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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 RapucciBanca: 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 empreintesIn 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 HistoryPh.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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000851989.pdf: 957529 bytes, checksum: 7c3397f85aa522795411c80d5cc23703 (MD5)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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Weavis, Daniel. "Exploring literary impressionism : Conrad, Crane, James and Ford." Thesis, University of Leicester, 2002. http://hdl.handle.net/2381/30276.
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As a literary category, 'impressionism' has only recently begun to receive regular critical attention. Where impressionism is firmly enshrined in Art History, the term has often been thought redundant in literary criticism. Several scholars have attempted to define and defend impressionism as a literary phenomenon, and while the present study seeks also to bolster its status emphasising how it constitutes a crucial moment in the development of modern literature it also scrutinises the deeper implications of the aesthetic. It is, in addition, the first comprehensive exploration of the literary relationship between the fictional work of the four central exponents of literary impressionism in the English language: Joseph Conrad, Stephen Crane, Ford Madox Ford, and Henry James. Chapter One traces and summarises the aesthetic and cultural origins of literary impressionism. Chapter Two presents a working definition of impressionism, and considers the problems surrounding any such attempt. Chapter Three explores the unique and complex interaction between author, text and reader in impressionist fiction, and observes the potential contradictions involved. The moral and political capacity and alignment of the impressionist aesthetic are the subject of Chapter Four. Chapter Five examines the representations of, and implications for, identity, while Chapter Six develops the more radical implications of the fifth: investigating the consequences, opportunities and dangers of heightened subjectivity. The Conclusion locates the position and status of impressionism in literary history, looking beyond its relationship with modernism to anticipations of the theories and practices of our own time.
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Tyler, Kenneth Ronald Jr. "Impressionism as architecture : an investigation of design principles." Thesis, Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/24132.
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Sacchettin, Priscila. "Impressionismo em preto e branco: desenho e gravura em Félix Bracquemond." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-30072008-113029/.
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Esta dissertação examina a gravura impressionista, através da análise do conceito de desenho e a relação deste com a gravura praticada na segunda metade do século XIX, na França. Para isso, utilizo como guia o conceito de desenho desenvolvido por Félix Bracquemond (1833 - 1914) em seu ensaio Du Dessin et de la Couleur (1855). Pretendo mostrar como esse conceito foi forjado em consonância com as pesquisas impressionistas no âmbito da gravura.This dissertation focuses the impressionist engraving , through an analysis of the concept of drawing, and its relations with the engraving made in France, at the second half of the XIX century. Therefore, the concept of drawing such as developed on the essay Du Dessin et de la Couleur (1885) by Félix Bracquemond (1833 - 1914), was taken as a guiding one. I intent to demonstrate how this concept was formed according to the impressionists researches on engraving.
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Cristovão, Maria Lucia Claro. "Descrição pictórica: a influência da pintura impressionista na literatura francesa do século XIX." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-09122009-151952/.
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Desde Horácio e sua célebre expressão Ut pictura poesis, diversos autores tentaram estabelecer um paralelo entre a literatura e a pintura ao longo dos séculos. Vários são os exemplos de obras literárias e pictóricas unidas por temas e inspirações em comum, que se desenvolveram em caminhos paralelos durante uma determinada época, numa determinada sociedade. Menos freqüentes, porém, são as ocorrências de elementos que configurem um verdadeiro diálogo, uma convergência ou uma interferência entre as artes visuais e a arte literária. Neste trabalho, pretendemos identificar uma influência do olhar impressionista na literatura francesa da segunda metade do século XIX. Para isso, analisaremos seqüências descritivas de obras de Gustave Flaubert e de Émile Zola. Através da análise da construção das pinturas impressionistas e da construção das seqüências descritivas na literatura, pretendemos demonstrar que esses dois sistemas de representação não estão unidos apenas por temas e inspirações em comum, como havia sido o caso até então, mas também pelas técnicas e metodologias utilizadas e pelas reações que essas mesmas técnicas provocaram e provocam até hoje no espectador e no leitor.From the time of Horace and his famous phrase Ut pictura poesis, several authors have attempted to draw a parallel between literature and painting. There are many examples of literary and pictorial works linked by common topics and inspirations that have taken parallel paths across time and across societies. Less frequent, however, are the examples of a real dialogue, a convergence or interference between the visual and the literary arts. In this study, we aim at identifying an influence of the impressionist view in the French literature of the second half of the 19th century. For this purpose, we will examine descriptive sequences of the works of Gustave Flaubert and Émile Zola. By analysing the process through which Impressionist paintings were made and the descriptive sequences were written, we aim at demonstrating that these two systems of representation are not united only by common topics and inspirations, as had been the case to date, but also by common techniques and methodologies, in addition to being united by the reactions that these same techniques provoked and still provoke today in the spectator and the reader.
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Goldman, Jane. "Eclipse and prismatics : the feminist post-impressionism of Virginia Woolf." Thesis, University of Edinburgh, 1995. http://hdl.handle.net/1842/20536.
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This materialist feminist approach to Woolf's photological and colourist tropes seeks to revise orthodox interpretations of her Post-Impressionism. It falls into two interrelated parts, "Eclipse", and "Prismatics", each taking as its point of departure a significant moment for Woolf: the 1927 solar eclipse, and the 1910 Post-Impressionist Exhibition. Chapter 1 relates the thesis to Woolf criticism in general, and, as a basis for understanding the relation between its two parts, focuses on the "The Moment: Summer's Night", where a luminous moment is understood as one of (patriarchal) oppression into which Woolf invites intervention. Chapters 2 to 8 examine photological theories in relation to Woolf; analyse Woolf's diary entry on the eclipse and her prose piece "The Sun and the Fish", along with other eclipse-related texts (ideal material for a close study of her engagement with the tropes of light, shade and colour); and explore Woolf's manipulation of gendered photological discourses in relation to a range of mythological sources. Part One's sustained close readings suggest Woolf intrudes into a discourse of solar subjectivity (traditionally inscribed as masculine), an intersubjective feminist colourism, discussed in relation to suffrage iconography and elegiac traditions. Part Two adopts a more varied approach. It begins with a contextualising account of Post-Impressionist theories and practice from 1910 and 1912; and along with samples of Woolf's later writing on feminism and art, it discusses two novels. Chapter 9 examines the reception of the 1910 exhibition in relation to colourism and to the contemporary spectacle of suffrage agitation. Chapter 10 charts the move from romantic colour-based definitions of Post-Impressionism to the second exhibition's more dominant theory of significant form. It proposes the former as more pertinent to Woolf's engagement with the visual arts than the latter (more orthodoxly emphasized).
