Bibliografías temáticas / 1819-1898

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Literatura académica sobre el tema "1819-1898"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 29 de julio de 2024

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Artículos de revistas sobre el tema "1819-1898"

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Nathan, Simon. "John Buchanan (1819–1898): New Zealand’s first scientific illustrator". Journal of the Royal Society of New Zealand 49, n.º 4 (29 de agosto de 2019): 508–16. http://dx.doi.org/10.1080/03036758.2019.1656261.

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Bouyer, Thierry. "The genera of the tribe Charaxini (Papilionoidea, Nymphalidae, Charaxinae)". Metamorphosis 34, n.º 1 (6 de noviembre de 2023): 59–78. http://dx.doi.org/10.4314/met.v34i1.6.

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The systematics of Charaxini is revised. The three historical genera are confirmed: Charaxes Ochsenheimer, 1816; Polyura Billberg, 1820 and Euxanthe Hübner, 1819. The genera Eriboea Hübner, 1819 stat. rev.; Zingha Hemming, 1939 stat. rev.; Viridixes Bouyer & Vingerhoedt, 2008 stat. rev. and Euxanthe subgenus Hypomelaena Aurivillius, 1898 stat. rev. are reinstated. Three new genera are described: Laodice gen. nov. with the type species Papilio lycurgus Fabricius, 1793; Setechin gen. nov. with the type species Charaxes nichetes Grose-Smith, 1883 and Ydeali gen. nov. with the type species Charaxes lydiae Holland, 1917. A key to the nine genera is provided.
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Romero Medina, Raúl. "Las restauraciones de Isidoro Brun y Aguilar (1819-1898) sobre algunos lienzos de la colección pictórica de los Duques de Medinaceli: Juan de Alfaro y Luca Giordano." Norba. Revista de Arte, n.º 42 (10 de enero de 2023): 385–404. http://dx.doi.org/10.17398/2660-714x.42.385.

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En este estudio se da a conocer una noticia inédita sobre la presencia del restaurador Isidoro Brun y Aguilar (1819-1898) en la colección de los duques de Medinaceli. Concretamente, en 1859 recibe pagos por restauraciones (forrados, limpiezas y barnizados) en importantes pinturas de la antigua colección de esta familia nobiliaria. Esta información viene a completar su presencia ya conocida como restaurador en otras colecciones como las de los duques de Osuna.
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Wahlberg, Niklas, Jana Maresova, Leidys Murillo-Ramos, Steve Collins y Li-Wei Wu. "The phylogenetic positions of Bhagadatta Moore, 1898, Kumothales Overlaet, 1940 and Harmilla Aurivillius, 1892 (Lepidoptera, Nymphalidae, Limenitidinae) based on molecular data". Nota Lepidopterologica 43 (29 de mayo de 2020): 167–71. http://dx.doi.org/10.3897/nl.43.50307.

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We sequenced multiple genes from the enigmatic genera Bhagadatta Moore, 1898, Kumothales Overlaet, 1940 and Harmilla Aurivillius, 1892 (Nymphalidae, Limenitidinae) and analysed them together with a large published dataset. We find that Bhagadatta is sister to the genera Cymothoe Hübner, 1819+Harma Doubleday, 1848, and that Kumothales is sister to these three. Harmilla is nested within the genus Euriphene Boisduval, 1847. We thus transfer Kumothales and Bhagadatta to the tribe Cymothoini, and we synonymise Harmillasyn. nov. with Euriphene.
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5

David, Matthias y Andreas D. Ebert. "„Er war ein Damenmann …“ – frauenheilkundliche Aspekte im Werk Theodor Fontanes (1819 – 1898)". Geburtshilfe und Frauenheilkunde 79, n.º 10 (octubre de 2019): 1029–32. http://dx.doi.org/10.1055/a-0998-4952.

