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1
Carrasco, André de Oliveira Torres. "Os limites da arquitetura, do urbanismo e do planejamento urbano em um contexto de modernização retardatária: as particularidades desse impasse no caso brasileiro." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-02022012-101349/.
Повний текст джерелаАнотація:
Esta tese de doutorado tem como objeto de pesquisa o cenário de crise que envolve o desenvolvimento da arquitetura, do urbanismo e do planejamento urbano no Brasil no período compreendido entre a segunda metade do século XX e os primeiros anos do século XXI. Essa constatação se originou na análise das contradições entre os objetivos vislumbrados pela Arquitetura Moderna Brasileira, escola que definiria os rumos dessa produção e seus resultados. Um dos principais pontos de seu programa central foi a defesa da emancipação do homem, através da transformação de seu espaço. No entanto, sua produção passaria a expressar limites críticos a partir do momento em que as características assumidas pelo processo de modernização brasileiro, resultantes de sua forma de desenvolvimento no atual estágio do capitalismo, inviabilizaria a emancipação desejada e produziria cidades marcadas pela precariedade material e social. A hipótese central desenvolvida nesta tese trata das relações entre o caráter crítico - no sentido de se manifestar como uma situação perene de crise - da produção de arquitetura, urbanismo e planejamento urbano no Brasil e a formas particulares de desenvolvimento da crise do processo de modernização no país.<br>The research subject of this doctoral thesis was the crisis scenario that involves the development of architecture, urbanism and urban planning in Brazil in the period between the second half of the twentieth century and the early years of Century XXI. This finding originated in the analysis of the contradictions between the goals envisioned by the Brazilian Modern Architecture, a school that would define the course of this production, and its results. One of the main points of its central program was the defense of human emancipation through the transformation of its space. However, its production would express critical limits from the time when the characteristics assumed by the modernization of Brazil, resulting from its way of development at the present stage of capitalism, would make the desired emancipation and would have cities marked by material and social precariousness. The central hypothesis developed in this thesis deals with the relations between the critical nature - to manifest itself as a perennial state of crisis - of the architecture, urbanism and urban planning production in Brazil and the particular forms of the modernization crisis development in the country.
2
Broad, Leah. "Nordic incidental music : between modernity and modernism." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:8a2b5571-4bbc-4bed-9b99-4b66dbd1e12d.
Повний текст джерелаАнотація:
This thesis argues for the centrality of incidental music in early twentieth-century music history, based on a study of Swedish and Finnish theatre music between 1908 and 1926. The central claims made are firstly, that incidental music is an integral part of music history in this period, supporting a narrative about modernity that does not focus exclusively on "high art" concert music. Second, the Nordic countries were part of a cross-continental discourse concerning modernity that did not revolve solely around, or stem from, central European capital cities such as Vienna or Paris. Third, dramatic literature was fundamental to the development of twentieth-century music in Sweden and Finland. Through an examination of productions with music by Jean Sibelius (Svanehvit, 1908, and Scaramouche, 1924), Wilhelm Stenhammar (As You Like It, 1920), and Ture Rangström (Till Damaskus III, 1926), the thesis demonstrates that the early 1900s in these countries were characterised by stylistic plurality. For the first two decades of the 1900s, when Sibelius composed the majority of his works, multiple modes of expression where referred to as 'modern' with no clear hierarchy between them. By the 1920s, however, 'modernism' was emerging as a term consistently used to refer to atonality and concurrent theatrical styles dominant in central Europe. Rather than adopt these stylistic languages, Stenhammar and Rangström used 'modernism' as a category to define themselves against, presenting themselves as modern but not modernist composers.
3
CRUZ, ALINE DUARTE DE OLIVEIRA. "MODERNITY AND MODERNISM IN LUIZ EDMUNDO´S MEMOIRE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9345@1.
Повний текст джерелаАнотація:
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>Modernidade e modernismo nas memórias de Luiz Edmundo tem
como objetivo analisar a vida de Luiz Edmundo e sua
relação como jornalista
e cronista com o desenvolvimento histórico da cidade do
Rio de Janeiro a
partir de suas memórias. Para isto, o trabalho analisa,
tomando como base o
material anteriormente citado, o que o autor entende como
modernidade e
quais foram as conseqüências sentidas pela cidade carioca
e pela sua geração
por conta da criação de uma mentalidade, referente aos
períodos históricos
nacionais entendidos pelo autor como colonial e imperial,
e que seria
responsável pelo atraso cultural nacional. O presente
trabalho avalia, ainda,
como o autor percebe o movimento de modernização da
cidade, qual é a
responsabilidade de sua geração literária em relação a
este e, sobretudo, que
relação se estabelece entre o autor e o mundo ocidental
civilizado, através do
conceito de cosmopolitismo.<br>Modernity and Modernism in Luiz Edmundo´s memoire has as
principal
object to show how a writer that was born in Rio de
Janeiro, named Luiz
Edmundo, in 1878, thinks about the historical process
which was responsible
for the colonial image of the city of Rio de Janeiro in
his days of youth. In
those days, working as a reporter and going to places in
the town when most
of the young people went for discuss about the most modern
literature´s
tendencies, Luiz Edmundo develops a way to understand the
modern days and
how his generation should act socially for embrace the
cause of de Modernity
in Rio de Janeiro. As principal concepts, the presented
work talks about life
and literature, Rio de Janeiro city before and after it´s
modernization process
and what for the author means being a modern man and a
cosmopolitan.
4
Teixeira, Ana Lucia de Freitas. "Modernidades em confronto: as literaturas modernistas brasileiras e portuguesa." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-19022010-154219/.
Повний текст джерелаАнотація:
Esta tese busca investigar as razões pelas quais foi necessário romper o diálogo, ou ao menos silenciar sobre ele, entre os escritores do Modernismo brasileiro e do Modernismo português. Envolvidos que estavam em uma problemática comum, a da renovação das linguagens artísticas, tanto modernistas brasileiros quanto portugueses encontraram um patamar comum no qual estabelecer seu enfrentamento mais direto: aquele que pudesse fazer ruir os parâmetros acadêmicos da arte nacional em prol de uma linguagem renovada cujos efeitos excederiam largamente o plano da literatura. Tanto em Portugal quanto no Brasil, desenvolveu-se um verdadeiro projeto que costurava uma renovação da linguagem artística com a modernização da própria nação, articulando, portanto, o movimento modernista com uma proposição de Modernidade. Daí que a noção de Modernidade que se pôde fazer brotar a partir de ambos os movimentos possui, na contramão do que se deu com o Modernismo centroeuropeu, uma marcada fisionomia nacionalista. Esse atributo comum é mobilizado na esteira da perspectiva de múltiplas Modernidades que podem ser formuladas dentro de cada um desses projetos modernistas e a partir das especificidades sociais de que cada um deles dispunha. A despeito dessa problemática de fundo comum, que mobilizou a ambos, as soluções textuais encontradas são bastante diversas: no caso brasileiro, tratou-se, na afirmação de uma autonomia nacional, de rasurar parte componente de seu passado e constituir um cânone literário que se estrutura sobre uma perspectiva auto-referida, como se a cultura brasileira não tivesse se originado de nada que não dela própria, numa perspectiva autóctone que é tão mais eficaz quanto mais velado é esse seu atributo; no caso português, tratou-se de abdicar de um dos mais fundamentais eixos do Modernismo, o da negação do passado, nele fincando a imagem a partir da qual foi possível fazer ressurgir um Portugal modernizado. É precisamente na saída encontrada por cada um desses movimentos para se compassar com as vanguardas modernistas centro-européias que reside a incompatibilidade que os levou a impedir um debate intelectual profícuo: como parte do passado negado pelo Modernismo brasileiro, Portugal é tomado por atrasado e posto de lado, a despeito da antecedência do seu movimento modernista; como figura não conivente com o mito do heroísmo desbravador do português que deu ao mundo moderno o traçado que ele tem hoje, o Brasil é interlocutor de somenos importância. É na discussão dos meandros dessas aproximações e distanciamentos que se estrutura esta tese.<br>This thesis investigates the reasons of the dialogue interruption or at least the silence between Brazilian and Portuguese modernist authors. Engaged to a common problematic, the renovation of artistic languages, both Brazilian and Portuguese authors were situated in a shared level to establish a more direct confrontation towards a renewed language that had effects which exceeded the limits of literature. The project developed in Brazil and in Portugal combined the renovation of the artistic language and the modernization of each nation, thus articulating the modernist movement to a modernity proposition. Consequently, the idea of modernity that could emerge of both modernist movements presents a nationalist aspect that is absent in the modernism developed in central Europe. Considering the social specificities in which each one of these movements were inserted, the nationalist aspect is mobilized in the perspective of the multiple Modernities that could be formulated by each one of these modernist projects. Despite the shared problematic that has concerned both movements, the textual solutions found by each one of them were different. The Brazilian case was based on the affirmation of the national autonomy by erasing its past and constituting a structured autonomous literary canon, as if the Brazilian culture had been originated in itself in an autochthonous perspective. In the Portuguese case, authors abdicated the denial of the past as one of the most fundamental aspects of Modernism. It was through past that the image of a modernized Portugal arose. Hence, the incompatibility that prevented the establishment of a proficuous intellectual debate among those authors was originated precisely from these different solutions managed by each one of the movements to compass themselves to other central European vanguards: as part of the past denied by Brazilian modernism, Portugal is considered obsolete and left aside, despite the anteriority of its modernist movement; as a figure that disregards the myth of the Portuguese heroism in exploring and tracing the modern world map, Brazil becomes a less important interlocutor. Thus, this thesis discusses the proximity and distancing of these two movements.