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Wilcox, Denys J. "The London Group 1913-1939." Thesis, University of Bristol, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390143.
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Vesterberg, Albin. "Skriva musik för gitarrtrio : reflektioner om mig och min konst." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2059.
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Torres, Isabel Maria Vieira da Rocha. "Leitura multiperspetival do impressionismo: um estudo de modelos mistos." Doctoral thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/17035.
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Doutoramento em Multimédia em EducaçãoO estudo de modelos mistos que apresentamos, radicado na problemática da compartimentação do conhecimento, centra-se na flexibilização da aprendizagem com vista à aquisição de conceitos complexos relativos à linguagem estética impressionista na pintura. Neste âmbito, duas vertentes são abordadas: as interdependências entre os temas de complexidade conceptual definidores deste domínio do conhecimento, e as interações e retroações entre a linguagem estética impressionista na pintura e domínios estéticos análogos na literatura e na música de traços impressionistas. Para o mapeamento desta paisagem conceptual foram construídos dois ambientes digitais multimédia, fundados no pendor pedagógico e didático dos pressupostos subjacentes aos hipertextos da Teoria da Flexibilidade Cognitiva: as bases de informação/estudo unidisciplinar e multidisciplinar. Visamos fornecer aos sujeitos da aprendizagem quadros globais de inteligibilidade, sistemas de enquadramento e referência que lhes permitam situar e integrar a multiplicidade de informações, numa aprendizagem promotora do pensamento crítico, da análise e síntese da informação, bem como da capacidade para resolver problemas de forma criativa e flexível. Os procedimentos adotados no estudo preliminar, no estudo piloto e no estudo de modelos mistos são amplamente descritos, bem como a análise detalhada dos dados múltiplos recolhidos através do Pré e do Pós-teste, dos Diários, das Atividades, dos Percursos de Navegação e das Entrevistas. O tratamento dos dados de índole qualitativa realizou-se por recurso à análise de conteúdo e focou-se no diálogo dos sujeitos com as aplicações informáticas, na relação que estabeleceram com a ecologia conceptual do tópico de aprendizagem, na perceção que detiveram da sua construção do conhecimento, no evoluir da sua motivação e na autonomia/ritmo de aprendizagem que revelaram. Por sua vez, os dados de cariz quantitativo, analisados por recurso aos testes t de Student, ANOVA e ANCOVA, mediram a performance dos sujeitos ao nível da aquisição de conhecimento declarativo e processual, e ao nível da transferência próxima e remota do conhecimento, sendo que nas vertentes referidas as aplicações informáticas se revelaram potenciadoras da aprendizagem verificando-se, por exemplo, que do Pré para o Pós-teste as diferenças nas médias obtidas pelos sujeitos se apresentam estatisticamente significativas. A triangulação dos resultados corroborou a congruência das conclusões. vi
The mixed models approach here presented, rooted on the issues of knowledge compartmentalisation, is centred on rendering learning flexible in view to the acquisition of complex concepts pertaining to the aesthetics of impressionist language in painting. In this realm, two perspectives are approached: the interdependences between themes of conceptual complexity that define this knowledge domain, and the interactions and retroactions between the aesthetics of impressionist language in painting and in analogue aesthetic domains like literature and music of impressionistic traits. For the mapping of this conceptual landscape, two digital multimedia environments were created, grounded on the pedagogical and didactic character of the presuppositions that underlie Cognitive Flexibility Theory hypertexts: the uni and multidisciplinary basis of information/study. We aimed at offering the subjects global frameworks of intelligibility, contextualising systems and references that would allow them to situate and integrate the multiplicity of information into a learning that promoted critical thinking, analysis and synthesis of information, as well as the capacity to solve problems in a creative and flexible way. Procedures adopted in the preliminary study, in the pilot study and in the mixed models study are widely described, as well as a detailed analysis of the multiple data gathered from the Pre and Post-test, the Diaries, the Activities, the Navigation Paths and the Interviews. Data treatment of a qualitative nature was conducted resorting to content analysis and focused on the dialogue of the subjects with the computer applications, on the relationship they established with the conceptual ecology of the learning topic, on the perception they obtained from their construction of knowledge, on the evolution of their motivation and on the autonomy/rhythm of learning they revealed. On the other hand, quantitative data, analysed resorting to models like Student’s t distribution, ANOVA and ANCOVA, measured the subjects’ performance at the level of acquisition of declarative and procedural knowledge, and at the level of near and remote transfer of knowledge, it so being that in the aforementioned perspectives, the computer applications revealed themselves as potentiating of learning we verified, for instance, that from Pre to Post-test the differences between the means obtained by the subjects are statistically significant. The triangulation of results corroborating the congruence of the conclusions. vii
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Wong, Sau-mui Alice, and 黃秀梅. "Fashioning food in impressionist painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46599058.
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This thesis explores the various roles of food in Impressionism by examining paintings of food so as to sort out their relationship with one another and their linkage to modern life in Paris in the 19th century. Food was related to spectacle, class reconfiguration, gender relations, consumerism and capitalism, and leisure, all of which were part of the revolution of modernity in Paris. By analyzing Impressionist images of food production, display and consumption in relation to these modern social and historical developments, the thesis explores the relationship between food and people, meaning the social dimension of food culture. In addition to standard art historical approaches, two research methods are especially important. First is to understand the general historical context of food imagery by examining 19th-century cookbooks, novels and treatises related to food, and popular visual culture including posters, menus, and prints. Second is to identify and analyze particular food motifs by studying recipes, statistics, and dictionaries of food.
Five chapters deal with five aspects of food. Chapter one talks about the crystallization of food into spectacle as a result of the conspicuous consumption facilitated by the construction of Les Halles, the central food market. Chapter two examines two different kinds of food production – rural agriculture and urban artisan cuisine – as expressions of two dissimilar attitudes towards labor, linked to competing conceptions of time as continuous and discontinuous. Chapter three raises the issue of sociability, where the pleasure of eating can only be obtained through the engendering of a semi-private space linking private eating to public identity. Chapter four shows how the coalescing of food and women in Impressionism intensifies the pleasures of visually and physically consuming the female body, while paradoxically entrapping male viewers in desire. Whereas these first four chapters emphasize social aspects of food, chapter five shows how food affected the interiority of particular artists, demonstrating the embodiment of psychological traits in Impressionist still lifes of food.