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6

Kraus, Hans-Christof. "Poesie, Zeitkritik und Politik. Zur neuen Literatur über Theodor Fontane (1819–1898)". Historische Zeitschrift 311, n.º 3 (1 de diciembre de 2020): 677–88. http://dx.doi.org/10.1515/hzhz-2020-0038.

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7

Weaver, William y J. R. Oldfield. "Alexander Crummell (1819-1898) and the Creation of an African-American Church in Liberia". Journal of Religion in Africa 21, n.º 2 (mayo de 1991): 184. http://dx.doi.org/10.2307/1580811.

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MUILWIJK, JAN, MARJAN SEIEDY y DAVID W. WRASE. "Contribution to the knowledge of Carabidae in Iran with the descriptions of five new taxa, proposing of four synonyms and providing of nine new records (Insecta: Coleoptera)". Zootaxa 5067, n.º 1 (9 de noviembre de 2021): 55–81. http://dx.doi.org/10.11646/zootaxa.5067.1.3.

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A contribution to the knowledge of the ground beetles in Iran is given. The ground beetle diversity in Iran is rich, with 1135 known species and subspecies in total so far, and 20% percent of them are endemic. However, the Iranian fauna is still not well known. In this paper, five new taxa of ground beetles are described: Leistus (Pogonophorus) spinibarbis zagrosensis ssp. n., Trechus kouroshi sp. n., Atranus dariushi sp. n. from Zagros, and Philorhizus flavocorpus sp. n. and Philorhizus kermanus sp. n. from Kerman; four new synonyms are established: Poecilus (Ancholeus) aeneolus (Chaudoir, 1868) syn. n. and Poecilus (Ancholeus) hafezi (Morvan, 1975) syn. n. = Poecilus (Ancholeus) puncticollis (Dejean, 1828); Poecilus (Ancholeus) iranicus (Morvan, 1974) syn. n. = Poecilus (Derus) advena (Quensel, 1806), and Olegius turkmenicus Komarov, 1996 syn. n. = Pogonopsis pallida Bedel, 1898; and the first records of nine species for Iran are provided: Porotachys ottomanus ssp. ottomanus Schweiger, 1968, Tachyura (Tachyura) shahinei (Schatzmayr & Koch, 1934), Tachyura (Tachyura) conspicua (Schaum, 1863), Polyderis algiricus (Lucas, 1846), Polyderis impressipennis (Motschulsky, 1860), Pogonopsis pallida Bedel, 1898, Chlaenius (Trichochlaenius) albissoni Reitter, 1908, Philorhizus crucifer ssp. crucifer (Lucas, 1846), and Demetrias monostigma Samouelle, 1819.
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9

Taboada-Verona, Carlos y Leidys Murillo-Ramos. "The bess beetles (Coleoptera, Passalidae) of three subregions of the Department of Sucre, Caribbean region of Colombia". Check List 16, n.º 6 (20 de noviembre de 2020): 1581–90. http://dx.doi.org/10.15560/16.6.1581.

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We provide species lists and geographical occurrence records of the beetle family Passalidae for three subregions of the department of Sucre, northern Colombia. The sampling localities are lowland environments with typical tropical dry forest vegetation. We selected 15 sampling sites and examined decomposing trunks. We record seven species, four genera, and two tribes of Passalidae. The most abundant species were Passalus punctiger Lepeletier & Serville, 1825, P. interstitialis Eschscholtz, 1829, and P. interruptus (Linnaeus, 1758). We also provide new records for Passalus punctatostriatus Percheron, 1835, Paxillus leachi MacLeay, 1819, and Popilius marginatus (Percheron, 1835) in the department of Sucre. Veturius aspina Kuwert, 1898 was present only in the localities with well-preserved forests. Finally, the species number recorded in this study is low compared to other inventories in Neotropical regions.
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10

OARCEA, Ioan. "Théodore Gouvy, un compositeur lorrain à la croisée des cultures française et allemande (I)". BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 14 (63), n.º 1 (2021): 61–66. http://dx.doi.org/10.31926/but.pa.2021.14.63.1.7.

