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Ilorah, Miriam. "Paul Gauguin och den koloniala blicken : En receptionsanalys av Paul Gauguins konst i Sverige år 1926 och 1970." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34829.
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This study is about the reception of Paul Gauguin’s art in Sweden in 1926 and 1970. I chose these dates because of the exhibitions displaying Gauguin’s art in Stockholm then, as it is the reception in Sweden I’m concerned with. The reception will be examined by studying relevant material as exhibition catalogues and newspaper articles. The study starts with a biography on Gauguin’s life to provide relevant background information. Then, a semiotic analysis of the painting Manao tupapau (1892) that Gauguin painted during his first stay on Tahiti (1891-1893). I feel that this paining really represents the imperial gaze Gauguin used to view and portrait the local population on Tahiti with. Throughout my study I use postcolonial theory in my analysis and I also draw parallels between Gauguin’s art and the racial photography of indigenous populations that Åsa Bharathi Larsson writes about. I feel that the production of photos have a lot in common with the production of Gauguin’s art and the result also shows that this racial photography helped establish the imperial gaze that the Swedish art critics later viewed Gauguin’s art with, especially in 1926. In 1970, the gaze had evolved and Gauguin’s lifestyle was criticized. Still, In spite of this critic, Gauguin’s art can still be exposed today (2017-18), without any mentioning of the circumstances under it was made, nor its exotifying traits.Det här arbetet handlar om receptionen av Paul Gauguins konst i Sverige i samband med de utställningar av hans konst som tagit plats i Stockholm år 1926 och 1970. Arbetet består av analyser av det material som producerats i samband med utställningarna; utställningskataloger och tidningsartiklar. En semiotisk bildanalys av hans målning Manao tupapau har utförts då jag anser att det verket bäst sammanfattar de koloniala strukturer jag menar Gauguins konst bär på. Postkolonial teori används genomgående som teori i arbetet och jämförelser mellan den konst som Gauguin producerade på Tahiti i slutet av 1800- talet och de rasbiologiska fotograferingar som Åsa Bharathi Larsson skriver att Sverige utförde på Tahiti under sent 1800-tal har utförs. Resultatet visar också att dessa rasbiologiska studier bidragit till att lägga grunden för den koloniala blick med vilken konstkritiker i Sverige betraktade Gauguins konst främst år 1926. Studien visar att blicken med tiden utvecklades och att det år 1970 riktades kritik mot Gauguins livsstil. Trots detta kan idag (2017-18) Gauguins konst exponeras utan att omständigheterna kring hur den skapades eller de exotifierande egenskaper den bär på, nämns.
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Cobill, Brenda. "A study of the relationship between Paul Cézanne and Paul Gauguin." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22576.
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This thesis provides a critical analysis of the literature concerning the relationship, both artistic and personal, between Paul Cezanne and Paul Gauguin. It proceeds from the popular belief that Cezanne harbored an excessive amount of ill will towards Gauguin. Examination of the sources upon which this belief is based prove them to be controversial and conflicting, yet the myth of Cezanne's animosity towards Gauguin is still widely accepted, effectively obscuring the more positive, creative aspect of their interaction. In the assessment of this relationship, Camille Pissarro emerges as a pivotal figure because of his close ties to both artists. It will be shown that Gauguin found in Cezanne's art concepts which were germane to his own artistic practices and theoretical directions. The later Symbolist interpretation of Cezanne reflects the dissemination of Gauguin's teachings about the artist and reveals that, in some measure, Gauguin was responsible for the critical acclaim Cezanne was to receive in his final years.
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Regnault, Leclerc Martine. "Etude des traces écrites dans l'oeuvre de Paul Gauguin." Dijon, 1998. http://www.theses.fr/1998DIJOL009.
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Le but de cette thèse est d'étudier les traces écrites dans l'œuvre de Paul Gauguin. Elle comprend une introduction au XIXème siècle marquant le renouveau de l'écriture à travers la linguistique, les déchiffreurs, la graphologie et le japonisme. La seconde partie présente une typologie des mots recensés dans l'ensemble de l'œuvre. La troisième partie établit des rapports entre l'écriture et l'image dans la signature, les dessins dans la correspondance, le manuscrit illustré et les tableaux. Elle pose la question de l'origine iconique de l'écriture. La quatrième partie étudie les espaces graphiques comme le papier, la toile, le vitrail, le bois, l'argile, le tapa et le corps humain. Ce sont des témoins matériels de la dynamique créatrice de Paul Gauguin et des instruments qui permettent à l'artiste de se redéfinir par rapport au monde. Le cycle des métamorphoses amorce par Paul Gauguin à travers la trace et les espaces graphiques le conduit aux origines de l'homme, à ses premiers gestes, à l'alliance matière-main, trace-support, puis à l'éveil spirituel et au déchiffrement de soiThe aim of this thesis is the study of the written traces in Paul Gauguin’s work. Its first part is an introduction to the nineteenth century, indicating the renewed interest in writing through linguistics, decipherers, graphology and Japanese art. The second part presents a typology of the words discovered in the entire works. The third part establishes relations between writing and image to be found in the signature, drawings in the correspondence, the illustrated manuscript and the paintings. It raises the question of the origin of the writing in relation to the image. The fourth part studies the graphic media such as paper, canvas, stained-glass, wood, clay, tapa and the human body. These are material references to Paul Gauguin’s creative dynamics and instruments which allow the artist to place himself in relation to the world. The transformation cycle initiated by Paul Gauguin through the traces and the graphic media leads him to the origin of man, to man's initial gestures, to the material-hand and trace-medium union and finally to his own spiritual awakening and self- deciphering
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Giraud, Vaiana. "Paul Gauguin écrivain : rôle et place de l'écrit dans son oeuvre." Poitiers, 2010. http://www.theses.fr/2010POIT5020.