Overall, the thesis shows that Impressionist paintings of food actively interpreted and defined modern food culture as a continuous process of spectacularization and systemization, and that they consciously draw parallels between food consumption and visual consumption as similar processes of pleasurable consumption. By revealing that Impressionist food imagery sometimes does not comply with other Impressionist genres in interpreting modernity, the thesis opens new ways of thinking about both food culture and Impressionism.published_or_final_version
Fine Arts
Master
Master of Philosophy
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Santos, Júnior Moisés Gonçalves. "Entre nuances multiformes e sensações evanescentes : a estética impressionista nos romances "Clarissa" (1933), de Erico Verissimo, e "O lustre" (1946), de Clarice Lispector /." Assis, 2020. http://hdl.handle.net/11449/192824.
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Orientador: Rubens Pereira dos SantosResumo: A proposta de tese em foco contempla análises comparativas das obras "Clarissa" (1933), de Erico Verissimo, e "O lustre" (1946), de Clarice Lispector. Escritos no início de suas carreiras literárias, os romances dialogam entre si não somente as semelhanças de enredo, personagem principal e temas, mas a presença sensível da vanguarda impressionista, materializada na tessitura literária de ambas as narrativas, seja no plano do conteúdo ou da forma romanesca. Gêneros híbridos da modernidade, nas fronteiras entre o Bildungsroman moderno e o romance lírico, neste presente estudo também se objetivou interpretá-los e confrontá-los por esta chave de leitura, mas, sobretudo, compreender como acontece, em cada um desses romances, a transcriação (conceito de Haroldo de Campos [2006, 2015]) de uma estética eminentemente plástica para as veredas da linguagem, e como o impressionismo na literatura acabou adquirindo e consolidando contornos próprios e independentes da pintura cultivada no final do século XIX e começo do XX. Norteando-se pelos pressupostos da crítica literária (resgate da recepção e fortuna crítica das obras), teoria literária, literatura comparada e estudos interartes, a hipótese levantada por esta tese repousa, portanto, em investigar e comprovar a ressonância desta estética moderna que, imbricada ao estilo único de cada autor, produziu dois romances brasileiros com fortes ecos impressionistas. Com este processo de ressignificação comparada destas obras, a pesquisa almeja ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The proposed thesis in focus contemplates comparative analyzes of the works "Clarissa" (1933), by Erico Verissimo, and "O lustre" (1946), by Clarice Lispector. Written at the beginning of their literary careers, the novels dialogue among themselves not only the similarities of plot, main character and themes, but the sensitive presence of the impressionist avant-garde materialized in the literary fabric of both narratives, whether in terms of content or form. romanesque. Hybrid genres of modernity, on the frontiers between the modern Bildungsroman and the lyric novel, this study also aimed to interpret and confront them by this key reading, but, above all, to understand how it happens in each of these novels. transcreation (concept by Haroldo de Campos [2006, 2015]) of an eminently plastic aesthetic for the paths of language, and how impressionism in literature eventually acquired and consolidated its own independent contours of painting cultivated in the late nineteenth and early twentieth. Guided by the assumptions of literary criticism (redemption of the reception and critical fortune of works), literary theory, comparative literature and interart studies, the hypothesis raised by this thesis rests on investigating and proving the resonance of this modern aesthetic that, imbricated In the unique style of each author, he produced two Brazilian novels with strong impressionist echoes. With this process of comparative resignification of these works, the research aims to rescu... (Complete abstract click electronic access below)
Doutor
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Koyle, Douglas Metcalf. "The foreshadowing of musical impressionism in the works of Edvard Grieg." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1146152928.
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De, Lange Adriaan Michiel. "Conrad's impressionism the treatment of space and atmosphere in selected works." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002272.
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This thesis focuses on Conrad's representation of space and atmosphere in the "impressionistic" works published between 1897 and 1904, notably The Nigger of the "Narcissus" (1897), "Heart of Darkness" (1899), Lord Jim (1900), and Nostromo (1904). The many conflicting statements regarding the nature of Conrad's impressionism lead one to ask two fundamental questions: What constitutes this strange and elusive phenomenon, and how does it bear upon interpretation? This thesis works towards defining the elusive quality of Conrad's writing by investigating and assessing the contribution of impressionist techniques in the creation of a pervasive space and atmosphere; secondly, it considers how the various constituent elements interact with, and complement one another to form a dominant mode of fictional space in each work; and, thirdly, it indicates the possible impact that these particular Conradian configurations of space and atmosphere might have upon the interpretation of his impressionist works. The thesis argues that the existential condition of isolatio~experienced by Conrad's heroes and narrators is a consequence of epistemological frustration and fragmentation, which, in turn, is a function of impressionist ontology. There is a definite and complementary relationship between each of these notions in Conrad's fiction. The mysterious atmosphere in his works results from the interplay between various configurations of theme, narration and description, and these novelistic elements correspond roughly with the notions of existential isolation (the dominant theme), epistemology (narrating, telling and (re)telling as a method of knowing and understanding the space in which the characters find themselves) and, lastly, the ontological dimensions of the various modes of fictional space (as realized in description). The evocation and invocation of cosmic space in The Nigger of the "Narcissus," the mapping of a dorriinant symbolic space in "Heart of Darkness," the (re)constructions of Jim's psychological space in Lord Jim, and, finally, the "transcription" and "inscription" of a mythical space in Nostromo, indicate a definite development from epistemological to ontological issues. Phrased in more theoretical terms, this development is a movement from asking predominantly epistemological questions like "How can I interpret this world of which I am a part?" "What is there to be known?" "Who knows it ... and with what degree of certainty?", to asking predominantly ontological questions, such as "Which world is this?" "What kinds of worlds are there ... and how are they constituted?". Such questions, categorized by McHale as the dominant characteristics of Modernist and Postmodernist fiction respectively, are already present in Conrad's texts, thus undermining any clear-cut division between these broad categories. Indeed, this thesis suggests that these categories are at best tenuous, and that they should perhaps be used heuristically, rather than definitively
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Volkmar, Karl Franklin. "Camille Pissarro's Jardinière (1884-1885) in the context of his early genre paintings: 1872-1886 /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487262513410213.
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Papini, Lilian Dalila Trindade de Camargo. "Toulouse-Lautrec no Museu de Arte de São Paulo (MASP)." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-27012016-132604/.