5
Evans, Victoria Louise, and n/a. "Douglas Sirk, aesthetic modernism, and the culture of modernity." University of Otago. Department of Media, Film and Communication Studies, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080707.122544.
Повний текст джерелаАнотація:
In this dissertation, I argue that Douglas Sirk was attempting to dissolve the boundaries of the cinematic medium by assimilating elements of avant-garde art, architecture and design into the colour, composition and settings of many of his most popular studio produced films. While the exaggerated artifice of this director�s formal style has often been remarked upon, it has yet to be interpreted in the light of his detailed cognisance of the major art and architectural movements of the period, which include German Expressionist painting and Machine Age Modernist design. This is a lacuna that my thesis should at least partially fill, since I have shown that Sirk�s highly self conscious visual approach was deeply influenced by the artistic debates that were taking place in Europe during the 1920s and �30s and in America after World War II. To my mind, there is no doubt that this director�s syncretic mise-en-scène was the result of an interdisciplinary, transnational dialogue, and I have sought to illuminate some of the social, philosophical and political meanings that it seems to convey.
6
Kassab, Maroun Ghassan. "Beirut modernism: theoretical framework and case study." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13371.
Повний текст джерелаАнотація:
The main question that this research poses is: Where does Lebanese modernist architecture stand in terms of modernist architecture in general terms? The proliferation of modern architecture in Lebanon between the 1940s and the 1970s has been significantly neglected as a subject of research, documentation, analysis and criticism. This research attempts to fill a gap in the theoretical framework of understanding modern architecture in Lebanon. The research first establishes a rudimentary understanding of modernism in general terms, then explores the various theoretical approaches that the architectural discourse utilizes to address modernism in locales such as Beirut, namely “Orientalism”, “Critical Regionalism” and “Third World Modernism”. The research then explores the history of the development of architecture in Lebanon in three phases from 1860 till 1920, when Lebanon was under Ottoman rule; then from 1920 till 1943 when Lebanon was under the French Mandate, and then from 1943 till 1975 which are the modernist years after independence. The research will then focus of the modernist architecture of Beirut in a broad sense, then on Hamra District in a more specific venue, and then at the architecture of Hamra Street to get a more intimate picture of the development of modern architecture in the city of Beirut. In light of this investigation, a phase of reassessment of modernism itself is attempted, as well as a reassessment of the three modes of understanding, i.e. orientalism, critical regionalism and third world modernism. The findings of this reassessment are then considered in an attempt to establish a preliminary theoretical framework for understanding the development of modern architecture in Beirut.
7
Oliveira, Isabel Cristina de. "Do Orpheu ao Dândi: os contos de Sá Carneiro e as crônicas de João do Rio." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2084.
Повний текст джерелаАнотація:
Esta dissertação estuda dois importantes autores de língua portuguesa na literatura moderna: Mário de Sá Carneiro (português) e João do Rio (brasileiro). Ambos viveram as diversas transformações sofridas pela sociedade ocidental no final do século XIX e início do século XX. Nessa época as relações entre Brasil e Portugal estavam abaladas, mas havia um movimento de aproximação entre esses países, já que Portugal nunca deixaria de ser o berço do Brasil, não havia por que negar as afinidades. O que parece aproximar a escrita de Sá Carneiro e João do Rio são as transformações, em âmbito geral, sofridas no espaço temporal citado. Ambos influenciados pelas tendências que se originaram no centro cultural da época: a França. Essas tendências, chamadas de vanguardas, deram origem no Brasil e em Portugal ao movimento Modernista na Literatura. Em Portugal, Mário de Sá Carneiro participou da criação desse novo movimento literário com a revista Orpheu. No Rio de Janeiro, havia uma crescente modernização da vida política, social e cultural, era a verdadeira belle époque carioca, da qual João do Rio participou, ajudando no crescimento da crítica e do jornalismo de forma geral. Analisamos aqui alguns contos de Sá Carneiro e algumas crônicas de João do Rio. Nelas encontramos muito da crise moderna vivida por eles, realizamos através desse corpus aproximações entre os dois autores. Nesse processo de comparação, enfatizamos alguns aspectos modernistas, problematizando as diferenças e semelhanças, tendo intenção de identificar as influências e as circunstâncias que levaram tais escritores a escreverem da forma com que viam e viviam a cidade, a vida, a história de seus países como pano de fundo, apresentando de que forma essas duas personagens contemporâneas da vida artística cultural portuguesa e brasileira apresentaram em seus escritos a presença do cotidiano, o dia a dia da cidade, e a contradição com as correntes da época<br>This dissertation studies two important authors from portuguese language at modern literature: Mário de Sá Carneiro (portuguese) and João do Rio (brazilian). Both of them have lived the many changes suffered by ocidental society in the end of 19Ћ century and the beggining of the 20Ћ century. At this time the relations between Brazil and Portugal were disturbed, but there were an approach movement between these countries, but Portugal would never let being the birthplace of Brazil, there was no reason to deny the affinities. What seems approach the written of Sá Carneiro and Joao do Rio are the changes, in general scope, suffered in the mentioned time. Both were influenced by tendencies that were originated in the cultural center of that period: France. These tendencies called vanguards, they gave origin to the Modernist Movement in Brazil and Portugal. In Portugal, Mario de Sá Carneiro participated of the creation of this new literary movement with the magazine Orpheu. In Rio de Janeiro, there was a growing modernization at politics, social and cultural life, was the real belle époque of the city, wich Joao do Rio participated, helping the growing of the criticism and journalism in general. We analyze here some tales from Sa Carneiro and some chronicles from Joao do Rio. We find into them lot from the modern crisis lived by them, produce through that corpus approaches between both authors. In this process of comparison, we emphasize some modernists aspects, making troubles with the differences and the similarities, intending to identify the influences and the circumstances that took those writers to written the way they saw and lived the city, the life, the history from their countries as background, presenting wich way these two contemporary characters of cultural artistic life introduced in their papers the presence of the routine, the day by day of the city, and the contradiction with the currents of that period
8
Sullivan, Kelly Elissa. "Epistolary Modernism." Thesis, Boston College, 2014. http://hdl.handle.net/2345/bc-ir:104185.
Повний текст джерелаАнотація:
Thesis advisor: Marjorie Howes<br>Epistolary Modernism reads British and Irish writing of the 1920s through the 1950s with a focus on the way authors use fictional letters and verse epistles to communicate a renewed sense of literature as public speech, even as they saw privacy curtailed and surveillance increased. Letters enable late modernist writers to call attention to the way literature straddles the gap between private experience and public declaration. Virginia Woolf, W.H. Auden, Louis MacNeice, Graham Greene and Elizabeth Bowen all use letters to reveal a late modernist belief in literature as an exchange between an author and a reader -- a bridge between times and perspectives -- even as they trouble the possibility of any clear communication or meaning. The implied exchange in letters requires a sense of correspondence: a letter demands both interpretation and a reply. But a letter is always already too late. Epistolary Modernism reads letters as a stand-in for the literary period of late modernism itself, an epoch of writing characterized by a sense of coming too late to history and to literary tradition. The project considers fiction and poetry published in the 1920s through the 1950s in relation to historical and cultural events of the period, arguing that the sense of belatedness and temporal disjuncture letters create fundamentally links the structure and materiality of the text to the social and political concerns of its author. These writers composed literature attuned to historical events and the simultaneously occurring ordinary moment, leading to an increasingly interconnected, and socially-responsible art borne from the historical impasse of the thirties, the Second World War and its political legacy. Letters enable these writers to continue aesthetic experiments while simultaneously addressing politics, society, and the purpose of literature itself<br>Thesis (PhD) — Boston College, 2014<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: English
9
Derouin, Jason. "Staging Modernism." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/117.