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Théodore Gouvy (1819-1898) c’est un compositeur franco-allemand, connu, reconnu et honoré de son vivant, qui a vécu à la frontière entre la France et l’Allemagne. Cette position géographique, à travers le temps a eu pour lui des implications sociocommunautaires, politiques et culturelles à cause de l'ambiguïté liée au déplacement des frontières. En tant que compositeur, il a légué à l'Académie des Beaux-Arts et à la postérité une œuvre comprenant 160 numéros de catalogue, recensant plusieurs centaines de compositions, pour 90 numéros d'opus édités. Des compositeurs reconnus comme Hector Berlioz ont fait des critiques très élogieuses dans la presse de l'époque. Malgré la reconnaissance du public et de ses pairs, pendant plus d'un siècle, après sa disparition, il est ensuite tombé dans l'oubli. La création de l’Institut Gouvy, en 1995 a déterminé la renaissance d’esprit et de sa création.
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Tesis sobre el tema "1819-1898"

1

Nelson, Ronald Kent. "Theodor Fontanes Darstellung der Berliner Gesellschaft in seinen Romanen Effi Briest und Irrungen Wirrungen". PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3857.

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2

Cieslik, Astrid [Verfasser] y Rainer [Akademischer Betreuer] Kleinertz. "Die Klaviermusik des lothringischen Komponisten Théodore Gouvy (1819-1898) / Astrid Cieslik. Betreuer: Rainer Kleinertz". Saarbrücken : Saarländische Universitäts- und Landesbibliothek, 2013. http://d-nb.info/1053636598/34.

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3

Solères, Isabelle. "Les Pérégrinations à travers la Marche de Brandebourg de Théodor Fontane : pèlerinages aux sources de la culture et de l'histoire prusso-brandebourgeoises". Toulouse 2, 2003. http://www.theses.fr/2003TOU20076.

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Dans les Pérégrinations à travers la Marche de Brandebourg, Theodor Fontane évoque les "lieux de mémoire" brandebourgeois et les personnalités qui influèrent sur le devenir de la Marche ou incarnent les valeurs traditionnellement prussiennes. Ces histoires individuelles renvoient à la grande Histoire. Fontane inventorie le patrimoine prusso-brandebourgeois pour en conserver le souvenir et faire apparaître les fondements de l'identité collective. La dimension critique des Pérégrinations nuance toutefois l'adhésion de Fontane à sa patrie brandebourgeoise, prussienne, puis allemande à partir de 1871. Cette réflexion identitaire ayant souvent lieu par le biais de références à l'étranger, les Pérégrinations alimentent le patriotisme mais invitent aussi à l'ouverture sur le monde. Pour transmettre au lecteur le sens vivant de l'histoire de sa patrie, Fontane s'est inspiré de modèles, mais il a créé un nouveau genre à mi-chemin entre écriture du voyage et de l'histoire, reportage journalistique et sublimation littéraire. Ces tableaux vivants ont aussi pour but de suggérer la dynamique du devenir historique et la tension productive entre tradition et innovation
Reporting on his home travels throughout Brandenburg, Theodor Fontane describes its historical and cultural heritage : in that heritage are also the lives of men and women with an influence on local history or characters who personify the traditional Prussian values that Fontane would like to be passed on to the future generations. Though Fontane's purpose is to celebrate and preserve the heritage of Brandenburg and Prussia as well as to reveal the foundations of collective identity, his reports nevertheless contain an important part of criticism which brings subtle restrictions to his approval of the society in Brandenburg, Prussia and later on Germany, from 1871 onwards. Thinking over the nature of collective identity, Fontane often refers to foreign countries so that his accounts invite as well to open up to the outside world. Re-creating the past in order to pass on to the reader a vivid sense of the history of his country and of its poetry, Fontane was inspired by previous models, but he created a new genre between home travel and chronicle, between report and work of art. Through those lively scenes of previous life in Brandenburg, he also intended to suggest the everlasting movement of history and the dynamic strength of tradition and innovation
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4

Kaltenecker, Martin. "Theodore gouvy". Paris 4, 1987. http://www.theses.fr/1986PA040277.

