978-1-4419-8071-7_247.

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Conference papers on the topic "Impressionism"

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Kondo, Yuto, Hirokazu Kameoka, Kou Tanaka, Takuhiro Kaneko, and Noboru Harada. "Learning to Assess Subjective Impressions from Speech." In 2024 32nd European Signal Processing Conference (EUSIPCO), 381–85. IEEE, 2024. http://dx.doi.org/10.23919/eusipco63174.2024.10715419.

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Ramahi, Omar M., Hamid A. Chelaresi, Mauricio Fernandez, and Ghazaleh Tashtarian. "Biomedical Imaging and Impressioning using Low-Frequency Electromagnetic Energy." In 2024 International Conference on Electromagnetics in Advanced Applications (ICEAA), 659. IEEE, 2024. http://dx.doi.org/10.1109/iceaa61917.2024.10701806.

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Wan, Zhengfa. "Image, Impressionism and Imagism." In 2022 International Conference on Social Sciences and Humanities and Arts (SSHA 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220401.014.

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Maslennikova, Svetlana Fedorovna. "FORMATION OF PROFESSIONAL COMPETENCIES FOR FUTURE BACHELORS OF TOURISM IN THE PROCESS OF TRAINING." In All-Russian scientific and practical conference with international participation. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-97839.

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The article reveals some aspects of mastering professional competencies by students studying in the direction of training 43.03.02. Tourism, in the process of studying the course "World culture and art". On the example of the work of the French impressionist artist E. Manet, the originality of the artistic direction "impressionism" and its characteristic features are shown.
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Du, Guangyu, Lei Dong, Fabio Duarte, and Carlo Ratti. "Wanderlust: 3D Impressionism in Human Journeys." In 2021 IEEE VIS Arts Program (VISAP). IEEE, 2021. http://dx.doi.org/10.1109/visap52981.2021.00012.

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Ge, Huangyi, Sze Yiu Chau, and Ninghui Li. "MoNet: Impressionism As A Defense Against Adversarial Examples." In 2020 Second IEEE International Conference on Trust, Privacy and Security in Intelligent Systems and Applications (TPS-ISA). IEEE, 2020. http://dx.doi.org/10.1109/tps-isa50397.2020.00040.

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Li, Cheng-Te, and Man-Kwan Shan. "Emotion-based impressionism slideshow with automatic music accompaniment." In the 15th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1291233.1291424.

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Ding, Liming. "The Correlation between Lawrence Modernist Poetry and Impressionism Painting." In 2015 International conference on Applied Science and Engineering Innovation. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/asei-15.2015.118.

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Folego, Guilherme, Otavio Gomes, and Anderson Rocha. "From impressionism to expressionism: Automatically identifying van Gogh's paintings." In 2016 IEEE International Conference on Image Processing (ICIP). IEEE, 2016. http://dx.doi.org/10.1109/icip.2016.7532335.

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Shirshova, Lyubov. "To the Issue of the Russian Impressionism in the 1960s." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.5.

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Reports on the topic "Impressionism"

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Galenson, David. Quantifying Artistic Success: Ranking French Painters - and Paintings - from Impressionism to Cubism. Cambridge, MA: National Bureau of Economic Research, October 1999. http://dx.doi.org/10.3386/w7407.

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Galenson, David. The Lives of the Painters of Modern Life: The Careers of Artists in France from Impressionism to Cubism. Cambridge, MA: National Bureau of Economic Research, January 1999. http://dx.doi.org/10.3386/w6888.

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Stanley, April Elisha. Paisley Impressions. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1651.

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Catán, Daniel. Composing Opera: A Backstage Visit to the Composer's Workshop. Inter-American Development Bank, August 1997. http://dx.doi.org/10.18235/0007926.

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Cajas, María Augusta, Marcela Cabrera, Jaime Astudillo, Yulissa Abad, and Daniela Astudillo. Accuracy in marginal and/or internal adaptation of full-coverage fixed prostheses made with digital versus conventional impressions: an overview of systematic reviews and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, October 2021. http://dx.doi.org/10.37766/inplasy2021.10.0024.