Повний текст джерелаАнотація:
This thesis, which supports an exhibition of visual art, develops from Jean Baudrillard's philosophy of seduction. I have focused on the representation of the bachelor and his pad in American men's magazines from the mid-twentieth century. During this period, magazines such as Playboy, Escapade and Rogue created features on modern living to reassure an independent and affluent man that a dwelling with style and taste would ensure a happy bachelor life and facilitate intimacy. My photographs and collages add complexity to this portrait by framing this unique space as a stage where an unmarried man encircled by his lusty decor acted to entrance a woman.
10
Angelella, Lisa. "Alimentary modernism." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/225.
Повний текст джерелаАнотація:
Modernism often reveled in the loss of control, the permeation of personal boundaries, the introduction of ambiguity, that evocation of the senses brings about. It strove to loosen the structures and categories culture inscribes. In this dissertation, I argue that food scenes constitute the crux of many pivotal moments in Modernist fiction and express a philosophy of the human subject. Modernists argue that, in eating, a person takes the outside world into him or herself. The senses that precede, imbue and follow eating threaten and transcend the integrity of the subject. I argue that by foregrounding such moments, Modernists posited a phenomenological view of subjectivity, one which can best be illuminated by the work of Maurice Merleau-Ponty. Guided by his theory of intersubjectivity, I explore the phenomenological presentation of particular sensual encounters with food in the work of Ernest Hemingway, Katherine Mansfield, Virginia Woolf, James Joyce and Willa Cather. I show how characters, in their encounters with sensual otherness, feel themselves overcome in poignant moments of ecstasy, disgust, or revelation of self-constitution through the alimentary. I also argue that Modernist fiction does not only display Merleau-Ponty's phenomenology, but also nuances his timeless and placeless presentation of the encounter between a universal subject and any object, by considering the sensual eating experience within various historical food conditions, such as the explosion of the canned food industry and the gradual dissolution of the formal meal, and from various subject positions, based on gender, ethnicity or relative political empowerment. In engaging phenomenology, my project deviates from the long tradition in scholarship of considering symbolic and structural meanings to the occlusion of sense. In each eating scene I explore I consider how gustatory, haptic, and aromatic properties of food objects--such as liquidness, sweetness, bloodiness and lightness--intervene in more cerebral human relations. Fundamental to the fascinating Modernist depictions of food and eating, is the idea that the senses have an undeniable impact on human affairs in their own right.
11
Chambouleyron, Ingrid Cyfer. "A tensão entre modernidade e pós-modernidade na crítica à exclusão no feminismo." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8131/tde-03022010-122141/.
Повний текст джерелаАнотація:
O objetivo deste trabalho é analisar o projeto de Nancy Fraser de pacificar a chamada guerra de paradigmas na teoria feminista, ou seja, o confronto entre teorias feministas pós-modernas e modernas. Essa análise é feita a partir do debate entre Judith Butler, Seyla Benhabib e Nancy Fraser acerca dos problemas teóricos que emergem das exclusões no movimento feminista, ou seja, da dificuldade de o movimento representar as várias formas de viver a condição feminina, levando em conta as intersecções entre a identidade de gênero, racial, de classe, etc. A intenção de Nancy Fraser é combinar a concepção de sujeito moderno e pósmoderno a fim de somar a desconstrução do sujeito, ou seja, a desnaturalização da identidade feminina com as concepções de igualdade e autonomia que estão presentes no argumento de Benhabib. Essa discussão remete a três tensões conceituais: autonomia e contextualização do sujeito; identidade e reconhecimento da diferença e igualdade e pluralidade. Por fim, concluo que a conciliação entre modernidade e pós-modernidade é problemática porque a concepção de sujeito pós-moderno apresenta desafios teóricos profundos a uma autonomia suficientemente forte para justificar a crítica social. No entanto, isso não significa necessariamente ter de escolher entre poder e autonomia, entre sujeito abstrato e determinado pelo meio. Na concepção de self narrativo de Benhabib, que ela concebe sob a influência do modernismo relutante de Hannah Arendt, encontra-se um modelo de conciliação de poder e autonomia mais promissor para vencer a exclusão no feminismo sem abandonar a identidade coletiva no movimento feminsita.<br>The subject of this thesis is Nancy Frasers attempt to overcome the tension between post-modernism and modernism in the feminist political theory, known as the paradigm war. This attempt is analysed though her debate with Judith Butler and Seyla Benhabib about the theoretical consequences of dealing with the problem of exclusion within the feminist movement. Nancy Fraser intends to combine Judith Butlers conception of the subject with Benhabibs conception of equality. For her, this is the only way to integrate power and autonomy in feminist political theory. This discussion leads to three theoretical tensions: contextualization of the subject and autonomy; identity and recognition of difference, and equality and plurality. My conclusion is that this combination is not possible because the post modern subjet challenges any conception of autonomy that is strong enough to explain and motivate social criticsm. Nevertheless, in Benhabibs conception of self narrative, inspired in the reluctant modernism of Hannah Arendt, we can find a theoretical model that is more adequate to fight the exclusion in feminist movement without abandoning its colletive identity.
12
Timmer, Cornelis, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Modernism and fragmentation." THESIS_FPFAD_SD_Timmer_C.xml, 1998. http://handle.uws.edu.au:8081/1959.7/547.
Повний текст джерелаАнотація:
The aim of my dissertation, as the title indicates, is to determine the relationship between modernism and fragmentation. The objective, however, is twofold. In addition to the argument through which I explicate the neglected discussion of the connection between modernism and fragmentation, this paper reveals the thought processes and artistic influences crucial to my own development as a painter. The majority of artists I discuss have informed my practice stylistically as well as aesthetically. The thesis therefore serves not only as a theoretical discussion but also as a partial justification of my personal conceptions regarding my work, on which I will elaborate in appendix. This paper demonstrates that the resolution of all things depends upon the collection, selection, arrangement and rearrangement of fragments, including my painting and this paper itself<br>Master of Arts
13
Medalie, David. "E.M.Forster and modernism." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316896.
Повний текст джерела
14
Costello, Diarmuid. "Aesthetics after modernism." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395872.
Повний текст джерела
15
Kelly, Theresa. "Pilgrimage and modernism." Thesis, University of York, 1987. http://etheses.whiterose.ac.uk/9834/.
Повний текст джерела
16
Wayland, Ted. "High risk modernism /." Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/9343.
Повний текст джерела
17
Timmer, Cornelis. "Modernism and fragmentation." Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/547.
Повний текст джерелаАнотація:
The aim of my dissertation, as the title indicates, is to determine the relationship between modernism and fragmentation. The objective, however, is twofold. In addition to the argument through which I explicate the neglected discussion of the connection between modernism and fragmentation, this paper reveals the thought processes and artistic influences crucial to my own development as a painter. The majority of artists I discuss have informed my practice stylistically as well as aesthetically. The thesis therefore serves not only as a theoretical discussion but also as a partial justification of my personal conceptions regarding my work, on which I will elaborate in appendix. This paper demonstrates that the resolution of all things depends upon the collection, selection, arrangement and rearrangement of fragments, including my painting and this paper itself
18
Timmer, Cornelis. "Modernism and fragmentation /." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030908.132615/index.html.
Повний текст джерела
19
Salvati, Gerardo. "Modernism on Air." Doctoral thesis, Universita degli studi di Salerno, 2016. http://hdl.handle.net/10556/2460.