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Paul Gauguin (1848-1903) est un peintre majeur de l'histoire de l'Art, dont l'oeuvre a ouvert la voie à de nombreux courants artistiques du XXème siècle. Mais il est important aujourd'hui de rendre à l'homme sa dimension exceptionnelle d'artiste polymorphe : céramiste novateur, sculpteur d'âme et surtout audacieux écrivain, pour qui la rencontre avec la Polynésie a été déterminante. Seule une partie de ses manuscrits nous est parvenue et nous dévoile un être en quête d'un ailleurs plus intime que géographique. Ses éternelles recherches sont celles d'une forme aussi expressive que ses convictions, dont le sens dépasse de loin le seul accompagnement de son oeuvre picturale. La variété des écritures surprend tout autant que la modernité, la structure et le contenu de ses ouvrages : cahiers intimes, contre-critique, écrits journalistiques, pamphlet, conte, recueil, dans une langue abrupte aussi effilée qu'une arme, un style fragmentaire, un langage sans fioriture mais dense d'émotion, Paul Gauguin se livre en homme de son temps. Soumis aux clichés du XIXème siècle, il nous laisse paradoxalement une oeuvre atemporelle dépassant les carcans officiels artistiques, coloniaux ou religieux. Ses écrits font état de ses luttes et de ses recherches, de ses certitudes de créateur en même temps que de ses fêlures d'homme qui aimait à se présenter en artiste maudit et clamait « je ne suis pas écrivain »Paul Gauguin (1848-1903) is a major painter in Art History; his work opened the way to numerous artistic trends of the twentieth century. However, it is important today to hand over to the man his exceptional polymorph artist dimension: as innovative ceramist, a soul sculptor, and particularly an audacious writer, for whom the encounter with French Polynesia was determining. Only a handful of his manuscripts came to us and they unveil someone longing for an intimate distant world rather than just a geographic one. His endless researches aim at a form as expressive as his convictions, which meaning surpasses by far the only accompaniment of his pictorial work. The variety of his writings is as astonishing as the modernity, the structure and the content of his works: intimate books, counter critiques, journalistic writings, pamphlets, stories, and anthologies written in an abrupt language as sharp as a blade, a sketchy style, a plain unadorned language, however dense in emotion. Paul Gauguin shows himself as a man of his time. And yet submissive to the 19th century's clichés, he leaves us with a timeless work of art, surpassing official artistic, colonial and religious constraints. His written works put forward his struggles and his quests, his certainties of creator along with the cracks of the man who liked to present himself as a doomed artist , saying out loud: "Je ne suis pas écrivain" ("I am no writer")
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Thomas, Kerstin. "Welt und Stimmung bei Puvis de Chavannes, Seurat und Gauguin." Berlin München Dt. Kunstverl, 2005. http://d-nb.info/999600230/04.
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Daftari, Fereshteh. "The influence of Persian art on Gauguin, Matisse, and Kandinsky /." New York ; London : Garland publ, 1991. http://catalogue.bnf.fr/ark:/12148/cb37423050q.
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Malmon, Isabelle. "Le tupapau et le génie à capuche : étude d'une figure entêtante dans l'oeuvre de Paul Gauguin." Thesis, La Réunion, 2017. http://www.theses.fr/2017LARE0019.