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Review question / Objective: Is the accuracy (marginal adaptation and / or internal adaptation) of fixed full coverage prostheses made with digital impressions better than conventional impressions? Eligibility criteria: Inclusion criteria• Systematic reviews and / or meta-analyzes that evaluated the precision (marginal adaptation and / or internal adaptation) of full coverage fixed prostheses on natural teeth in clinical studies and on tooth replicas in in vitro studies.• Systematic reviews and / or meta-analyzes comparing digital impressions with an intraoral scanner versus conventional impressions taken with any impression material.• Systematic reviews and / or meta-analyzes of randomized clinical trials (RCTs), prospective comparative and in vitro and non-randomized clinical trials.Exclusion criteria:• Systematic literature reviews, case reports, pilot studies• Studies evaluating the seating of crowns on implants and partial restorations• Studies with no response from the author to the requested information query.
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Whitman, Deb, Rebecca Gillan, and John Hagerty. 2016 Member Opinion Survey: Initial Impressions/Insights. AARP Research, November 2016. http://dx.doi.org/10.26419/res.00136.002.

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Yatsymirska, Mariya. KEY IMPRESSIONS OF 2020 IN JOURNALISTIC TEXTS. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11107.

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The article explores the key vocabulary of 2020 in the network space of Ukraine. Texts of journalistic, official-business style, analytical publications of well-known journalists on current topics are analyzed. Extralinguistic factors of new word formation, their adaptation to the sphere of special and socio-political vocabulary of the Ukrainian language are determined. Examples show modern impressions in the media, their stylistic use and impact on public opinion in a pandemic. New meanings of foreign expressions, media terminology, peculiarities of translation of neologisms from English into Ukrainian have been clarified. According to the materials of the online media, a «dictionary of the coronavirus era» is provided. The journalistic text functions in the media on the basis of logical judgments, credible arguments, impressive language. Its purpose is to show the socio-political problem, to sharpen its significance for society and to propose solutions through convincing considerations. Most researchers emphasize the influential role of journalistic style, which through the media shapes public opinion on issues of politics, economics, education, health care, war, the future of the country. To cover such a wide range of topics, socio-political vocabulary is used first of all – neutral and emotionally-evaluative, rhetorical questions and imperatives, special terminology, foreign words. There is an ongoing discussion in online publications about the use of the new foreign token «lockdown» instead of the word «quarantine», which has long been learned in the Ukrainian language. Research on this topic has shown that at the initial stage of the pandemic, the word «lockdown» prevailed in the colloquial language of politicians, media personalities and part of society did not quite understand its meaning. Lockdown, in its current interpretation, is a restrictive measure to protect people from a dangerous virus that has spread to many countries; isolation of the population («stay in place») in case of risk of spreading Covid-19. In English, US citizens are told what a lockdown is: «A lockdown is a restriction policy for people or communities to stay where they are, usually due to specific risks to themselves or to others if they can move and interact freely. The term «stay-at-home» or «shelter-in-place» is often used for lockdowns that affect an area, rather than specific locations». Content analysis of online texts leads to the conclusion that in 2020 a special vocabulary was actively functioning, with the appropriate definitions, which the media described as a «dictionary of coronavirus vocabulary». Media broadcasting is the deepest and pulsating source of creative texts with new meanings, phrases, expressiveness. The influential power of the word finds its unconditional embodiment in the media. Journalists, bloggers, experts, politicians, analyzing current events, produce concepts of a new reality. The world is changing and the language of the media is responding to these changes. It manifests itself most vividly and emotionally in the network sphere, in various genres and styles.
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Saini, Ravinder, Saeed Hassan, and Abdulkhaliq Alshadidi. Effect of chemical disinfection on the dimensional stability of polyvinyl ether siloxane impression material: a systemic review and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, May 2023. http://dx.doi.org/10.37766/inplasy2023.5.0042.

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Review question / Objective: Does chemical disinfection effects the accuracy and dimensional stability of the dental impressions made from PVES elastomers?” Eligibility criteria: All in vitro studies with data on the effects of disinfection on PVES were included. Studies were selected based on the following criteria: (1) studies should have comparison data between native and disinfected PVES impressions, (2) methods of disinfection should be chemical disinfectants, and (3) studies published in English.pves,
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Evans, Daniel, Iain Cruickshank, and Salvatore Minopoli. Lesson and Impressions of the Ghanaian Capital Markets. Fort Belvoir, VA: Defense Technical Information Center, July 2011. http://dx.doi.org/10.21236/ada546482.

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Kevin James Willcox, Kevin James Willcox. Can being empathetic and generous improve interpersonal impressions? Experiment, June 2021. http://dx.doi.org/10.18258/20590.

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