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S'appuyant sur un grand nombre de documents inedits (correspondance, manuscrits, partitions, archives de la famille. . . ), ce travail, le premier de cette ampleur en francais, retrace la vie et decrit l'oeuvre d'un compositeur fort apprecie en son temps, theodore gouvy (1819-1898). Ami de berlioz, lalo, gounod, stephen heller, il fit une carriere de symphoniste dans les annees 1850, se consacra a la musique vocale (melodies surtout) a partir de 1860, participa au renouveau de la musique de chambre apres la guerre de 1870, puis se tourna vers l'oratorio. Son oeuvre, assez riche, fut jouee egalement en allemagne (gouvy faisait de frequents sejours a leipzig ou cologne) : on y considerait le compositeur comme "representant de l'art allemand en france". Cette etude s'emploie a etablir une biographie de gouvy (150 pages), puis a decrire brievement chaque partition (180 pages)
This study of the composer theodore gouvy (1819-1898), the first of this importance in french, profits from many unpublished documents (lettres, scores, various archives. . . ). Gouvy, a friend of berlioz, lalo, gounod, stephen heller, most appreciated at his time, first dedicated his work to the symphony and the chamber music in the 1850 ties, wrote vocal music, especially melodies, after 1860, later oratorios often rehearsed in germany. He frequently travelled to leipzig and cologne, and was often described in germany as "representative of german music in france". The biography of the composer (150 pages) is followed by a short description of each work (180 pages)
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5

Speerstra, Jane Ellen. "Landscape and change in three novels by Theodor Fontane". PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3841.

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This thesis traces and explicates the changes in Theodor Fontane's landscape depiction in the years 1887- 1892. I examine his novels Cecile (1887), Irrungen, Wirrungen (1888), and unwiederbringlich (1892). I show that Fontane, as though discarding a relic of the Romantic past, used increasingly less landscape in his narratives. He focused on the actions and conversation of his characters, and on their immediate surroundings. When these surroundings were urban, they tended to disappear. The progressive minimalization of landscape, and of cityscape in particular, foreshadowed the appearance in German literature of twentieth-century man: man alienated from nature in cities, and less aware of empirically observable surroundings than of internal forces and realities.
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6

White, Michael James. "The theme and poetic function of space in Theodor Fontane's works". Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/969.

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This thesis proposes a new view of space in Theodor Fontane’s writing as both a mode of literary expression and an object of literary inquiry: space serves a poetic function and is a thematic concern. The research draws on theories of literary space which focus on spatial structures and topographies, as well as those which provide critical tools for analysing individual passages of description, especially focalisation, which elucidates the influence of the viewing figure in the text. Significantly, the subjective experience of a perceptive observer is central to Fontane’s conception of aesthetic processes, and as a result, an analysis of spatial representation often uncovers reflexive discourses on art, its function and value. On the basis of this insight, this study provides new readings of a range of texts, including less well-established and non-fictional works, as well as recognised masterpieces. In Fontane’s local travelogues, the Wanderungen, the poetic function of space is rare, while many passages reflect on the environment’s potential significance. The early novels explore spatial representation as a means of constructing textual symbolism. Spatial representation in Vor dem Sturm functions as a strategy of relativisation; in Schach von Wuthenow and Graf Petöfy topographies and pregnant descriptions serve as commentaries on characters’ levels of awareness. The mature novels Irrungen Wirrungen and Unwiederbringlich explore the sources and practical implications of reading objects in the world as signs. Space retains its formal role, but the represented figural experience of the novels’ worlds becomes a vehicle for reflexive analysis of the world’s perceived meanings. Similarly, in Der Stechlin different types of relationships with exterior reality are expressed spatially, and, as elsewhere, the capacity for aesthetic appreciation is represented positively. This entails and indeed produces critical distance towards modernity: isolated Stechlin is a locus of poetry, a testament to literature’s importance and vitality.
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Melison-Hirchwald, Gabrielle. "Le Roman de moeurs dans la seconde moitié du XIXe siècle en Europe (1869-1906) : essai de définition d'un genre problématique (Alphonse Daudet, Theodor Fontane, Armando Palacio Valdés et Anthony Trollope)". Nancy 2, 2005. http://www.theses.fr/2005NAN21010.