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En 1892, la toile Manao tupapau de Paul Gauguin présente, à l’arrière d’une vahiné dénudée, un petit personnage encapuchonné. L’artiste explique qu’il s’agit d’un tupapau, d’un revenant dans les traditions polynésiennes. Le motif en réalité est déjà apparu en France en 1888, sans référence à l’Océanie, et ne cessera de hanter l’œuvre jusqu’au décès de Gauguin en 1903. Cette figure thanatique, intrusive dans une œuvre qualifiée d’exotique et d’érotique, méritait réflexion, d’autant que la critique l’a souvent banalisée ou effacée. Ce personnage montre-t-il que l’artiste cède au fantastique fin-de-siècle ? S’agit-il d’alimenter l’exotisme, comme les Orientalistes, en faisant cohabiter cette entité ténébreuse avec la «belle des îles» ? Y a-t-il, de la part d’un homme exécrant l’Europe mercantiliste et racialiste, un intérêt sincère pour le surnaturel polynésien persécuté par les missions chrétiennes ? Notre travail a montré que l’excursion dans les îles du Pacifique pouvait virer à la descente aux Enfers. Face à la normalisation coloniale et chrétienne des mœurs et croyances polynésiennes, la peur de la damnation, la mortalité effrayante dû au mal vénérien, le démon à capuche est la mort qui gagne sur les plaisirs, la diabolisation de la liberté sexuelle. Mais il exprime aussi une ingression dans les ténèbres de la psyché, une tension entre volonté de jouissance dans la nouvelle Cythère et peur d’une sexualité féminine diabolisée et indomptée, entre désir de régression vers la mère et envie de fuir une figure tutélaire anxiogène. Le petit génie macabre contribue enfin à orienter l’œuvre vers une esthétique originale, mettant à mal les stéréotypes artistiques et idéologiquesIn 1892, Paul Gauguin’s painting Manao tupapau shows, behind a naked Tahitian woman, a little hooded character. The artist explains that this is a tupapau, that is to say a ghost in the Polynesian traditions. In reality the pattern already appeared in France in 1888, without any reference to Oceania, and it will haunt the work of Gauguin until he died in 1903. This figure, invasive in a so-called exotic and erotic work, deserves special attention, especially as most critics often trivialised or deleted it. Does this character prove that the artist is yielding to fin-de-siècle fantasy ? Is it a way to feed exotism, like the Orientalists painters, by the coexistence between this shadowy ghost and the « belle des îles » ? Knowing that Gauguin hated the mercantilist and racialist Europe, does he have a real interest in the Polynesian occult world and beliefs as they were fought by Christian missions ? Our dissertation showed that Gauguin’s excursion in the Pacific islands went a downward spiral. When the Polynesian customs and religion are standardized by colonialism and Christianism, when guilt of damnation and mortality caused by the syphilis are spreading, the hooded genius represents death prevailing over pleasure, the demonization of sexual freedom. This figure expresses also a descent into the dark room that is Gauguin’s psyche, his being torn between will of enjoyment in the new Cythère and fear of a demonized and untamed female sexuality, between his desire to come back to the mother image and his avoidance of a stressful domination figure. At last the little genius helps to give the work an original esthetics, challenging artistic and ideological stereotypes
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Hirota, Haruko. "La sculpture de Paul Gauguin dans son contexte (1877-1906) et le catalogue raisonné informatisé de l'oeuvre sculpté." Paris 1, 1998. http://www.theses.fr/1998PA010691.
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La présente étude a pour objet de réviser la totalité de la sculpture de Paul Gauguin, et de la resituer dans son contexte, c'est-à-dire dans son rapport avec le développement artistique propre à son époque. Reconnues de nos jours comme précurseurs du primitivisme du XXe siècle, les créations audacieuses de Gauguin n'ont pas, en effet, été examinées dans le cadre du XIXe siècle. Notre recherche consiste d'une part, à trouver les sources possibles de ses sculptures, les influences qu'il reçut de ses contemporains, tels qu'Aube, Carries et Rodin, à distinguer ses particularités artistiques, et d'autre part, à éclairer l'iconographie de ses œuvres dans le contexte du symbolisme et de l'idée primitiviste. Au cours de l'examen des œuvres par étapes, il s'avère que le principe fondamental de la création de Gauguin réside dans la dialectique des deux pôles, central et marginal, occidental et non-occidental, ce qui est caractéristique du primitivisme propre au XIXe siècle. Dans cette optique, ses intérêts pour les différentes formes d'arts populaires sont notables. Par ailleurs, ses intérêts pour la culture primitive océanienne, tout en étant syncrétique, produisent des œuvres d'une dimension mythique et totémique, qui annoncent le primitivisme du XXe siècle. Son art qui témoigne à la fois de l'historicité et du mythique se situe justement dans cette période de transition. Notre thèse se compose de deux parties : le texte, et le catalogue raisonné dans lequel nous avons pu ajouter 14 œuvres depuis longtemps oubliées ou non encore publiées - aux catalogues de Merete Bodelsen et de Christopher Gray, édités il y a plus de trente ansThe purpose of this study is to re-examine the totality of the sculpture of Paul Gauguin, and to place it in its context, that is, in its relation to the artistic developments peculiar to his time. Recognized today as precursors of primitivism of XXth century art, the bold creations of gauguin have not been examined in the framework of the XIXth century. This research consists, on the one hand, in finding the possible sources of his sculptures, the influences he received from his contemporaries such as aube, carries and rodin, in distinguishing his artistic features, and on the other hand, in elucidating the iconography of his sculptures in the context of symbolism and of primitivist ideas. In the course of examining his pieces, it will be confirmed that the fundamental principle of the creation of gauguin lies in the dialectic of two poles, central and marginal, occidental and nonoccidental, which is characteristic of the primitivism of the XIXth century. From this point of view, his interest in the various forms of popular art is notable. On the other hand, his interest in the primitive culture of oceania, despite its syncretism, produced works of mythical and totemic dimensions, which herald the primitivism of the XXth century. His art that shows the historicity and the mythic at the same time is placed just in this period of transition. This thesis is composed of two parts: the text and the catalogue raisonne which adds 14 works - forgotten for a long time or not yet published - to the catalogues of Merete Bodelsen and Christopher Gray, edited over thirty years ago
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Dolan, Andrew P. "A Case for Emile Bernard: A Reconsideration of the Artist's Reputation." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437468129.