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Henri de Toulouse-Lautrec (1863-1901) está presente no acervo do Museu de Arte de São Paulo Assis Chateaubriand (MASP) com onze obras que expõem diferentes momentos do percurso do artista, englobando mais de vinte anos de produção. A partir desse conjunto, o presente trabalho propõe a análise dessas obras, assim como as conjunturas de aquisição e de suas coleções anteriores à entrada no acervo do museu. Buscamos compreendê-las dentro do espaço do museu como objetos carregados de história, que permitem entender a obra e vida do artista, assim como as questões encadeadas pela trajetória dessas obras até o museu.Henri de Toulouse-Lautrec (1863-1901) is present in the collection of the São Paulo Museum of Art Assis Chateaubriand (MASP) with eleven artworks that expose different moments of the artist\'s journey, encompassing more than twenty years of production. This research proposes to examine this set of artworks, as well as situations of acquisition and their previous collections at the entrance to the museum\'s collection, We seek to understand them within the museum space as historical objects, which allow us to understand the work and the artist\'s life, as well as issues posed by the trajectory of these works to the museum.
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Martins, Vitor Hugo Fernandes. "O impressionismo literário em Crônica da Casa Assassinada /." São José do Rio Preto : [s.n.], 2003. http://hdl.handle.net/11449/103703.
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Orientador: Guillermo de la Cruz CoronadoBanca: Maria Luiza Ferreira Laboissiére de Carvalho
Banca: Ofir Bergemann de Aguiar
Banca: Norma Wimmer
Banca: Antonio Manoel dos Santos Silva
Resumo: Análise sobre o Impressionismo literário, a partir da releitura duma narrativa da Literatura Brasileira, Crônica da casa assassinada, de Lúcio Cardoso, a qual visa a descobrir-lhe a concepção, a temática, o princípio estrutural e a estilística. Pela investigação desses quatro segmentos, chegou-se aos seguintes resultados: a) se ainda se hesita em pensar-se o Impressionismo literário como um escola, sem dúvida pode-se pensá-lo como um estilo, que se projeta do século XIX para o XX; b) o Impressionismo literário invariavelmente refere-se à prosa de ficção (conto, novela, romance); c) Cca configura-se antes um romance impressionista que expressionista, já a partir do substrato filosófico que o move; d) os temas de Cca apontam para o Naturalismo, com o qual o Impressionismo vincula-se estreitamente; e) Cca revela um projeto estrutural, o que pressupõe desmontagem e remontagem textuais; f) o estilo cardosiano vai ao encontro deste idioma nervoso, colorido e requintado chamado écriture artiste, característico do Impressionismo literário.
Abstract: Research about Literary Impressionism, mainly in a Brazilian Literature Narrative, Crônica da casa assassinada, from Lúcio Cardoso, which tries to find out the conception, the titles, the structural begining and Stilistics. Searching these four elements, the following results were reached: a) one doesn't think about Literary Impressionism just as a single literary behaviour, but as a style, that goes through XIXth. to XXth. Century; b) the Literary Impressionism refers, in a particular and unchangeable way, to fiction prose (short stories, fictous tales, novels); c) Cca is na impressionist novel, since its phylosiphical substractum; d) Cca themes goes to Naturalism, with whom Impressionism is tighly joined; d) Cca brings a narrative handed made work, that presupposes dismounting and remounting the text; f) Cardoso's style goes through this nervous, coloured and sophisticated idiom called écriture artiste.
Doutor
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Barry, Marie Porterfield. "Lesson 17 Part 1: Reactions to the Modern World-Introduction and Impressionism." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/18.
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Bas, Judith Hall. "Post-Impressionist Woolf." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1998. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1998.Source: Masters Abstracts International, Volume: 45-06, page: 2840. Typescript. Abstract precedes thesis as preliminary leaves [1]-2. Includes bibliographical references (leaves 104-106).
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Wegberg, Emil. "Sonate pour Violoncelle et Piano : musikanalys och interpretation av Debussys cellosonat." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2058.
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Claude Debussy Cellosonat
Dimitrij Shostakowitch Cellosonat op.40
Felix Mendelssohn-Barthodly Pianotrio nr.1 D-moll op.49
Medeverkande musiker:
Emil Wegberg, Cello
Katarina Abbas, Violin
Leo Gavel, Piano
Gerog Öquist, Piano
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Zdanovec, Aubree, and Aubree Zdanovec. "Seduction: A Feminist Reading of Berthe Morisot's Paintings." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/620716.
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Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her accomplishments in a generalized history of the French Impressionist movement. I analyzed nine of Morisot's paintings and applied feminist theory, including third-wave feminism (post-1960's). My research was angled to approach and understand Morisot's artwork as a contemporary woman would at an exhibition.
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Waldroup, William Allan. "Jacques Ibert: an Analytical Study of Three Movements From Histoires." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149681/.
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Although many biographical studies are available on Jacques Ibert, few contain significant analytical commentary. In this study I examine three movements from Ibert’s Histoires for piano which was composed between 1920 and 1921 and was premiered in 1923. The three movements are “La menuese de tortues d’or,” “Le petit âne blanc,” and “La marchande d’eau fraîche.” I primarily use Schenkerian analysis to identify characteristics of Ibert’s compositional language. Significant aspects of impressionism and Debussian influence are also identified as related elements to my analysis. Many expected elements of Schenkerian theory are absent in Histoires. The conclusions of this study are consistent with those of other analysts who apply Schenkerian methodology to impressionist music such as Richard Parks, Adele Katz, Felix Salzer, and Edward Laufer.
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Barry, Marie Porterfield. "Lesson 17 Part 2: Reactions to the Modern World-Post-Impressionism and Expressionism." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/19.
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This lessons covers the difference between impressionism and expressionism. Post-impressionism is represented through artworks by Vincent Van Gogh, Paul Gauguin, Paul Cèzanne, and Henri de Toulouse-Lautrec. Expressionism is represented through artworks by Edvard Munch, Henri Matisse, Ernst Ludwig Kirchner, and Vassily Kandinsky.
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Attridge, John. "Impressionism and professionalism Joseph Conrad, Ford Madox Ford, and the performance of authorship /." Connect to full text, 2006. http://hdl.handle.net/2123/5825.
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Thesis (Ph. D.)--University of Sydney, 2007.Title from title screen (viewed 28 January 2010). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 2007; thesis submitted 2006. Includes bibliographical references. Also available in print form.
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Attridge, John 1976. "Impressionism and professionalism : Joseph Conrad, Ford Madox Ford, and the performance of authorship." Phd thesis, Department of English, 2007. http://hdl.handle.net/2123/5825.
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Alsing, Rolf. "Modernism på vischan : En studie av Tage Aurells kortroman Martina." Thesis, Stockholms universitet, Avdelningen för litteraturvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-103489.