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L'expression "roman de moeurs" apparaît, a priori, comme une appellation floue et datée. La présente recherche porte sur l'essai d'une définition générique. A partir d'un corpus de sept romans européens de la seconde moitié du XIXe siècle (Trollope, Daudet, Fontane et Palacio Valdés), il s'agit de situer le roman de moeurs par rapport à son appréhension du réel dans une perspective historique, sociologique et structurelle. D'un point de vue idéologique, il nous offre la peinture d'un univers apparemment familier. Roman historique du temps présent, il n'est en fait que partiellement réaliste. Impressionniste, le chroniqueur des moeurs s'inspire du moraliste du siècle précédent. Il actualise les types de personnages en les intégrant à des scènes de genre, tableaux typiques d'une vaste comédie sociale. Le parti pris affiché montre un certain didactisme mais sans atteindre le dogmatisme du roman à thèse. Le réalisme humain et la représentation de la bonne société éloignent le roman de moeurs du roman naturaliste. Enfin, s'est posée la question d'une décontextualisation possible de la notion qui l'érigerait en genre. Autrement dit, existe-t-il un roman de moeurs universel ? A travers cette esthétique du compromis, la réponse semble en partie affirmative
The expression "novel of manners" seems, a priori, vague and dated. The purpose of this present research is to define the novel of manners as a form of literary genre. Using a corpus of seven european novels from the second half of the nineteenth century (Trollope, Daudet, Fontane and Palacio Valdés) as a starting point, this thesis situates the novel of manners, with regard to its apprehension of reality, into historical, sociological, and structuralist contexts. From an ideological point of view, the novel of manners offers us a picture of a seemingly familiar world. A historical chronicle of contemporary times, it is a genre that is only partially realist. Impressionistic in his style the novelist recounts the manners inspired by the morals of the eighteenth century. He reinvigorates literary tropes and integrates them into scenes of genre, creating typical tableaux of the social comedy. The premise displays a certain didacticism but it does not rise to the level of the dogmatism of the roman à thèse. The genre's representation of proper society distances the novel of manners from the naturalist novel. In the end, the question presented is of the possible decontextualization of the very essence that elevates the novel of manners to the status of a genre. In other words, can we speak of the novel of manners as an enduring genre ? Upon an analysis of this aesthetic of compromise, the thesis concludes that the response is in part affirmative
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8

Petereit, Elisabeth. "Beunruhigungen vom Rand ˸ Weiblichkeit, Phantastisches und Ornament in der Literatur des deutschsprachigen Realismus (Keller, Storm, Fontane)". Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030054.