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Nevén, Robert. "Toner i dubbel bemärkelse." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2753.
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The question of this degree project is to investigate whether it is possible to convert one art form to another. The thesis has been about converting the art of painting into music. French post-impressionism has been transformed into contemporary chamber music. Setup The degree project “Toner i dubbel bemärkelse” (Tones in two Senses) is about the saxophonist and clarinettist Robert Nevén’s research on his experiences with synaesthesia, and how this has inspired him to compose music for an ensemble consisting of both improvisational and classical musicians. Synaesthesia is a neurological condition where one sensory impression triggers another. A common form of synaesthesia is when reading certain letters and/or numbers makes the synaesthete perceive specific colours. The person in question either sees the colour in front of the eyes, or imagines it in the head. Implementation Nevén believes he experiences synaesthesia to a certain extent, and in his case, it is as follows: Often when he plays a certain note it triggers the visual cortex so that he thinks of a specific colour. This has led to the idea of taking this the other way around for compositional inspiration purposes: Nevén has extracted the colours from five paintings of French post-impressionist painter Paul Gauguin, turned these colours into the musical pitches he associates them with, and written one composition for each painting’s tone material respectively. The five paintings are: Blue Trees Spirit of the Dead Watching (Manaò tupapaú) Redheaded Woman and Sunflowers The Loss of Virginity (Awakening of Spring) The Sorcerer of Hiva Oa (Marquesan Man in the Red Cape) In one composition, the musical form and instrumentation are derived directly from the painting. In others, the tone material is assembled more freely based upon different compositional concepts. The music was presented in concert at The Royal College of Music in Stockholm at March 20th, 2018. Conclusion The conversion of paintings to music is possible, but it requires a format so that the result faithfully follows the original. In this case, the format consisted of keeping the composition within the framework of a painting’s given tone material as much as possible.Kompositör:
Robert Nevén
Repertoar:
1) Blue Trees
2) Redheaded Woman and Sunflowers
3) The Sorcerer of Hiva Oa (Marquesan Man in the Red Cape)
4) Spirit of the Dead Watching (Manaò tupapaú)
5) The Loss of Virginity (Awakening of Spring)
Medverkande musiker:
Robert Nevén - klarinett & tenorsaxofon
Zaida Ponthin - violin
Oscar Edin - violin
Ragnhild Kvist - viola
Johannes Rydén - cello
Jonas Grumstedt - kontrabas
Kim Sundell - elgitarr
Rui Hallvares Andrade Paes - piano
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Fayaud, Viviane. "Brosser le mythe et l'histoire d'après les oeuvres de Jules-Louis Lejeune, Max Radiguet, Charles Giraud, Pierre Loti : Tahiti et la Polynésie orientale avant Paul Gauguin (1800-1890)." Polynésie française, 2005. http://www.theses.fr/2005POLF0008.
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L'association de Paul Gauguin à Tahiti s'avère si prégnante qu'elle occulte toute autre activité esthétique antérieure. Pourtant, il n'est que le dernier d'une longue série d'artistes français à la dessiner. Quatre d'entre eux sont étudiés : Jules-Louis Lejeune, Max Radiguet, Charles Giraud et Pierre Loti. Trois axes articulent cette recherche historique qui prend pour source les dessins d'expéditions : l'histoire du mythe de Tahiti et de ses dessinateurs, l'histoire des représentations de Tahiti et des archipels voisins, et enfin, l'art, source d'histoire de Tahiti. Le mythe de Tahiti, qui lie l'île au paradis terrestre, appartient au bagage mental français. Il convient donc d'en comprendre les fondements et l'évolution pour déterminer son impact sur les dessinateurs et leurs oeuvres. Ces dernières traduisent, transposent, déforment, en un mot brossent une réalité coulée dans le moule des courants de pensées, des conceptions philosophiques, et des approches scientifiques. Cet ensemble iconographique entremêle constamment l'individuel et le collectif, la longue et la courte durée. Aussi, la seconde partie s'attache à en démêler quelques aspects. La dernière partie retrace le parcours éditorial des dessins, et leur apport à l'histoire de Tahiti au travers de trois thèmes : la guerre franco-tahitienne, la femme, élément clé du mythe qui sollicite l'histoire sociale, et Pomare IV, à travers de qui le mythe rejoint l'histoirePaul Gauguin and the island of Tahiti have had such and established association that all previous artistic talents have been hidden. However, Paul Gauguin was only the last in a long line of French artists to paint the island and its neighbourly archipelagos. Four of them are studied : Jules-Louis Lejeune, Max Radiguet, Charles Giraud and Pierre Loti. The historical research bases on drawings realized by expeditions to Polynesia revolves arount three themes : the history of the myth of Tahiti and its artists, the history of the representations of Tahiti, and art as a source of the history of Tahiti. Since the mythe of Tahiti, which links the island to love and to an earthly paradise, belongs within the realm of French general knowledge, its foundations and evolution need to be understood. This is to determine ist impact on artists and their works. These works of art, convey, transpose and distort, or in a word depict a reality cast within a mould of trends of thought, philosophical concepts and scientific approaches. This iconographic group consistently interweaves individual and collective features of long and short duration. Thus, the second part of the thesis sets out to analyze and sort out some of these aspects. The last part describes the publishing development of drawings and their contribution to the history of Tahiti through three themes : the so-called "guerre franco-tahitienne", the Tahitian woman, the key feature of the myth which calls upon social history, and queen Pomare IV, in whom myth and history merge
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Cheminaud, Julie. "Les évadés de la médecine : physiologie et philosophie de l'art dans la France de la seconde moitié du XIXème siècle." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040162.