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Tage Aurell (1895-1976) var en originell författare som fick ett senkommet erkännande på 1940-talet. Kortromaner han gav ut på 1930-talet gick inte hem vare sig hos kritiker eller läsare. Varför? Min uppsats syftar till attklarlägga vad det var som gjorde Aurell så egenartad. Det sker genom en noggrann läsning och undersökningav hansroman Martina från 1937. Det skerockså genom att berättelsen analyseras med hjälp av begrepp somlitteraturforskarna Wayne CBooth, Seymor Chatman och Gerald Prince lanserat och diskuterat. Jag vill också pröva vad för slags bok Martinaär. En roman, en novell, en berättelse på prosa? Genretillhörigheten är inte självklar. Arbetet har lett fram till följande slutsatser: Martina är snarareen novell än en roman. Aurell är modernist men ingen vanlig modernist med intresse för den stora staden och livet där. Hans miljö är landsbygden. Inspirerad av främst Gustave Flaubert och Herman Bang är han också impressionist och har en berättarteknik som är karakteristisk för denna riktning: en berättare som håller distans, fri indirekt anföring, scenfragment, glimtar och antydningar, till exempel.Inget psykologiserande. Protagonisterna får avslöja sig genom handlingar och repliker. Närheten till dramat är påfallande. Aurell skrev kortprosa och var extremt sparsmakad med orden när andra med framgång skrev tjocka ordrika romaner. Han ville inte skriva många böcker, bara några små, men de böckerna skulle vara bra, sade han själv.
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Montgomery, III Erwin B. "Specters of Marks: Elements of Derridean Hauntology and Benjaminian Politico-Historical Eschatology in Frankenstein, Heart of Darkness, and The French Lieutenant's Woman." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194105.
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The present work explicates the concept of "the messianic" as it figures in the work of Jacques Derrida and Walter Benjamin in order to establish the foundation of a useful (and, one hopes, potentially innovative) critical approach to the works of Mary Shelley, Joseph Conrad, John Fowles, as well as to novelistic fiction generally. This foundation rests on a common quality of the messianic as it figures in Derrida and Benjamin's respective corpora. In their conception the messianic refers not to some individual of divine, semi-divine, or even mortal origin who is charged with functioning as the world-historical agent by whose deeds history itself comes to an end, and a new holy, paradisiacal order is thereby founded, but to the aspirational tenor to humankind's orientation to futurity. The messianic finds expression in the myriad instantiations of human beings' future-oriented activity. As such, it achieves a sort of spectrality--or, to borrow the term Marx applies to the commodity, a phantom-like objectivity--having a somewhat intuitive apprehensibility, if in fact not form or substance.Novelistic fiction, which exploits its own spectrality in a bid for arranging impossible arrangements, realizing impossible realities, ordering impossible orders, attempts to occupy an impossible-to-occupy space between on one hand, the catastrophic present and the messianic future, and on the other hand, the future to come and the future as it is wished to be. Wracked by the tension created by its allegiance to chance, the contingent, and the aleatory on one side, and to the deterministic, the necessary, and the climactic or teleological on the other side, novelistic fiction achieves its particular character precisely through pursuit of its abortive program, just as humanity achieves its character, to the extent that such a notion is legitimate, precisely through its abortive program, which is nothing more no less than survival, than living on.
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Ties, Bo Michael. "An orchestral approach to the piano works of Gabriel Dupont: remembering and recording a forgotten musician." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6312.
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Throughout the history of music there have been numerous composers who were well-known in their lifetimes yet faded from public performance and memory after their deaths. Some were remembered many years later and became the most prominent composers in western music. Others did not receive any such resurgence of interest.
Gabriel Dupont (1878-1914) was a rising star in French music when he passed away at the age of 36. His operas, piano music and songs were widely known during his life, but he was virtually forgotten by the end of the 20th century. Since around 2000, there has been a growing interest into the life and music of this figure. Dupont has become more well-known to French audiences but less so to audiences elsewhere. This project aims to change that and spread awareness of Dupont in the United States. The twenty-four mature piano pieces by Dupont are significant contributions to French piano music and deserve such a recognition.
This thesis is in two parts: 1) a complete studio recording of Dupont's piano music, including the world premiere of two sets of pieces he wrote in his youth, and 2) an accompanying paper exploring the life and music of Dupont.
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Kiatvongcharoen, Usa. "Analytical approaches to three of Debussy's preludes for piano." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20665635.
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Martins, Vitor Hugo Fernandes [UNESP]. "O impressionismo literário em Crônica da Casa Assassinada." Universidade Estadual Paulista (UNESP), 2003. http://hdl.handle.net/11449/103703.
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martins_vhf_dr_sjrp.pdf: 702294 bytes, checksum: e9523aeb9231a38410e0053d4c816a9e (MD5)Análise sobre o Impressionismo literário, a partir da releitura duma narrativa da Literatura Brasileira, Crônica da casa assassinada, de Lúcio Cardoso, a qual visa a descobrir-lhe a concepção, a temática, o princípio estrutural e a estilística. Pela investigação desses quatro segmentos, chegou-se aos seguintes resultados: a) se ainda se hesita em pensar-se o Impressionismo literário como um escola, sem dúvida pode-se pensá-lo como um estilo, que se projeta do século XIX para o XX; b) o Impressionismo literário invariavelmente refere-se à prosa de ficção (conto, novela, romance); c) Cca configura-se antes um romance impressionista que expressionista, já a partir do substrato filosófico que o move; d) os temas de Cca apontam para o Naturalismo, com o qual o Impressionismo vincula-se estreitamente; e) Cca revela um projeto estrutural, o que pressupõe desmontagem e remontagem textuais; f) o estilo cardosiano vai ao encontro deste idioma nervoso, colorido e requintado chamado écriture artiste, característico do Impressionismo literário.
Research about Literary Impressionism, mainly in a Brazilian Literature Narrative, Crônica da casa assassinada, from Lúcio Cardoso, which tries to find out the conception, the titles, the structural begining and Stilistics. Searching these four elements, the following results were reached: a) one doesn't think about Literary Impressionism just as a single literary behaviour, but as a style, that goes through XIXth. to XXth. Century; b) the Literary Impressionism refers, in a particular and unchangeable way, to fiction prose (short stories, fictous tales, novels); c) Cca is na impressionist novel, since its phylosiphical substractum; d) Cca themes goes to Naturalism, with whom Impressionism is tighly joined; d) Cca brings a narrative handed made work, that presupposes dismounting and remounting the text; f) Cardoso's style goes through this nervous, coloured and sophisticated idiom called écriture artiste.