Повний текст джерелаАнотація:
2014 - 2015<br>La tesi di dottorato, intitolata “Modernism on Air” si articola in quattro capitoli, preceduti da un’introduzione in cui si dà conto di quello che gli studiosi hanno definito il Great Divide nei rapporti tra Modernismo e cultura di massa. Nel primo capitolo, vengono presentate le principali teorie che sostengono l’impossibilità di trovare un punto di raccordo tra Modernismo e cultura di massa. Nello specifico vengono analizzate le teorie di Huyssen che afferma l’esistenza di un ‘unbridgeable’ gap tra i suddetti movimenti culturali. Viene dato spazio anche all’analisi del pensiero di quei pensatori, Walter Benjamin e Theodor Adorno su tutti, che sono alla base della teorizzazione della divisione dicotomica tra Modernismo e cultura di massa. Vengono poi presi in esame gli studi sul Modernismo dell’ultimo decennio che, invece, danno di quest’ultimo una lettura più democratica e collaborazionista con la cultura di massa. La seconda parte del presente lavoro descrive, invece, i punti di contatto che importanti esponenti del Modernismo hanno avuto con la cultura di massa attraverso la collaborazione con riviste di moda ed emittenti radiofoniche. Sono stati oggetto di analisi gli articoli che Virginia Woolf scrisse per Vogue e le trasmissioni radiofoniche che tenne per conto della BBC. La terza parte della ricerca ha invece preso in analisi i possibili effetti della radio sulla parola scritta. Partendo dal concetto di crisi della tradizione oculocentrica, che basava sul senso della vista il metodo principale di conoscenza, vengono presi in esame una serie di estratti dei romanzi di James Joyce e Virginia Woolf per dimostrare come gli artisti modernisti depotenziano la vista in favore dell’udito nella narrazione della realtà. In tal modo la percezione come modalità conoscitiva non viene più solo affidata all’occhio ma anche e soprattutto all’udito. L’ultima parte si concentra sull’inglobamento volontario della radio nell’opera d’arte attraverso l’analisi dei testi di Samuel Beckett e Dylan Thomas. A differenza del passato, il testo non viene più pensato prima per la pagina scritta e poi ‘adattato’ per la radio ma quest’ultima diventa da subito la matrice principale che da forma e sostanza al testo. Ne emerge, in tal modo, un nuovo tipo di testo i cui personaggi hanno una forte valenza ‘radiofonica’ per come sono creati e per come agiscono. [a cura dell'autore]<br>The thesis is entitled “Modernism on Air” and is structured into four chapters, preceded by an introduction, which focuses on the notion of The Great Divide between Modernism and mass culture. The first chapter analyses the main theories which claim there is no connection between Modernism and mass culture. Specifically, it is taken into account Huyssen’s thought that affirms the existence of an ‘unbridgeable gap’ between the above-mentioned movements. Moreover, Walter Benjamin’s and Theodor Adorno’s theories, that form the basis of the dichotomy between Modernism and mass culture, have been object of investigation. In addition, the Modernist studies of the last decade, that claim Modernism was not an elitist movement, have been investigated. The second chapter of the present work describes the intersections between Modernism and mass culture by fashion magazines and radio stations. Virginia Woolf’s contributions to Vogue and the BBC have been analysed. The third part of the research pays attention to the effects of radio and sound on the written word. Starting from the notion of ocularcentrism, that considered the eye the main tool to know the world, and its subsequent crisis, several excerpts from Joyce’s and Woolf’s novels have been examined in detail in order to demonstrate that Modernists disempowered vision in favour of hearing. In this way perception, as a knowing mode of the world, is not provided exclusively by the eye but also by the ear. The last chapter is devoted to the intentional incorporation of radio into the work of art. Samuel Beckett’s and Dylan Thomas’ radio texts have been studied. Unlike in the past, a text is no more thought for the page and then adapted to radio but the latter becomes the matrix that gives form and substance to the text. In this way a new kind of artistic work is created in which its characters have a strong ‘radiophonic’ valence because of the way they are brought into existence and act. [edited by author]<br>XIV n.s.
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Melberg, Arne. "Sara Danius, The Senses of Modernism. Technology, Perception, and Modernist Aesthetics. Uppsala 1998." Uppsala : Svenska Litteratursällskapet, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-200754.
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Waddell, Nathan Joseph. "Modernism and utopia, 1900-1920 : politics and social betterment in early modernist writing." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/1377/.
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This thesis considers the early twentieth-century writings of four modernist writers – Joseph Conrad, Ford Madox Ford, D. H. Lawrence, and Wyndham Lewis – in relation to the problem of utopianism. The introductory chapter provides an overview of current scholarly debates concerning the nature and structure of utopian thinking, and establishes the broad context in which the above writers are considered in the argument that follows. The thesis works with an inclusive definition of utopianism that views it as an expression of the urge to better society, as opposed to an urge to realize social perfection. After a wide-ranging summary of late nineteenth- and early twentieth-century utopian discourses, a summary that attends to the pre-First World War criticism of T. E. Hulme and Ezra Pound, the thesis turns to individual, ‘case study’ chapters that focus on the above-mentioned quartet of writers. Each chapter looks at a key issue: Conrad in relation to political anarchism; Ford in relation to urban design; Lawrence in relation to utopian philosophies of labour; and Lewis in relation to the linkages between the historical avant-garde and the betterment of society. The main claims running throughout the thesis are that in the period under consideration the links between modernism and utopianism are: complex; multi-sided and author-specific; politically multifarious; and insufficiently acknowledged by contemporary critics.
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Torres, Maria do Socorro [UNESP]. "Magma: 80 anos de poesia." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/146691.
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Previous issue date: 2016-08-03<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Magma, gênese poética do escritor João Guimarães Rosa, constitui-se a base sólida desta tese de doutoramento, em Teoria da Literatura. Tem-se como corpus os poemas da coletânea que apesar de premiada em, 1937, não obteve a recepção merecida, em virtude do autor não ter publicado a obra. O estudo aprofundado dos poemas mostra que o lirismo voltado para os rios, a água e as cores é aspecto crucial em sua composição. Não é novidade vincular a produção rosiana ao Modernismo, o que é novo é abordar uma obra inicial como Magma, tendo em vista os aspectos anteriores. Optamos por realizar uma abordagem que contempla (i) a análise da fortuna crítica; (ii) o contexto de produção, relacionando a gênese poética de João Guimarães Rosa às demais produções poéticas do Modernismo, sobretudo, do primeiro e do segundo momentos; (iii) a análise dos poemas. Para a construção da tese partimos do estudo da fortuna crítica de Magma, atendo-nos à recepção da mesma e às análises que da coletânea foram feitas. O suporte teórico e crítico para a realização desta tese ateve-se a estudos acerca do Modernismo brasileiro, entre eles Affonso Ávila (2013), José Guilherme Merquior (1965), aos estudos voltados para a compreensão do texto poético como Octavio Paz (1982). Além disso, buscamos contextualizar Magma no universo do Modernismo brasileiro, de modo a estabelecer pontos de aproximação e distanciamento entre o que faz João Guimarães Rosa e o que fazem os modernos. Em seguida, organizamos os poemas da obra em vertentes, apoiando-nos em parte nos trabalhos de Maria Célia Leonel. As fronteiras entre tais vertentes não são firmemente delimitadas, porém, acreditamos que há um ganho analítico na organização do livro segundo essa perspectiva, pois, são temas que percorrem toda a coletânea, também, toda a obra subsequente do autor. Por fim, coube investigar em que medida, tais temas, que se apresentam na obra com fronteiras pouco fluidas, se articulam, a partir de um discurso moderno que os aproxima. Ou seja, a partir dos instrumentos fornecidos pelas etapas anteriores procuramos responder à seguinte pergunta: em que medida aspectos do Modernismo articulam-se em Magma, para garantir o diálogo entre as vertentes apontadas e, para, além disso, garantir a originalidade e a riqueza da obra poética de João Guimarães Rosa?.<br>Magma, poetic genesis of the writer João Guimarães Rosa, constitutes the solid foundation of this doctoral thesis in Literary Theory. There have as corps poems that make up the collection, which despite awarded in 1937, did not get the deserved reception, and this, perhaps, hindered the development of researches on / from it, that situated within the context of Brazilian Modernism. Researches that show at the same time, the extent to which collection moves away from that same literary context, since the poems are linked by a discourse that tenses the very idea of Modernism, responsible for ensuring the originality of the work. The in-depth study of the poems shows that primitivism / nationalism, playful, philosophical, lyrical are crucial aspects in its composition. Unsurprisingly link to Rosa's production to Modernism, what is new is to approach an initial work as Magma, in view of the previous aspects. We decided to use an approach that includes (I) the analysis of the critical fortune; (II) the context of production, linking the poetic genesis of João Guimarães Rosa to other modernist poetic productions, especially the first and second times; (III) the analysis of poems. For the construction of the thesis we start from the study of criticism of Magma fortune, especially the study of Maria Célia Leonel (2000), being guided by the receipt of the same and the analyzes of the work they were made. The theoretical and critical support for the realization of this thesis it is adhered to studies of Brazilian modernism, including Affonso Avila, studies aimed at understanding the poetic text as Octavio Paz (1982). In addition, we seek to contextualize Magma in the universe of Brazilian modernism, in order to establish points of approximation and distancing between what is João Guimarães Rosa and what do the Modernists. Then we organized the poems of the work areas: primitivist / nationalist, lyrical, playful and philosophical. The boundaries between the strands are not firmly defined, but we believe that there is an analytical gain in book organization according to this view, because the themes run throughout the collection, too, all the subsequent work of the author. Finally, we investigate to what extent these issues, which are present in the work with little fluid boundaries, articulate, from a modernist discourse approaching them. That is, from the tools provided by the previous steps seek to answer the following question: to what extent modernist aspects are articulated in Magma to ensure dialogue between the identified aspects and to also ensure the originality and richness of work poetic of João Guimarães Rosa?.