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Dans la seconde moitié du 19ème siècle, des liens particuliers se tissent entre art et médecine : la médecine moderne se tourne vers les œuvres pour y découvrir une clinique, et en retour certains peintres et écrivains se nourrissent de ces nouveaux savoirs pour renouveler leurs pratiques. Mais quand la physiologie prend l’art pour objet, qu’elle analyse les œuvres, leur création et leur réception, l’art peut être loué, ou à l’inverse condamné, et les figures de l’artiste et du médecin tendent à se confondre, ou à s’opposer. Notre travail porte sur ce qui rend possible cette alliance et ces conflits. Nous interrogeons pour cela l’idée de visibilité commune à l’art et à la clinique, le concept de pathologie, et le problème de la norme. Il apparaît alors que la figure de l’artiste anormal, « malade », est un héritage de la mélancolie traditionnelle : sa valeur, qu’elle soit positive ou négative, se comprend toujours dans un contexte spécifique et varie en fonction d’une série de déplacements. Par l’analyse des discours et de quelques œuvres représentatives, nous entendons alors non seulement rendre compte de la physiologie de l’art en France à cette époque, dans ses différentes versions, mais encore montrer qu’elle est un prisme privilégié pour comprendre certaines œuvresIn the second half of 19th century, specific bonds are forged between art and medicine: the modern medicine turns towards artworks and discovers there a clinic. In return, some painters and writers feed themselves on new knowledges to revitalize their practices. But as physiology takes art as its object, analyzes artworks, creation and reception, art can be praised, or conversely condemned. Thus, the figures of the artist and of the physician tend to join or to oppose themselves. Our work deals with what make this union and these conflicts possible. We address the idea of visibility, common to art and clinic, the concept of pathology, and the problem of norm. Thus, it appears that the figure of the abnormal artist, the “sick artist’’, is a legacy of the traditional melancholy: its value, positive or negative, is always understood in a specific context and changes according to a set of transfers. As we analyse discourses and some representative artworks, we intend not only to give an account of physiology of art as it appears in France at this time, but also to show that it is a privileged prism to understand a certain kind of artwork
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Schropp, Jeremy. "Symbolist Symphony for Orchestra." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12105.
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1 score (x, 113 p.)The implementation of an informed cross-relationship between two independent art forms has often been a source of inspiration for artists throughout the millennia. However, in the late 19th century, both Russian and French thinkers and artists began to build upon this notion by creatively considering the intermingling of sensory experiences as well. The resulting artwork from this temporally specific era was described as being "Symbolist," referencing both the intermedial and multi-sensory processes involved and/or considered in creating the respective work. My personal penchant to explore this artistic approach has resulted in a symphony that was inspired by, and intimately considers, five individual pieces of French "Symbolist" art, poetry, and sculpture. Each movement specifically focuses upon one of the five human senses. The respective works are: the sculpture "Le baiser" by Auguste Rodin (touch), "Parfum exotique" from Les fleurs du mal by Charles Baudelaire (smell), "Tristesse d'été" by Stèphane Mallarmé (taste) as published in Du parnasse contemporain, the painting "Hina tefatou" by Paul Gauguin (sight/insight), and "Chanson d'automne" from Poèmes saturniens by Paul Verlaine (hearing/listening).
Committee in charge: Dr. David Crumb Chairperson, Advisor， Dr. Robert Kyr， Member； Dr. Jack Boss， Member； Dr. Jenifer Craig， Outside Member
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Thézelais, Cécile. "Charles Morice (1860-1919) et les arts : "entre le rêve et l'action"." Paris 1, 2009. http://www.theses.fr/2009PA010675.