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Cette thèse propose une lecture de textes canoniques du réalisme germanophone selon le prisme des inquiétudes que provoquent les éléments placés à la marge : le féminin, le fantastique et l’ornement. La base commune qui permet de relier ces catégories esthétiques, anthropologiques et sociales est qu’elles se définissent en tant qu’Autre dans une bipolarité : homme – femme, réel – fantastique, ›grand‹ art – ornement. La hiérarchie qui sous-tend ces oppositions s’avère néanmoins peu stable, de telle sorte que ces éléments marginalisés troublent le centre normatif. Le fantastique est abordé comme élément constitutif pour la mise en forme littéraire de problèmes sociaux actuels et ›réels‹, et les rapports entre les sexes tels que définis par la société bourgeoise, sont montrés comme mis en mouvement et ambivalents. L’analyse détaillée des textes de Theodor Fontane, Gottfried Keller et Theodor Storm se concentre d’abord sur la femme comme ›principe esthétique‹ et comme ›genre‹, capté et fixé dans l’image, et montre que ce féminin imagé et idéalisé se convertit au contraire en déclencheur d’une imagination débridée et déréglée, qui s’inspire de sources littéraires et mythologiques (Pénélope, Cendrillon, sorcières etc.). Elle s’attache ensuite aux modèles, aux rôles et aux normes liés au mariage bourgeois et aux enjeux qu’ils constituent pour l’acceptation ou le rejet de la femme comme égale. La troisième partie étudie enfin les rapports entre l’idéal familial bourgeois et la société patriarcale. Dans les romans le mariage bourgeois est hanté par les fantômes de rôles sexuels encore en vigueur, mais désormais obsolètes, ce qui confère aux foyers une inquiétante étrangeté au sens Freudien
This dissertation offers an analysis of canonical texts from German literary realism using the anxiety that is felt by readers and writers in what constitutes the margins of realist literature in the 19th century: the feminine, the fantastic and ornamentations.These aesthetic, anthropologic and social categories are linked as they are all defined by a binary opposition that turns them into the Other or the Inessential: male-female, reality-fantastic, art-ornamentation. The hierarchy upon which these oppositions are built is however not that stable as these elements at the margin do trouble and replace what constitutes the society’s normative core. The fantastic elements in the works of the authors are used as constituting materials to engage the literary discussion on present and real social problems at the time of writing. The relationships between the sexes and genders which were so clearly described in the bourgeois era are seen as ambivalent and in motion.The three parts of this dissertation provide an in-depth analysis of the works of Theodor Fontane, Gottfried Keller and Theodor Storm. The first section of the work will focus on the figure of the woman as an aesthetic which is both captured and fixed in the image. It will show that this idealised and pictured feminine becomes the catalyst for unbridled and unruly imagination. Then, the traditional roles and behaviours within patriarchal marriage will then be shown to be largely inspired by literary tradition, and in particular in the myths and the fairy-tale (Penelope, Cinderella, the Witch, etc.). Lastly, the relationships between the ideal bourgeois family and the patriarchal family will be analysed in the work of Fontane and Storm. As the era of German realist literature ended, patriarchal marriage was haunted by the ghosts of gender roles, which however obsolete, were still predominant. This paradox made families unheimlich in the Freudian sense
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9

Kling, Jutta Cornelia. "On knowingness : irony and queerness in the works of Byron, Heine, Fontane, and Wilde". Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11824.

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This thesis identifies strategies of queer/irony in the writings of Lord Byron, Heinrich Heine, Theodor Fontane, and Oscar Wilde. Key to the understanding of irony is Friedrich Schlegel's re-evaluation of the concept. The thesis establishes an approach to the multifaceted concept of irony and identify key concepts of queer theory. The focus, however, is close reading. First, Lord Byron's epic satire Don Juan is read with regards to the interplay of narrative strategies and the depiction of gender, homoeroticism and the concept of the child. Furthermore, reviews published at the time of the publication of Don Juan are examined: Why did the reviewers reject the work so violently? Second, in Heine's Buch der Lieder we find ironic strategies that Richard Rorty subsumed into the concept of 'final vocabularies.' By acknowledging the formulaic nature of language in general and Romantic tropes in particular, Heine succeeds in subverting a heteronormative discourse on love and desire. Heine's Reisebilder – 'Die Reise von München nach Genua' and 'Die Bäder von Lucca' – depict the limits of queer/irony: Where meaning is fixed, as in the case of the Platen polemic, irony loses its propensity to contain multitudes. Third, Theodor Fontane's novels of adultery are read against the background of irony as established through a Schlegelian reading of Frau Jenny Treibel and a queer reading of Ellernklipp. The novels Unwiederbringlich and Effi Briest question notions of truth and map the danger of knowledge. At the core of this chapter lies the notion of 'knowledge management,' a strategy closely related to irony. The figure of the courtier Pentz in Unwiederbringlich becomes a harbinger of dangerous, queer knowledge similar to the way Crampas' use of Heine quotations negotiates sexually suggestive knowledge in Effi Briest. In a final step, the aforementioned queer/ironic strategies are employed to read texts by Oscar Wilde. Are the strategies as inferred in the other chapters valid for Wilde's writings as well? We find that, in a time where homoerotic behaviour was heavily sanctioned, ironic writing had become a liability. Wilde's ironies are too opaque for the reader: They have become a movement where nobody is allowed to 'play along'.
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Clot, Jean. "Theodor Fontane. L’acte littéraire ou la réponse de Narcisse". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040010.