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Peter, Bruce. "Form follows fun : modernism and modernity in British pleasure architecture, 1925-1940." Thesis, Glasgow School of Art, 2005. http://radar.gsa.ac.uk/4064/.
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This thesis aims to establish how and why the architecture of pleasure matched the stylistic and ideological concerns of Modernism and to document the professional, entrepreneurial and institutional infrastructures affecting its development and appearance. It will argue that, in responding to flux of modernity, Modernism in the architecture of pleasure was appropriately ephemeral. Paradoxically, this fashionability undermined existing conceptions ofwhat constituted 'good' architecture and design. 'Theorising the architecture of pleasure' examines Modernism in relation to perceptions of high and mass culture in the inter-war era. Thereafter, 'Modernism and a typology of pleasure' establishes a range of building types for discussion in the remainder of the thesis. 'Professional relationships' investigates the various systems of influence and networks of patronage affecting the uptake ofModemism in the architecture of pleasure. 'Modernism and the geography ofpleasure' questions why the architecture of pleasure was concentrated in what appear to have been 'fringe conditions' - the seaside, suburbia and within the walls of amusement parks, zoos and exhibitions. Thereafter, 'Construction and architectural servicing' argues that dissemination of the Modern Movement in Britain was concurrent with, and related to, the expansion and rapid advances in architectural technology during the 1930s. Finally, catering and staffing are examined in 'Consuming and experiencing the architecture of pleasure' to show how Modernism was received by users through the architecture ofpleasure. In conclusion, it is argued that responses to Modernism through the architecture of pleasure were conditioned by wider debates about the role of design in relation to high and mass culture. The architecture of pleasure often simultaneously reflected and undermined Modernism's aims to provide an egalitarian experience and spiritual uplift in environments of a high design quality.
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Garcia, Luiz Fernando. "O idílio entre a tradição e a modernidade : uma releitura de Amar, verbo intransitivo, Mário de Andrade /." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/152709.
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Previous issue date: 2018-01-29<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Partindo de pressupostos teóricos do Comparatismo como forma de investigação que se situa "entre" os objetos que analisa, e dos conceitos de releitura tão característicos da Modernidade, este trabalho propõe o estabelecimento de relações entre o romance Amar, verbo intransitivo (1927) de Mário de Andrade (1893-1945), que tem como subtítulo a designação de "Idílio" e obras de Teócrito, Gessner e B. de Saint-Pierre, pertencentes ao mesmo gênero literário, tomando como ponto de partida a questão do gênero. Este procedimento tem como objetivos verificar não somente a procedência do ceticismo da crítica literária em relação a este subtítulo, como também as razões que levaram o autor a utilizá-lo e a mantê-lo até mesmo na versão final da obra. Neste percurso, o próprio gênero literário "Idílio" também se constitui como objeto de estudo deste trabalho, pois as obras acima citadas revelam não somente um gênero literário ativo e em evolução desde a Antiguidade greco-romana até o Sec. XX, mas também um gênero que se manifesta tanto na poesia quanto na prosa, mais especificamente , no gênero romance.<br>Based on postulates of comparative literature, that places itself between the objects analyzed, and new readings of traditional works, so dear to Modernity, this thesis aims at establishing relations between Mario de Andrade's (1893-1945) novel "Amar, verbo intransitivo" (1927), subtitle "Idílio", and works from Teocritus, Gessner and B. de Saint Pierre belonging to the same literary gender, at the same time that considers the questions involving this specific gender. This procedure aims at verifying not only why literary criticism has been so skeptical in relation to the subtitle "Idílio", but also the author's reasons in giving and mantaining it even in the final version of the work. In this way, also the literary gender "Idyll" becomes the object of study of the present thesis, as the works cited above reveal not only an active gender evolving from the Antiquity until the XXth century, but also a gender represented both in poetry and prose, in this case in the novel.<br>1040/13
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Pacano, Fábio Augusto. "O forjar da modernidade: Piracicaba e a Belle Époque caipira (1889-1930)." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154554.
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- Corrigir o título da página de rosto, pois o ano é 1889 e está 1989. A capa, a ficha catalográfica e a folha de aprovação estão corretas.
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Previous issue date: 2018-05-16<br>Este é um estudo sobre Piracicaba/SP, entre os anos de 1889 e 1930, período em que a cidade experimentou um processo de mudanças físicas e sociais conhecidas como “Belle Époque Caipira”. Tais mudanças decorreram do desenvolvimento da economia cafeeira e das características econômicas e sociais específicas do município, que em conjunto conferiram certas particularidades ao desenvolvimento urbano local. Sob estas circunstâncias, o texto parte das definições de modernização, modernidade e modernismo, buscando relacionar tais conceitos ao processo histórico de organização do espaço urbano, com destaque para a constituição da rede de abastecimento de água e escoamento de esgoto, para o sistema elétrico e o funcionamento das linhas do sistema de bondes, demonstrando seus efeitos no processo de valorização e apropriação do espaço a partir da densidade técnica instalada, revelando seu processo de modernização conservadora. Analisa também como os monumentos modernos (igrejas, escolas e fábricas) emanavam monumentalidades a partir das quais o espaço se transmutou em lugares que passaram a ser ocupados e frequentados por parcelas da população, ao mesmo tempo em que outras parcelas eram deles excluídas. Por fim, o texto trata do processo civilizatório que se operou no sentido de estabelecer uma convivência citadina pautada na polidez e na urbanidade, típicas da modernidade, quer isso se tenha dado pela violência ou pela educação.<br>This researchis a study about the city of Piracicaba, from 1889 to 1930, a period in which this city experienced a process of physical and social changes known as “Belle Époque Caipira”. These shifts derived from the coffee economy development and from some specific economic and social characteristics present in this municipal, and how those characteristics together added certain particularities to the local urban development. Under these circumstances, this study starts with definitions of modernization, modernity and modernism, in order to relate such concepts to the historical process of organization in urban space, highlighting the constitution of water supply system, sewage drainage, electrical system as well as the functioning of tramway line, showing their effects in the process of valorization and appropriation of areas fromthe technical density installed, revealinga process of prudential modernization. There is also analysis of how modern monuments (such as churches, schools and factories) emerged monumentalities and how these places transmuted themselves in places that became to be occupied and frequented by part of the population, on the other hand,another part of the population was excluded from these places. To conclude, the text deals with the civil process which was applied in the sense of stablish a civilized interaction based on politeness and urbanity, which are typical in modernity, has it be derived from violence or from education.
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Arbelius, Sofi. "Skandinavisk modernism i USA." Thesis, Södertörn University College, School of Business Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1173.
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Rozmovits, Linda 1959. "A.M. Klein and modernism." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64004.
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Keane, Stephen. "Modernism and body politics." Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239051.