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Ce travail met en perspective la place du poète et critique Charles Morice dans la vie des arts plastiques de son temps, monde qu'il a, par ses écrits et son action, en partie conditionne et qui a en retour déterminé son existence. Homme d'utopies qu'il a tenté de réaliser, il est intervenu de façon pratique dans Ie fonctionnement du monde artistique contemporain, favorisant des artistes comme Paul Gauguin ou Pablo Picasso. Sa critique d'art prend ses racines dans la periode du symbolisme litteraire, dont il est considere comme l'un des theoriciens, et connait un moment d'intense production dans la premiere decennie du XXe siecle, fournissant ainsi a des concepts enonces vingt ans plus tot une importante tribune. Le rapport de Paul Gauguin aux ecrits de Morice, qui est en grande partie a l'origine du discredit suivi de l'oubli du critique, a fait l'objet d'une analyse poussee qui aboutit sur une reevaluation. .
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Fletcher, Paul [Verfasser], and Roland [Akademischer Betreuer] Wenzlhuemer. "COMMUNICATING EMPIRE: Gauging Telegraphy’s Impact on Ceylon’s Nineteenth-Century Colonial Government Administration / Paul Fletcher ; Betreuer: Roland Wenzlhuemer." Heidelberg : Universitätsbibliothek Heidelberg, 2015. http://d-nb.info/1180301714/34.
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Bilodeau, Annik. "The Politics of Cosmopolitanism in Contemporary Spanish American Literature: Elena Poniatowska, Mario Vargas Llosa, and Jorge Volpi Within a Disputed Tradition." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35573.
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This dissertation asserts that the tortuous relationship Spanish American literature had with cosmopolitanism since the Wars of Independence reached a turning point towards the end of the second half of the twentieth century. While the literary production of the nineteenth and most of the twentieth century was centred on the Spanish American nation and the continent, contemporary literature has become increasingly deterritorialized, and has begun to present narrative worlds and discuss issues that transcend this circumscribed universe. The discerning of this articulation of global issues in contemporary literature – which I contend is predicated on the concept of cosmopolitanism – is the primary objective of this investigation.
The five novels examined here are Elena Poniatowska’s La “Flor de Lis” (1988), Mario Vargas Llosa’s El Paraíso en la otra esquina (2003) and El sueño del celta (2010), and Jorge Volpi’s El fin de la locura (2003) and No será la Tierra (2006). This study aims to describe and assess an evolving perspective on the treatment of cosmopolitanism in Spanish America. I trace the shift from the previous generations’ main preoccupation with aesthetic cosmopolitanism, which sought to engage Latin American literary discourse with the Western canon, to what I identify as the current political implication of the concept. To this end, I show that whereas mid-twentieth century authors displaced cosmopolitanism in favour of more politically expedient concepts, authors now plot it in their novels as a means of discussing issues of identity and citizenship in an increasingly globalized world.
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Hägelstam, Sebastian. "Tropico : Civilization Bar." Thesis, Konstfack, Keramik & Glas, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7232.
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Some years ago I stumbled upon and straight into the bliss of the tropical paradise when setting foot in a Tiki bar for the first time. The story behind this enchanting pop cultural institution unfolded a history built upon colonial power, cultural appropriation and hegemonies. This paper investigates the western construction of the tropical paradise and the power relations that it is built upon. The work revolves around processing my own attraction towards the tropical paradise and adressing how eurocentric narratives have been depicting Oceanic cultures, people and environments in Western popular culture. I approach this attraction by both researching the colonial history of Europeans presence in Oceania and how those events intertwine with our ideas of the paradise on earth today, as well as making objects, scenes and performances that alludes to the topic. At the end of this phase of the project, the colonial gaze that constructed the tropical paradise is turned towards the West itself in the making of the installation Civilization Bar.
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Charles-Nicolas, Stéphanie. "Saint-Pierre de la Martinique : géographie littéraire d'une ville coloniale des Antilles françaises. Représentations de la cité créole avant sa destruction le 8 mai 1902 (1635-2012)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA082.