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Rodrigues, Miguel Etges. "Andante, caminhante, passante, pedestre: ensaio fotográfico de passageiros urbanos." Universidade do Estado de Santa Catarina, 2009. http://tede.udesc.br/handle/handle/765.
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The urban projetcts for large urban centers at the end of the nineteenth century and beginning of XX conditioned new ways for the occupation of urban space for its inhabitants. This work aims to conduct a photographic study of the flow of pedestrian in the urban area selected for this work ñ the crosswalk towards to Urban Transport Terminal (TICEN) or to downtown of Florianopolis city. For this, we used the multiple exposures of photographic sequence aesthetic as an analogy to blots that was used as a pictorial representation of the human figure by the impressionist school of painting. With this technique, the artists began a possible process to reveal the erasement of the human figure in the presence of the proportions of the new configurations for urban space. The photographic sequences, presented in this work, have as aim to represent, in a contemporary way, this erasement of the pedestrian into the selected area of the city through the transparency generated by the sequence of photographic frames superimposed. This superimposition of images also suggests the overlapping of realities and impact of individuals in the photography time. After make reference to the Impressionist artists, I use other artists that take advantage of the pictorial or photografic method to represent the urban space. Therefore their works helped in the broand of the perception and construction to make photo about the pedestrian flow on the tangle of city roads. The present study is divided into three chapters, the first one has the city as its main topic, exposing the urban planning from the middle of nineteenth century and beginning of XX, in Europe, through its applications in Brazil until to reach at the Florianopolis city. The second chapter is concerned about the representing art of the city from the impressionist school of painters as well as some artists works that use the sequential photography to express their urban spaces representations. The third chapter presents the photographic series produced in the study area. We can see, on them, the superposition of the photographic frames, the pedestrian movement, the change of time and convergence of different realities in the images transparence
Os projetos de urbanização dos grandes centros urbanos do fim do século XIX e início do XX condicionaram novas maneiras de ocupação do espaço urbano para seus habitantes. Com isso, o presente trabalho tem como objetivo realizar um estudo fotográfico do fluxo de transeuntes no espaço urbano selecionado para esse trabalho a faixa de segurança para pedestres em direção ao Terminal de Transporte Urbano - TICEN ou ao centro da cidade de Florianópolis. Para isso, utilizou-se a estética de sequência fotográfica de múltiplas exposições em analogia aos borrões pictóricos utilizados como representação da figura humana pela escola de pintura impressionista. Com essa técnica de pintura, os artistas iniciam um possível processo de denúncia do apagamento da figura humana perante as proporções das novas configurações do espaço urbano. As sequências fotográficas, apresentadas nesse trabalho, possuem o propósito de representar de maneira contemporânea esse apagamento do transeunte no espaço selecionado da cidade através da transparência produzida pelas sequências de quadros fotográficos justapostos. Essa justaposição de imagens também sugere a sobreposição de realidades e o choque de indivíduos no tempo fotográfico. Após referenciar os artistas impressionistas utilizo outros artistas que lançam mão do método pictórico ou fotográfico para representar o espaço urbano. Visto que suas obras auxiliaram na ampliação da percepção e construção do fazer fotográfico sobre os fluxos de pedestres do emaranhado de vias da cidade. Esse trabalho divide-se em três capítulos, o primeiro tem a cidade como assunto principal expondo os planejamentos urbanos de meados do século XIX e início do XX, na Europa, passando por suas aplicações no Brasil até chegar à cidade de Florianópolis. O segundo capítulo trata da arte de representação da cidade a partir dos pintores da escola impressionista bem como algumas obras de artista que utilizam a fotografia sequencial para expressar as suas representações dos espaços urbanos. No terceiro capítulo apresento as séries fotográficas produzidas no espaço de estudo. Nelas podemos visualizar a justaposição de quadros fotográficos, o deslocamento dos pedestres, a variação do tempo e a convergência de distintas realidades nas transparências das imagens
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Jeleby, Hans. "Teman, teknik och stil i Henning Bergers "danska" noveller." Thesis, Stockholm University, Department of History of Literature and History of Ideas, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6940.
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Henning Berger (1872 – 1924) har en plats i den svenska litteraturhistorien som en av få ihågkomna författare från 1900-talets första årtionde, vid sidan av Hjalmar Söderberg och Bo Bergman. Intresset har främst knutits till Bergers USA- och barndomsskildringar, särskilt i Där ute (1901) och Drömlandet (1909). I denna uppsats granskas teman, teknik och stil i de noveller han skrev som bosatt i Danmark under 1910-talet, och som han har förlagt till dansk miljö. Framställningen refererar till tidigare undersökningar och omdömen av framför allt Sven Lagerstedt och Fredrik Böök. I analysen används delvis en biografisk ansats med stöd av Bergers brev och uppgifter från Bergers samtida. Med den biografiska ansatsen visas på paralleller mellan Bergers liv och novellernas karaktärer, särskilt ifråga om kvinnobilder. Den förfarne novellfabrikören Berger beskrivs genom den marknadsorientering han tillämpar, bland annat i spök- och kriminalberättelser, och den klassiska novellteknik han ofta tillämpar. Vidare behandlas hans impressionistiska stilkonst, delvis i förbindelse med danska föregångare. I slutdiskussionen tas spekulativt upp hur Berger i slutet av 1910-talet synes närma sig ett ”modernare” tilltal, i samklang med den splittrade europeiska tillvaron efter första världskriget.
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Cooper, Chelsea N. "THE INFLUENCE OF JAPONISME IN CLAUDE MONET’S IMPRESSION, SUNRISE." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1587645241000178.
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Muente, Tamera Lenz. "Repose, Reflections, and “Girls in Sunshine”: Frederick Carl Frieseke’s Paintings of Women, 1905–1920." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147531632.
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Ferreira, Fabiane Rocha Rodrigues [UNESP]. "The red badge of courage: uma análise descritiva de suas traduções no Brasil." Universidade Estadual Paulista (UNESP), 2004. http://hdl.handle.net/11449/99159.