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Black, Tim. "The ideology of modernism." Thesis, University of Sussex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421505.
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Higgott, Andrew. "Architectural modernism in Britain." Thesis, University of East London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536638.
Повний текст джерелаАнотація:
These published texts deal with the historical analysis of the making and remaking of modernism in British architecture. The book, Mediating Modernism: Architectural Cultures in Britain takes a chronological series of case-studies which reflect different phases of this history from modernism's introduction, its application and its modification, to its ongoing reappraisal. It is not, however, intended as a positivist history that outlines historical progress, and neither does it aim for completeness: each of the seven chapters after the introductory section aims to develop a discrete narrative of architectural thought within a specific discourse, and thus can be read as a separate study. The focus in each case is on the expression of architectural ideologies through publications and other cultural outputs that are deemed to have been crucial to the shifts in architectural thought and practice of their time. Having said that, the discourses chosen for study are arguably the most historically significant and the most influential, even though much architectural work and very many other architectural publications make no appearance in its pages. The three other published texts submitted here subtend directly from the concerns of Mediating Modernism and were published earlier. Travels in Modem Architecture 1925-1930: Howard Robertson and FR Yerbury extends the account of the early British publication and influence of European modern architecture to be found in the latter part of Chapter 1 of Mediating Modernism. Birmingham: Building the Modem city forms a case study of the application *of modernist ideas of rebuilding and, while a separate and specific study, expands on the concerns outlined in Chapter 3 on the Abercrombie plan for London. Eric de Mare and the Functional Tradition makes a more extensive case for De Mare's contribution to the post-war discourse of material and place which is the subject of Chapter 4.
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Long-Innes, Francis. "Freud : moments of modernism." Master's thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/22126.
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The word "moment" - from the Latin movere (to move) - can be understood in various senses. It is a point of time, an instant; it connotes importance, or weight; in 1666, according to the OED, it could be used to suggest a "definite stage or turning point in a course of events"; in 1691 it came to mean a "cause or motive of action, a determining influence or consideration" ... This dissertation stems from the conviction that the importance and weight of Sigmund Freud's "discovery" and elaboration of psychoanalysis - its impact as a turning point for western modes of intellectual activity, and as a determining consideration for western culture as a whole - has been so profound that it would be impossible to seek from within it the precise measure of its influence. Across modern philosophy, the human sciences, and the arts - from surrealism to pop art, from advertising to social welfare policies - Freud's psychoanalysis permeates the ways in which we live, and is one of the key elements of that experience of modernity we can loosely call "modernism". The dissertation locates a number of moments ·of modernism in and around Freud's work - with attention to Freud's relation to the reading and interpretive practices of the twentieth century: Chapter One examines some of the ways in which psychoanalysis and literary studies have met, intersected and, at times, bypassed one another over the past few decades, in a flurry of encounters which have yet to settle into any definitive shape. Chapter Two responds to Stanley Fish's recent attack on Freud's scientific integrity in the "Wolf-man". The chapter focuses, in other words, on one particular strand of the critical tradition defined in the second section of Chapter One. Chapter Three - which concerns the famous case of "Dora" - attempts, first, to restore some sense of the theoretical moment in Freud's work represented by the case, and second, to re-introduce the question of history into what has become the critics' story of Freud's failure to get to the bottom of Dora's hysteria. The aim of this chapter is to suggest a way beyond the contradiction in which Freud is persistently invoked, in feminist criticism, as both liberator and oppressor, hero and villain. Chapter Four turns back to the interface between psychoanalysis and literature. Its focal point is a different permutation from that manifested in the "Dora" case history of Freud's life-long quest to solve the "riddle" of femininity. The chapter examines some of the problems Defoe's novel Moll Flanders has posed to a tradition of patriarchal literary criticism. These problems, it argues, are inseparable from questions of representation, female identity and the notion of ''femininity" itself - the same questions which proved so intrusive in Freud's narrative of the case of Dora. This dissertation is concerned not only with the apparent "logic" of the arguments it confronts, but also with the· deeper constitution of that logic in and through the complex textures of writing. It aims to demonstrate that one of the most powerful moments of modernism in Freud's work lies in the stimulus it provides to an art of interpretation constantly attentive to the complexity of these textures.
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Harty, John Francis. "Oscillation in literary modernism." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/994987064/04.
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Paul, Mumme. "The Absurd beyond Modernism." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16599.
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While the absurd is usually associated with the modern subject, it is the purpose of this project to show how it is still relevant today. The concepts of end times, ecological disaster, and post-democracy are pressing concerns of the new millennium that emphasise the futility of being and a lack of political agency. Absurdity describes a similar condition, the feeling of purposelessness that results from the observation that life has no inherent meaning. A fundamentally modern condition of religious dispossession, this feeling is predominantly frustration, since it is impossible to determine the meaning of life through reason. In these cases, crisis seems unavoidable, insurmountable, and permanent, and these attitudes can be observed in works of art since modernism. The thesis aims to define the absurd by the special examination of works closely associated with the concept, which will allow the identification of a specific literary and artistic tradition originating in the nineteenth century and continuing to the present. This is achieved through the rigorous examination of works by Søren Kierkegaard, Albert Camus, Michel Houellebecq, and Bruce Nauman. Despite the fact that works reflecting the absurd respond to distinct historical conditions, they all express frustration at the limitations of human agency, and the incomprehensibility of life.
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Ivanova, Tsvétélina. "Littérature et paysage mondial." Thesis, La Rochelle, 2017. http://www.theses.fr/2017LAROF002.
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La thèse se propose d’effectuer une lecture analytique et comparative de la production littéraire qui a eu lieu au cours de la première et de la deuxième mondialisation moderniste à l’époque contemporaine. Suivant la logique de l’évolution économique mondiale de Kondratieff, il s’agirait de la période de création esthétique et littéraire moderne entre 1850 et 1920, postmoderne entre 1950 et 1990, et hypermoderne à partir des années 2000. Ceci dans le but de vérifier si le roman moderniste, post- et hyper-moderniste, colonial et postcolonial pouvait acquérir le statut de littérature mondiale (Weltliteratur) fondée sur l’unité dualiste du système-monde capitaliste et sur l’idée de modernité antimoderniste ; telle que Baudelaire la définit en 1863 dans le Peintre de la vie moderne : « la modernité, c'est le transitoire, le fugitif, le contingent, la moitié de l'art, dont l'autre moitié est l'éternel et l’immuable ». La thèse se propose d’expliquer l’unité antagoniste de la notion de littérature mondiale et de l’affirmer comme œuvre d’art totale (Gesamtkunstwerk), moderne, à travers la vérification parallèle de l’existence d’un paysage mondial littéraire. Celui-ci, aussi fondé sur une approche dualiste -esthétique/stylistique et phénoménologique -, serait le produit (anti)moderniste des deux périodes de mondialisation capitaliste<br>The doctoral thesis proposes to effectuate an analytical and comparative reading of the literary production that took place during the first and second modernist globalization in the Late modern period. According to the logic of the world economic evolution of Kondratiev wave, it would be the period of modern aesthetic and literary creation between 1850 and 1920, postmodern between 1950 and 1990, and hypermodern from 2000 onwards. In order to ascertain whether the modernist, post- and hyper- modernist, colonial and postcolonial novel could acquire the status of world literature (Weltliteratur) based on the dualistic unity of the capitalist world-system theory and on the idea of modern anti-modernism ; as Baudelaire defined it in 1863 in The Painter of Modern Life (Le peintre de la vie moderne). The thesis proposes to explain the antagonistic unity of the notion of world literature and to affirm it as a modern "total work of art" (Gesamtkunstwerk), through the parallel verification of the existence of a literary world landscape. The latter, also based on a dualistic approach - aesthetic /stylistic and phenomenological - would be the (anti)modernist product of the two periods of capitalist globalization
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Ribeiro, Monica Cristina. "Arqueologia modernista : viagens e reabilitação do primitivo em Mario e Oswald de Andrade." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281514.