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Lors de l’éruption de la Montagne Pelée, le volcan de l’île de la Martinique, la ville de Saint-Pierre et ses trente mille habitants ont été anéantis par une nuée ardente le 8 mai 1902. Surnommée le « Paris des Antilles », ou encore la « Venise tropicale », la ville incarnait la France aux Amériques, ce qui suggère son statut particulier au sein des colonies françaises à cette époque. L’éclat qu’a eu la ville de Saint-Pierre dans la littérature aurait-il été le même sans l’éruption de la Montagne Pelée ? Notre recherche a pour but de proposer un examen des diverses facettes de la ville de Saint-Pierre à partir de la géographie littéraire, prolongée par les apports de la géopoétique et de la géocritique. La notion de « paysage » chère à Michel Collot, constituera une entrée plus vaste que nous privilégierons dans le champ de l’étude qui nous intéresse, dans la mesure où elle semble combler les lacunes des outils théoriques précédemment cités. Le cadre d’une géographie de la littérature nous sera utile pour étudier le contexte spatial dans lequel sont produites les œuvres. Cet angle d’attaque sera l’occasion de s’interroger sur les particularités dues à l’écriture en contexte postcolonial. Nous entendons le terme « géocritique » au sens large comme étude des représentations de l’espace dans les textes eux-mêmes. Il s’agira alors de tracer les contours d’une ville non pas réelle mais telle que l’auteur l’imagine et telle qu’elle se dessine par le langage. À partir de la géopoétique, nous analyserons les relations entre l’espace et les formes littéraires. Nous comparerons les images proposées par différents écrivains. Nous chercherons à retrouver une certaine image de la ville de Saint-Pierre, selon la vision de différents auteursDuring the eruption of Mount Pelee, the volcano on the island of Martinique, the city of Saint-Pierre and its thirty thousand inhabitants were wiped out by a volcanic cloud on May the 8th 1902. Known as "The Paris of the Antilles", or the "tropical Venice", The town personified France to America, suggesting its special status within the French colonies at that time. Would Saint-Pierre’s glow in literature have been the same without the eruption of Mount Pelee? Our research aims to provide a review of various aspects of the city of Saint-Pierre from literary geography, extended by the contributions of geopoetics and Geocriticism for. The concept of "landscape" dear to Michel Collot, will be a larger entry we will focus in the field of study that interests us, insofar as it seems to fill the gaps of the aforementioned theoretical tools. As part of a geography of literature will be useful to study the spatial context in which the works are produced. This angle of attack will be an opportunity to reflect on the peculiarities due to writing in postcolonial context. We understand the term "Geocriticism" broadly to study the representations of space in the texts themselves. It will then trace the outline of a real but not such a city that the author imagines and as it emerges through language. From geopoetics, we analyze the relationship between space and literary forms. We will compare the representations offered by various writers. We will try to find a specific image of the city of Saint-Pierre, according to various authors
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Han-yu, Chih, and 支涵郁. "A research on the relationship between the blockbuster and derived products - A case study of “Elsewhere: Paul Gauguin”." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/64129986482770609439.
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碩士國立臺灣師範大學
美術學系在職進修碩士班
99
Derived products from blockbusters are the most direct way to ‘market’ a museum. These developed products are media which balance cultural arts and consumption. Derived products can be souvenirs and serves purposes as promotions of arts education and public living aesthetics. Derived products of arts exhibitions in Taiwan, however, remain staying in the phase of developing, and the plans for marketing strategies, too. They generally cannot connect to mass comsuption and the market. This study attempted to induce the problems which block busters in Taiwan are now facing and analyze the tendency development and management of their derived products, by using ‘’Elsewhere: Paul Gauguin’’ as the example and questionnaire and interviews as the research tools. The results found, due to the difference of their operations and natures, it is difficult to compare the derived products from blockbusters and culture goods from museums with identical standards. Derived products also differ in developmental conditions with museum’s products. Limited by time, budget, consumers’ expetations and the myth toward quantity, derived prodcuts might arouse negative impressions toward product quality, service, and the goal of the exhibition. To promote living aesthetics, they depend on the art work’s elements, extraction of culture, design, and material. Block busters,particularly, should base derived products on distinctiveness (cultural features), practicibility, texture, and narratives and should emphasize on the products’ value, instead of output value. Museums should precisely control the quality of derived products through examination and promote the sense of the public with a heightened perspective, so the fulfilling of the public’s living asthetics could be made possbile. When criticizing the design and creativity of block busters’ derived products, we should also consider the layout and nessecity of block busters and expect it to increase the musuem’s credibility and take the leading role, in order to bring more objective, meaningful, and creative exhibitions and derived products for viewers.
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Huang, Ta-Min, and 黃大民. "Paul Gauguin A Travers "Etude de nu" "La Vision apres le Sermon" "D'ou venons-nous? que sommes-nous? ou allons-nous?"." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/58676876204231288231.