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ferreira_frr_me_assis.pdf: 1471651 bytes, checksum: bd5f3120db973d10a8afa75cfb12ca4f (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O presente trabalho tem como objetivo fazer uma análise descritiva de três traduções para o português do romance The Red Badge of Courage, do escritor norte-americano Stephen Crane, a fim de verificar qual tradução evidencia uma correspondência estilística com o texto de partida. O capítulo 1 trata da vida do autor e de sua obra, situando-a em seu contexto histórico-literário, e de um breve estudo sobre as diversas obras e artigos que se dedicam à análise do livro em questão.O segundo capítulo discorre sobre a teoria da tradução e o problema do estilo na mesma. Esta pesquisa procura seguir a proposta de Aubert (1998) e de Barbosa (1990) no que diz respeito às modalidades (ou procedimentos) de tradução; o estudo das diferenças existentes entre os planos de representação lingüística de Vinay e Darbelnet (1995); e a tensão existente entre tradução literal e tradução livre. O capítulo 3 discorre sobre o movimento impressionista na pintura e suas influências na literatura e, portanto, em The Red Badge of Courage. O quarto capítulo trata da descrição e análise das traduções da referida obra, apontando as modalidades de tradução aplicadas aos textos, observando as dificuldades enfrentadas pelos tradutores, bem como as soluções por eles encontradas a fim de manterem o sentido do original e recriarem a forma do texto língua de partida.
The present work aims at a descriptive analysis of three translations into Portuguese of The Red Badge of Courage, by the American Stephen Crane, in order to find out which translation conveys a stylistic correspondence with the source text. Chapter 1 deals with the author's life and work, putting The Red Badge of Courage in its literary-historical context, and with a brief study about the several books and articles that contribute themselves to the analysis of The Red Badge of Courage. The second chapter is about the theory of translation and the problem of style in it. This research attempts to follow Aubert's (1998) and Barbosa's (1990) proposals regarding the procedures of translation; the study of differences between the concrete and abstract levels of expression by Vinay & Darbelnet (1995); and also the tension between literal and free translation. Chapter 3 discourses on Impressionism in painting and its influence on literature and therefore on The Red Badge of Courage. The fourth chapter deals with the description and analysis of excerpts of the above-mentioned book, pointing out the procedures of translation employed in the texts, noticing the difficulties faced by the translators, as well as the solutions they found in order to keep the original meaning and to recreate the form of the source text.
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Pietikäinen, Johanna. "Heartists : Om konstnärsparet Carolina Benedicks Bruce och William Blair Bruce med inriktning på könsroller, klass och identitet." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-261897.
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This essay accounts for the lives of atist couple Carolina Benedicks Bruce (1856-1935) and William Blair Bruce (1859-1906). The perspective emerges from both Griselda Pollock’s theories on female artists as from Yvonne Hirdman’s gender contract. The essay is made out in the form of a biography, with focus on aspects of gender roles, class and identity. The material consists of letters written by the couple and their families, as well as Carolina’s diaries. Carolina Benedicks Bruce was born into the wealthy Benedicks family from Stockholm and Gysinge. At Grez she met William Blair Bruce in 1885. William was born in Hamilton, Ontario, Canada, and was sent to France by his family for artistic education in his twenties. They built a home together at Gotland; Brucebo. They conducted themselves liberally to the current norms of gender roles, class and identity aspects of the time. They created their own path, to be able to do what they were passionate about.
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Thornton, Meghan Schwain Kristin. "The impression of humor Mary Cassatt and her rendering of wit /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6530.
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Illustrations not reproduced. The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 25, 2010). Thesis advisor: Dr. Kristin Schwain. Includes bibliographical references.
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Pessanha, Elaine Durigam Ferreira. "Gonzaga Duque: um flâneur brasileiro." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-30092008-173647/.
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Nesta dissertação apresenta-se uma biografia de Gonzaga Duque, comentários de suas obras, uma fortuna crítica, cujo conteúdo expressa os comentários e estudos feitos por importantes críticos, reconhecendo a importância literária de Gonzaga Duque, sua produção textual, suas tentativas como um artista preocupado com a propagação da arte e suas evoluções, ou mesmo constatando sua existência entre os consagrados pelo paideuma (Machado de Assis, Cruz e Souza, entre outros nomes), sem estar oficialmente presente nesta seleção. Analisou-se o romance de Mocidade morta: sua estrutura textual, seu aspecto simbolista e sua estética, sua crítica à arte e à política da época e suas personagens. Procurou-se demonstrar a importância deste observador da sociedade brasileira, que o menosprezou por não pertencer aos grupos políticos em destaque, sendo um autor corajosamente diferencial e boêmio.In this paper its been presented a biography of Gonzaga Duque, comments about his works, a fortunate criticism which contents express the comments and studies done by important critics, recognizing the literary importance of Gonzaga Duque, as well as, his textual production, his attempts as an artist worried about the spread of arts e its evolution or even finding out his existence among the prestigious writers by paideuma (Machado de Assis, Cruz e Souza among other names) even without being included in that list. Its been analysed the novel Mocidade morta: its textual structure, its symbolist aspect and aesthetics, its criticism to arts and politics at that time and its characters. Its been demonstrated the importance of this watcher of brazilian society, that despised him because he didnt belong to the most prestigious political groups, being a brave and Bohemian author.
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Ameille, Brice. "L’impressionnisme et la peinture ancienne : Itinéraire d’une avant-garde face à la tradition." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040088.
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Encore souvent perçu comme une véritable révolution esthétique, l’impressionnisme fait depuis quelques années l’objet d’une importante recontextualisation visant à remettre en question cette vision. Sans dénier au mouvement ses apports novateurs, cette thèse étudie la relation de ses membres avec la tradition picturale. S’appuyant sur un important corpus de textes critiques, de revues spécialisées et de catalogues d’exposition de l’époque, ainsi que sur de très nombreuses comparaisons iconographiques étayées, elle dégage quatre grandes sources d’inspiration : le XVIe siècle vénitien, le XVIIe siècle espagnol, le XVIIe siècle néerlandais, et le XVIIIe siècle français. C’est à l’aune de ce rapport à la peinture ancienne, et par le biais d’une typologie des différents positionnements à son égard, que la « crise » connue par l’impressionnisme au début des années 1880 est réexaminée, et que, plus généralement, une nouvelle approche du mouvement est proposéeImpressionism is often perceived as a genuine aesthetic revolution. However, over the course of past years, it has been reconsidered and this vision called into question. Without rejecting the groundbreaking characteristics of Impressionism, this thesis studies the relationship between the Impressionists and pictorial tradition. Referring to a large corpus of reviews, specialized articles, exhibition catalogs of the period, and supported by many iconographic analogies, it lists four major inspirations: the Venetian 16th century, the Spanish 17th century, the Dutch 17th century, and the French 18th century. In the light of this connection between Impressionism and Ancient painting, and with the help of a typology summing up the different positions regarding this connection, this thesis reexamines the crisis that Impressionism underwent during the early 1880’s and suggests a new approach to the movement
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Martinez, Felipe Sevilhano 1986. "Van Gogh no MASP." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279650.