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Le présent travail propose une interprétation psychanalytique de l’œuvre de l’écrivain réaliste allemand Theodor Fontane (1819 1898). À la lumière de la théorie freudienne et des thèses de Béla Grunberger sur le narcissisme, nous montrons ce que sont les ressorts et les enjeux inconscients de la création littéraire, chez cet auteur, laquelle, dans son principe, reproduit le schème de la position fantasmatique régressive que ménageait la grande passion ludique de l’enfant, le jeu de cache cache selon un mode spécifique. Partant du constat de la structure obsessionnelle des romans, notre étude met en évidence, dans un premier livre, l’existence, « sous » la fable sociale récurrente de la liaison amoureuse illicite, sanctionnée (adultère et relations équivalentes), d’un singulier scénario s’articulant autour de la dynamique du « pseudo Œdipe », que décrit Grunberger (procédure d’évitement, à des fins de régression), et du mécanisme de la défense masochique. L’analyse de ce « mythe personnel » (Mauron), comme situation dramatique interne, nous amène à dégager les traits particuliers des éléments constitutifs de la personnalité psychique de Fontane (imagos et instances), puis à établir la genèse de sa position « pseudo œdipienne » et à faire ressortir le rapport qui la lie au processus de création (« rétablissement narcissique »). Les résultats acquis sont passés au révélateur de la vie de l’écrivain. Dans un second livre, nous nous penchons, tour à tour, sur les divers aspects essentiels de l’œuvre, réexaminés sous le nouvel éclairage apporté : fonctionnalité de l’ambivalence, conception du réalisme « poétique » (transfigurateur), recherche de la conciliation des principes contraires, écriture comme la pratique d’un jeu de cache cache (questions du dialogisme, de la stratégie narrative, du symbolisme). La dernière partie est consacrée à l’étude de la problématique cardinale de la régression narcissique, à laquelle tout mène, ici : instrumentalisation du complexe de la faute et de la sanction, à visée autodestructrice, dans une tension vers la mort fantasmée comme le retour à l’état de félicité du séjour au sein originel
This study offers a psychoanalytical interpretation of the works of Theodor Fontane (1819 1898), the German realist writer. In the light of the Freudian theory and of Béla Grunberger’s theses on narcissism, we show the unconscious motivations which gave rise to this author’s literary creation and what is at stake in this process for him. The act of writing is based here on the principle of reproducing the scheme of the fantastical regressive position which was generated by Fontane’s strong passion as a child for the game of hide and seek, which he played in his own specific way. Considering the obsessive structure of his novels, in our first book we demonstrate the existence — “beneath” the ever present social dictum of the forbidden love affair that is always to be punished (adultery and similar relationships) — of a particular scenario revolving around the dynamic of the “pseudo Oedipus”, as described by Grunberger (avoidance procedure aiming at regression) and the mechanism of masochistic defense. The analysis of this “personal myth” (Mauron), as an inner dramatic situation, leads us, first, to unearth the specific features of the elements which make up Fontane’s psychic personality (imagoes and agencies), and then to establish the genesis of his “pseudo oedipal” position and to highlight its link with the creative process (“narcissistic restoration”). Our results are substantiated through the writers’s biography. In the second book we deal with the essential aspects of Fontane’s work, which we re examine thanks to what we have brought to light: the functionality of ambivalence, the conception of transfigurating “poetic” realism, the attempt to reconcile opposite principles and writing as a game of hide and seek (dialogism, narrative strategy, symbolism). The last part of our study is devoted to the cardinal issue of narcissistic regression to which everything leads: mainly the instrumentation of the complex of guilt and retribution with a self destructing aim in a tropism towards death fantasized as a return to the original state of bliss in the womb
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Libros sobre el tema "1819-1898"