Повний текст джерелаАнотація:
Orientador: Heloisa Andre Pontes<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-06T03:16:44Z (GMT). No. of bitstreams: 1
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Previous issue date: 2005<br>Resumo: Este trabalho pretende desvendar a importância das viagens na vida e na obra de Mário e Oswald de Andrade na década de 1920. Mais ainda, como as viagens mostraram-se uma importante força formadora e transformadora do modernismo desses dois autores ¿ e na verdade do modernismo paulistano e brasileiro ¿ no mesmo período e como foram determinantes para os rumos de Mário e Oswald na década seguinte. Estas questões são alinhavadas a partir do delicado acontecimento do contato com o outro ¿ entendido aqui, fundamentalmente, como possibilidade de reavaliação e de contato consigo mesmo. A análise é feita a partir das cartas trocadas entre Mário de Andrade e Carlos Drummond de Andrade, Manuel Bandeira e Câmara Cascudo, e também a partir de artigos e entrevistas de Oswald de Andrade. Os depoimentos dos dois modernistas são cruzados com as obras de sua autoria concebidas na década de 1920, tudo isso analisado à luz das viagens e das tentativas de reabilitação do primitivo empreendidas pelo modernismo<br>Abstract: This work intends to unmask the importance of the trips in the life and the workmanship of Mario and Oswald de Andrade in the decade of 1920. Even more, as the trips had revealed to an importante formation and transforming force of the modernism of these two authors ¿ and in fact the paulistano and Brazilian modernism ¿ in the same period and how they had been determinative for the ways of Mario and Oswald in the following decade. These questions are tacked from the delicate event of the contact with the other ¿ understood here, basically, as reevaluation possibility and contact with oneself. The analysis is made from letters changed between Mario de Andrade and Carlos Drummond de Andrade, Manuel Bandeira e Camara Cascudo, and also from articles and interviews of Oswald de Andrade. The depositions of the two modernists are crossed with the workmanship of its authorship conceived in the decada of 1920, everything analyzed to the light of the trips and the attempts of whitewashing of primitive elements undestaken by the modernism<br>Mestrado<br>Mestre em Antropologia Social
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Oliveira, Giceli Portela Cunico de. "Restauro de duas casas modernistas como subsídio para um método." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-08032016-155650/.
Повний текст джерелаАнотація:
Pode-se recuar a teorização do restauro de Arquitetura até Winckelmann: sua \"História da Arte\", publicada em Dresde em 1764, apresenta um nível de detalhamento nas descrições e até de processos construtivos gregos e romanos, que transcende as preocupações explícitas com a História da Arte. Seu pensamento é que os remanescentes são os documentos imprescindíveis para se contar a evolução da Arquitetura - nas entrelinhas, ficando a necessidade de sua preservação. No entanto, aceita-se academicamente Ruskin como iniciador da reflexão e teorização. Praticava-se, em seus dias, uma preservação sem critérios seguros que, no seu entendimento, comprometia o valor documental e histórico dos monumentos: as ruínas eram preferíveis a essas obras, entrando aí, como é óbvio, um forte componente do romantismo vigente. Nesse sentido, opunha-se a Violet-le-Duc que defendia como proposta teórica o restauro estilístico. Camillo Boito é quem, na verdade, dá a partida para a teorização que, evoluindo, é a que se aceita até hoje: formula critérios e diretrizes para se pensar o processo de restauro. Suas ideias são desenvolvidas por G.Giovanoni, preparando caminho para as cartas de Atenas e, finalmente, a de Veneza, ainda a \"cartilha\" dos restauradores. Ideias essas que têm sua formulação teórica mais precisa e desenvolvida em Cesare Brandi, em sua \"Teoria da Restauração\". A acelerada evolução tecnológica do século XX - bem como o ingresso, no rol dos bens patrimoniais, das obras do Modernismo - tornou necessário estender a aplicação dos conceitos teóricos às novas tecnologias: - que princípios devem nortear as intervenções restaurativas na Arquitetura Moderna, quando esta estiver focada como patrimônio cultural? - quais as posturas teóricas, quais as reflexões que devem estruturar os pensamentos, antes dos procedimentos técnicos, por parte do arquiteto, diante dos novos problemas propostos pela expansão do universo de bens patrimoniais, englobando a arquitetura modernista? Neste trabalho, procuramos contribuir para essas reflexões e teorizações, conduzindo a um método que entendemos necessário antes da abordagem da obra de restauro. Embora convindo que as obras - como as de qualquer período ou tecnologia - tenham uma individualidade prioritária, há sempre uma base comum que deve ser considerada e a partir da qual evoluem os procedimentos do arquiteto. É para a formação/formatação dessa base comum que pretendemos contribuir com nossa experiência em duas obras importantes do acervo patrimonial do modernismo brasileiro.<br>You can trace back the theory of architecture restoration to Winckelmann: his \"Art History\", published in Dresden in 1764, presents a level of detail in the descriptions and even about the Greek and Roman construction processes, transcending the explicit concern with Art History. His thinking is that the remainings are the documents necessary to tell the evolution of architecture - in between the lines, stays the need for its preservation. However, Ruskin is accepted as the starter of the reflection and theorization. He practiced during his days a preservation without insurance criteria that in his understanding compromised the documentary and historical value of monuments: the ruins were preferable to those works, bringing an obvious and strong component of the current romanticism. In this sense, his thoughts were opposed to Violet-le-Duc who advocated for the theoretical proposal of the the stylistic restoration. Camillo Boito is who actually started the theory that, evolving, is the one accepted today: it formulates criteria and guidelines to think about the restoration process. His ideas are developed by G.Giovanoni, preparing the way for the letters of Athens and finally to Venice, even the restores \"spelling book\". These ideas that have their theoretical formulation more precise and developed in Cesare Brandi, in his \"Theory of Restoration.\" The rapid technological developments of the 20th century - as well as the entry of the Modernism works in the list of assets - made it necessary to extend the application of theoretical concepts to new technologies: - Which principles should guide the restorative interventions in Modern Architecture, when it is focused as cultural heritage? - What are the theoretical positions, which reflections must structure the thoughts before the technical procedures by the architect before the new problems posed by the expansion of the assets universe, encompassing the modernist architecture? In this paper, we try to contribute to these reflections and theories, leading to a method we have deemed necessary before the restoration work approach. While befitting that the works from any period or technology have a priority individuality, there is always a common basis that should be considered and from which the architect procedures evolve. It is for training / formatting of that common ground we want to contribute our experience in two important works of the net assets of Brazilian modernism.
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Alves, Leonardo. "A profusão metapoética em Faustino." reponame:Repositório Institucional da FURG, 2009. http://repositorio.furg.br/handle/1/2923.
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Dissertação(mestrado) - Universidade Federal do Rio Grande, Programa de Pós-Graduação em Letras, Instituto de Letras e Artes, 2009.<br>Submitted by Cristiane Silva (cristiane_gomides@hotmail.com) on 2012-10-08T14:13:56Z
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Previous issue date: 2009<br>Nesta dissertação, realizo uma análise da obra poética do autor piauiense Mário Faustino, à luz de textos teóricos que tratam de questões relacionadas à lírica. Dessa forma, busco destacar as temáticas e os procedimentos mais significativos adotados em sua consecução artística. Além do exame do conjunto de sua produção, constituída de O homem e sua hora e Outros Poemas, traço um levantamento de sua fortuna crítica e o recorte temático da metalinguagem, uma configuração recorrente na sua produção.<br>Analysis of the work of brazilian poet Mário Faustino from Piauí, in the light of
theoretical texts that deal with the issue of aiming to highlight the lyrical and thematic procedures adopted in its artistic achievement. In addition to considering all of its production consisting of O Homem e sua Hora e Outros Poemas, We also consider his critical fortune and thematic focus of the metalanguage, recurring process in his production.
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Vishwanathan, Kedar Shrinivas. "Re-thinking Indian Modernism: the endogenous aspects of Indian modernism c. 1890-1947." Thesis, The University of Sydney, 2012. https://hdl.handle.net/2123/28759.
Повний текст джерелаАнотація:
Indian modernism is an endogenous structural causality that has used and continues to use
exogenous discourses for its development. Linked to the Independence movement, it became
a part of the project for national self-determination, and the artists and art historians asserted
the endogenous cultural system over the Raj’s imposed cultural system on philosophical,
historiographical, aesthetic, religious, and social grounds. The artists reached into India’s
society, traditions, past, and folk and tribal practices to find their endogenous subject matter
and to define their way of seeing. The tools and arguments contained in the exogenous
discourses supplied by the Raj’s cultural systems and European modernism provided the
discourses that combined with endogenous discourses and created Indian modem art. The
study considers in detail the ways in which endogenous and exogenous discourses have been
combined and translated (relativised) over half a century.