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Orientador: Jorge Sidney Coli JúniorDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: O Museu de Arte de São Paulo (MASP) possui cinco obras do pintor holandês Vincent van Gogh em sua coleção. São elas: Natureza Morta com Vaso, Prato e Flores; O Escolar; O Banco de Pedra no Asilo em Saint-Rémy; A Arlesiana; O Passeio ao Crepúsculo. O presente trabalho estuda as questões suscitadas por tais obras, de modo a compreender aspectos fundamentais sobre a obra e a biografia de van Gogh. A partir das obras da coleção, o presente estudo aborda questões que variam desde um problema de atribuição, até aspectos concernentes à mitologia criada em torno do pintor, marcada pela loucura e pelo suicídio
Abstract: There are five pictures by the Dutch painter Vincent van Gogh at the permanent collection of the Museu de Arte de São Paulo. They are: The Still Life with Vase Plate and Flowers; The Schoolboy; The Stone Bench at the Saint-Rémy Asylum; L¿Arlesienne; The Evening Walk. The present study aims to answer the questions posed by these artworks, which vary from an attribution problem to issues concerning the mythology created around the painter, marked by madness and suicide
Mestrado
Historia da Arte
Mestre em História
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Ferreira, Fabiane Rocha Rodrigues. "The red badge of courage : uma análise descritiva de suas traduções no Brasil /." Assis : [s.n.], 2004. http://hdl.handle.net/11449/99159.
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Orientador: Cleide Antonia RapucciBanca: Maria Cecília Pires Barbosa Lima
Banca: Paulo Fernandes Zanotto
Resumo: O presente trabalho tem como objetivo fazer uma análise descritiva de três traduções para o português do romance The Red Badge of Courage, do escritor norte-americano Stephen Crane, a fim de verificar qual tradução evidencia uma correspondência estilística com o texto de partida. O capítulo 1 trata da vida do autor e de sua obra, situando-a em seu contexto histórico-literário, e de um breve estudo sobre as diversas obras e artigos que se dedicam à análise do livro em questão.O segundo capítulo discorre sobre a teoria da tradução e o problema do estilo na mesma. Esta pesquisa procura seguir a proposta de Aubert (1998) e de Barbosa (1990) no que diz respeito às modalidades (ou procedimentos) de tradução; o estudo das diferenças existentes entre os planos de representação lingüística de Vinay e Darbelnet (1995); e a tensão existente entre tradução literal e tradução livre. O capítulo 3 discorre sobre o movimento impressionista na pintura e suas influências na literatura e, portanto, em The Red Badge of Courage. O quarto capítulo trata da descrição e análise das traduções da referida obra, apontando as modalidades de tradução aplicadas aos textos, observando as dificuldades enfrentadas pelos tradutores, bem como as soluções por eles encontradas a fim de manterem o sentido do original e recriarem a forma do texto língua de partida.
Abstract: The present work aims at a descriptive analysis of three translations into Portuguese of The Red Badge of Courage, by the American Stephen Crane, in order to find out which translation conveys a stylistic correspondence with the source text. Chapter 1 deals with the author's life and work, putting The Red Badge of Courage in its literary-historical context, and with a brief study about the several books and articles that contribute themselves to the analysis of The Red Badge of Courage. The second chapter is about the theory of translation and the problem of style in it. This research attempts to follow Aubert's (1998) and Barbosa's (1990) proposals regarding the procedures of translation; the study of differences between the concrete and abstract levels of expression by Vinay & Darbelnet (1995); and also the tension between literal and free translation. Chapter 3 discourses on Impressionism in painting and its influence on literature and therefore on The Red Badge of Courage. The fourth chapter deals with the description and analysis of excerpts of the above-mentioned book, pointing out the procedures of translation employed in the texts, noticing the difficulties faced by the translators, as well as the solutions they found in order to keep the original meaning and to recreate the form of the source text.
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Etheridge, Kate. "Dynamic reflections : mirrors in the poetic and visual culture of Paris from 1850 to 1900." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:0ad79384-a85e-4fbd-93d5-d5b993844ffb.
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This thesis explores the transformation of the mirror's symbolic role in the poetry and visual art of late nineteenth-century Paris. For centuries the mirror has been associated with both truth and artifice, whether in religion, popular culture, art, or theories of aesthetics. In the context of nineteenth-century literature, M.H. Abrams uses the mirror to represent the age-old idea of the artist as an objective reflector of the world, juxtaposing this with the nineteenth-century notion of the artist as a subjective lamp. However, this thesis shows that, far from being abandoned as a symbol of artistic expression, the mirror motif was reclaimed and reinterpreted by Baudelaire and his artistic and poetic successors. The thesis argues that their works highlight the distortions and ambiguities that the mirror can produce, using it as a motif to challenge and alter our mode of vision. This thesis focuses on the visual and poetic culture of Paris between 1850 and 1900, when mirrors were increasingly visible in a range of public and private settings. Building on Walter Benjamin's descriptions of Paris as a city of mirrors and a locus of multiple, shifting gazes, the thesis examines how the perceptual experiences of modernity feed into the development of the mirror's symbolic role. Through a series of close readings, the thesis analyses the dynamics of mirror-vision and explores the shared preoccupations of art and poetry in their treatment of subjectivity, vision, and self-reflexive artistic practices. The thesis is arranged into three sections, examining texts by Charles Baudelaire, Henri de Régnier, Jules Laforgue, Stéphane Mallarmé, and Marie Krysinska, and artworks by Edgar Degas, Edouard Manet, Henri de Toulouse-Lautrec, Berthe Morisot, and Mary Cassatt. The first section assesses Baudelaire's works as a turning point for the mirror's symbolic significance, particularly examining how Baudelaire reinterprets the association between mirrors and femininity. The second section explores this latter connection in the art and poetry of Baudelaire's late nineteenthcentury successors. The third section examines the mirror's appearance in various ambiguous or ill-defined spaces, assessing how this affects the reader's or viewer's perceptions. I conclude that in the art and poetry of this period, the mirror becomes an emblem of self-reflexivity. Through works that prioritise mobility, multiplicity, and fragmentation, these artists and poets subvert the mirror's associations with mimesis in order to expose the dynamic uncertainty of vision and artistic representation.