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碩士輔仁大學
法國語文學研究所
81
La peinture francaise occupe une place importante dans I'histoire de I'art . Depuis la Revolution de 1789, de nouvelles conceptions artistiques sont nees de la croyance tiree du siecle des Lumieres. L'artiste avait de plus en plus recours a son style personnel. Au XIXe siecle, Paris tient un role de premier plan dans le developpe-ment artistique de l'art moderne . Nombreux sont les artistes qui s'Y assemblent pour la consecration de leur talent. Lorsque j'ai pense a ecrire un memoire sur la civilisation franqaise, j'ai choisi, apres une longue reflexion, la peinture franqaise tout en tenant compte de ma formation au college. Pour eviter un sujet trop vaste, un de mes professeurs m'a propose d'etudier un peintre francais. Comme j'ai, depuis toujours, un grand penchant pour Paul Gauguin, il est naturellement le peintre de non choix. Pour la preparation de ce memoire, pendant une annee, j'ai enseigne la peinture aux enfants dans une eglise a Taipei. Cette experience m'a aide a mieux comprendre la peinture de Gauguin: quand je regardais les dessins d'enfants, j'etais emu par leurs couleurs pures et intenses qui rappelaient justement celles de la palette de Gauguin. Depuis 15 ans je fais de la peinture, mais la mienne, depourvue de force et d'intensite est, selon moi, inferieure a celles des enfants. Normalement ,il est impossible pour un homme d'avoir cette expression si directe et naive, expression de la spontaneite. On pretend que la civilisation moderne a efface l'expression instinctive de l'homme, Ainsi, il n'est pas difficile de comprendre pourquoi Gauguin quitte sa famille, fuit dans une ile lointaine pour y chercher un monde primitif. Toutes ses idees et ses actes prodigieux peuvent etre expliques par son art anticonformiste. Le present travail sera divise en trois chapitres: le premier chapitre sera consacre a une Etude de nu de Gauguin dans laquelle se revele son premier anticonfor-misme a l'aube de sa carriere d'artiste. Dans le deuxieme chapitre La Vision apres le Sermon sera etudiee pour montrer l'evolution de Gauguin vers le symbolisme pictural. Dans le dernier chapitre, a travers le testament pictural de Gauguin D'ou venons-nous ? que sommes-nous ? ou allons-nous ? nous essayerons de rpesenter l'inquietude de Gauguin dewvant la civilisation moderne. Que soient remercies ici tous ceux qui, par leur gentillesse, ont d'une facon ou d'une autre facilite la realisation de ce memoire: le directeur Madame Zee Sheue-shya, les professeurs de l'Institut de Ferancais de l'Universite Fu-Jen, et les conservateurs de la Biblio-theque de la Sorbonne, de la Bibliotheque d'Art et d'Archeologie de l'Universite de Paris, de la Biblio-theque Publique Information Beaubourg (B.P.I. du Centre Pompidou).
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Chang, Han-yun, and 張瀚云. "Discussions on The Symbolic Signs in the Icon of the “Muse” between Eastern & Western Artists -- Focusing on Gustav Klimt，Paul Gauguin，Pan Yu-Lin and Chen Chin." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/51690053892277946725.
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碩士中國文化大學
藝術研究所
97
In the research methods for architectural art study, the theory of Iconology is one that is the applicable basic study, though the actual practice of the theory still depends on conditions of attribution, and the blending into the knowledge background of the whole professional field. The main focus of this thesis is on the image of the “Muse” in the inner worlds of the artists. In order to give depth to the discussion, comparison of the cultural and family backgrounds, life experiences, differences in character and personality of the artists will be made, choosing four artists from the East and the West as models. From the sex of Gustav Klimt, the primitivism of Paul Gauguin, the brothel of Pan Yu-Lin and the ladylikeness of Chen Chin… using these female picture emblem to conduct research analysis, understanding the thinking and performing style of the four artists through the whole process of creating art. In this thesis, the study methods of the art field will be categorized into three main categories: 1.academic method, 2.technological method, 3. scientific research method. As for the main point of the research, there are three main items: 1.Space-time background element, 2.Artistic concepts of the artist, 3. Artistic critical angle and discussion. The center of the thesis is based on the art field, the symbols used in the context are defined as “Symbolic form of the picture emblem”, though the symbolic representations of the picture emblem consists of multiple aspects and ideal characteristics, when trying to approach them from the contemporary art history of the study of Iconology to conduct further analysis, the well-known academic publications on the main theoretical basis of the Iconography of Heinrich Wolfflin (1864-1945, Germany) and the Iconology of Erwin Panofsky (1892-1968, Germany) were chosen as the basic concept in writing this thesis.
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Monteiro, Maria Sarreira Ferrão. "Esboço: a procura da forma no design." Master's thesis, 2019. http://hdl.handle.net/10451/40699.
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The central subject of this work is how the drawing can be fundamental and crucial as a tool for product and service development in design. The work starts with a historical analysis of the drawing theory to achieve a clear view of how sketch and drawing can stimulate creativity. This work passes through three stages. First, a historical review where is investigated the drawing as a project aid; the unique value of him; and also the differences and resemblances between sketch and drawing. Secondly, the contemporary utility given to him in the design world, where the concept of design is defined; the way drawing entered in the fine arts landscape; and the primordial functions of the drawing in the creative process used by the designer to create. Third, the elaboration of a graphic exploitation of three objects, that puts in practice some of the investigated theoretical questions, such as the use of the sketch in the first phase of a project – Discovery – when the record is as ambiguous as the own concept; and the achievement of the total definition of a project only using drawing. Based on the theoretical investigation and in the practical exploration is possible to claim that the sketch helps to define the problematic of the issues proposed to the designer and that the drawing defines the solution. In other words, the drawing provides the discovery of new forms and meanings that can result in an innovative object. The practical project revealed the possibility of drawing and sketching the same three objects with countless approaches with only one starting point. The movement and gesture were the fundamental elements to make that happen. It can confirm that the drawing benefits from a personal language, expressed by point and line. The necessary information used to the elaboration of this investigation can be found in the bibliographical list at the end of the work. All the information was analyzed and filtered to guaranteed the veracity of the work.