1

1819-1898, Warre Henry James, ed. Henry James Warre (1819-1898). Ottawa: Public Archives Canada, 1985.

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Lenepveu, Jules-Eugène. Jules-Eugène Lenepveu, 1819-1898: Peintre du monumental. Angers]: M'A musées d'Angers, 2022.

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Denholm, Zita. T.Y.S.O.N: The life and times of James Tyson, pastoral pioneer, 1819-1898. Wagga Wagga, N.S.W: Triple D Books, 2002.

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Oldfield, J. R. Alexander Crummell (1819-1898) and the creation of an African-American church in Liberia. Lewiston: E. Mellen Press, 1990.

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1970-, Kitzbichler Josefine, ed. Theodor-Fontane-Chronik. Berlin: de Gruyter, 2010.

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Fontane, Theodor. Briefe an die Freunde: Letzte Auslese. Hildesheim: G. Olms, 1995.

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Fontane, Theodor. Briefe an Georg Friedlaender. Frankfurt am Main: Insel, 1994.

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Fontane, Theodor. Der Briefwechsel: Mit Fontanes Briefen an Karl Eggers und der Korrespondenz von Friedrich Eggers mit Emilie Fontane. Berlin: De Gruyter, 1997.

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Zuberbühler, Rolf. Ja, Luise, die Kreatur: Zur Bedeutung der Neufundländer in Fontanes Romanen. Tübingen: Niemeyer, 1991.

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Gouvy, Institut Théodore, ed. Theodore Gouvy 1819-1898: Bericht über den Internationalen Kongress = Actes du Colloque international Saarbrücken/Hombourg-Haut. Hildesheim: Olms, 2008.

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Capítulos de libros sobre el tema "1819-1898"

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Villafaña, Frank R. "Madrid Politics (1819–1898)". En Expansionism, 67–74. Routledge, 2017. http://dx.doi.org/10.4324/9780203792605-8.

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"ALEXANDER CRUMMELL (1819–1898)". En Nineteenth-Century African American Speeches in Britain and Ireland, 157–61. Edinburgh University Press, 2024. http://dx.doi.org/10.1515/9781474457941-014.

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Pfeffer, Miki. "The Principals". En Southern Ladies and Suffragists. University Press of Mississippi, 2014. http://dx.doi.org/10.14325/mississippi/9781628461343.003.0003.

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This chapter presents profiles of some of the women who played key roles during the Cotton Centennial Exposition. Among them was Julia Ward Howe (1819–1910), who was sixty-five and a well-known activist of women's causes by the time she came to New Orleans in 1884. She was neither the first nor the only nineteenth-century woman to escape domesticity by becoming a zealous clubwoman, but she had polished the role to a fine art. Another was Martha Reinhard Smallwood Field (1855–1898), who wrote for the Picayune using the pen name Catharine Cole. Her skills were on display during the World's Exposition as she covered all things of interest to women.
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Walcher, Bernhard. "Reform und Modernisierung: Die Schaubühne als Spiegel und Vorbild der Zeit. Georg Köberles (1819-1898) theaterkritische Schriften und das Theater der Gründerzeit". En Realität als Herausforderung, editado por Ralf Bogner, Ralf Georg Czapla, Robert Seidel y Christian Zimmermann. Berlin, New York: DE GRUYTER, 2011. http://dx.doi.org/10.1515/9783110253948.401.

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