The study’s focus is c.1890 to c.1947, though to provide a framing context it
considers the breakdown of the arts under the autonomous Mughal courts after Aurangzeb
(c.1700 onwards), and also considers Indian modem art of the 1960s. The study demonstrates
that the course of Indian modernism was such that a period of domination by an art school
was followed by a rupture, the rupture leading to a period of domination by another, which in
turn was ruptured and re-ordered, the process repeating and bifurcating in time, and across
the geographical regions of India. A ruptured school did not mean its elimination, often it
continued. It is important to see the periods of domination, the nodes of rupture, and
subsequent bifurcations and domination as occurring in parallel in space and time. The
rupture and subsequent domination was due to a combination of endogenous and exogenous
discourses. This discourse relativisation was an invariant aspect of the process. The manner
in which the discourses relativised each other along the multiple dimensions (philosophical,
social, political, cultural, aesthetic, historiographical) was different at different times and
locations leading to differences, but the process of relativisation was a constant.
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Carney, Jason R. "The Shadow Modernism of Weird Tales: Experimental Pulp Fiction in the Age of Modernist Reflection." Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1396650887.
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Toivonen, Pirjo-Maija. "Aila Meriluodon varhaislyriikan modernismi ja sen tausta tekstianalyyttinen tutkimus modernismin estetiikasta ja historiasta /." Jyväskylä : Jyväskylän yliopisto : Jakaja, Jyväskylän yliopiston kirjasto, 1986. http://catalog.hathitrust.org/api/volumes/oclc/16467820.html.
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41
Thomas, Chloé. "Gertrude Stein : une poétique du réalisme." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA090/document.
Повний текст джерелаАнотація:
Gertrude Stein (Allegheny, Pennsylvanie, 1874 – Paris, 1946), figure centrale du modernisme américain, est souvent saluée pour avoir porté très loin une expérience linguistique et grammaticale, au sein d’une œuvre très vaste explorant tous les genres – romans, nouvelles, poèmes longs et courts, essais et conférences, pièces de théâtre, livrets d’opéra, biographies et autobiographies. L’objet de ce travail est d’analyser le rapport que la langue de Gertrude Stein entretient avec le réalisme : comme tradition littéraire d’abord, en réinvestissant l’héritage naturaliste et en l’américanisant par le remplacement de Claude Bernard par William James comme figure tutélaire de la méthode expérimentale ; comme déplacement du réel dans la langue elle-même qui échoue toujours à se réifier tout à fait ; comme injonction à la véracité enfin, dans des fictions plus tardives qui mettent en scène leur propre mauvaise foi et font de l’Amérique le territoire idéal et idéel de l’iréel. Parallèlement, nous tentons de mettre au jour la dynamique des genres qui se joue dans cette conversation renouvelée avec le réalisme, où chaque déplacement au sein d’une poétique mouvante devient une nouvelle façon de mettre la langue à l’épreuve du monde et de sa capacité à le viser. À partir de deux œuvres du début de sa carrière (les trois nouvelles de Three Lives et le long roman The Making of Americans), de sa poésie dite descriptive (les « portraits »), des Stanzas in Meditation et de deux œuvres en prose plus tardives (Four in America et Ida a Novel) nous essayons de comprendre la façon dont Stein envisageait les partitions génériques, notamment entre prose et poésie, et le rôle qu’elle leur donnait dans son parcours artistique et esthétique<br>Gertrude Stein (Allegheny, Pennsylvania, 1874 – Paris, 1946) is a central figure of American modernism. She is celebrated for the radical experiments with language and grammar she conducted throughout a literary career in which she tried her hand at all genres: novels, novellas, long and short poems, essays, conferences, plays, opera librettos, biographies and autobiographies. The present dissertation analyzes the connections of Stein’s language to realism. The notion will be understood, first, as a literary tradition, which Stein reinterprets by americanizing it (through the replacement of Claude Bernard by William James as her mentor in the experimental method); second, as a displacement of the “real” within language itself, despite its consistent failure to become just a thing among others; third, as a call to veracity, in later works of fiction which stage their own disingenuousness and make America the ideal territory of the unreal. It will be argued that this constantly evolving conversation between Stein’s work and realism also implies a renewal of generic issues: each shift within an unstable generic system is a new way to test the ability of language to account for the world. Focusing on two early works (the three novellas of Three Lives and the long novel The Making of Americans), pieces of “descriptive” poetry (the “portraits”), the Stanzas in Meditation and two later prose works (Four in America) and (Ida a Novel), this dissertation will try to show how Stein understood generic boundaries, including that between poetry and prose, and what part they played in her aesthetic development
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Wahlqvist, Mats. "Traditionell modernism eller modern traditionalism?" Thesis, Stockholm University, Department of Cinema Studies, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-811.
Повний текст джерелаАнотація:
<p>Denna uppsats fokuserar på King Hus actionestetik och den montagekonstruerade rörelsen, enligt en konkret syftesformulering som lyder: Att öka förståelsen för King Hus estetiska val genom att belysa vissa rytmiska rörelsetendenser, såsom en konstruktion av filmens montage, och dess relation till två vitt skilda konstyttringar, med dessa avses Pekingoperan och cinéma pur. Ledande tes genom uppsatsen är att Hus visuella stil visserligen är starkt präglad av ett personligt intresse och en djup förståelse för estetiska normer i Pekingoperan, men att han samtidigt genom ett skickligt utnyttjande av cinematiska tekniker skapar en alldeles unik version av kinesisk estetik, som måste förstås som specifik för filmmediet. Sammantaget är förhoppningen att resultatet skall bidra till avmarginaliseringen av Hu som förvaltare till en förment essens av traditionell kinesisk kultur. Metoden består i en jämförande analys av rörligt bildmaterial i två steg, som illustrativ modell och teoretisk ingång till rörelsebegreppet tillämpas Heinrich von Kleists marionett och i dess förlängning även Sergei Eisensteins biomekaniska rakurs.</p><p>Min analys leder mig till slutsatsen att den rytmiska rörelsen i Hus actionscener har starka likheter med såväl Pekingoperan som cinéma pur, och jag vill på grundval av detta föreslå att Hu snarare bör förstås som en nyskapare av kinesisk estetik, då han positionerar sig någonstans mellan traditionalism och modernism genom att skapa en estetisk jämvikt mellan teater och film där ingenderas legat går förlorad.</p>
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Romedahl, Stjernquist Johanna. "Skärholmen centrum - modernism as found." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-222140.
Повний текст джерелаАнотація:
I detta examensarbete undersöks stadsplanen och de byggda strukturerna i Skärholmen centrum. Med utgångspunkt i planens och platsens karaktärsdrag, syftar detta förslag till att skapa nya rörelser genom stadslandskapet och att utveckla platsens program med bostäder, arbetsplatser och rekreationsytor. Skärholmen är ett modernistiskt köpcentrum i sydvästra Stockholm, ett område som nu är föremål för bostadsförtätning och storskaliga infrastrukturella projekt. Sedan centrumet invigdes i slutet av 1960-talet har få förändringar gjorts i planen, med undantag från att två av huvudgatorna överglasats och omvandlats till en inomhusgalleria. Bortsett från det mycket välbesökta Skärholmstorget vid tunnelbanan, finns få fungerande offentliga utomhusrum. I öster domineras centrumet av ett stort parkeringshus. Mitt förslag går ut på att öppna upp delar av gallerian och skapa kopplingar mellan parkeringen, centrumet och det omgivande landskapet. Genom att lägga till nya bostadskvarter och ge befintliga byggnader nya funktioner, kan Skärholmens centrum bli en stadskärna som lever även efter att butikerna har stängt kl. 20.<br>This thesis investigates the urban fabric and built structures of Skärholmen Centrum. By preserving the existing characteristics of the plan, this proposal aims to create new movements through the city landscape and to develop its program with housing, workplaces and recreational spaces. Skärholmen is a modernist commercial center in south west Stockholm, an area now subject to large scale infrastructure projects and housing densification. Since the center was built in the late 1960s, the city plan has undergone few changes, with exception from the transformation of two of the main streets into an indoor galleria. Apart from the lively main square by the subway entrance, there are few well functioning public outdoor spaces. A multi-storey car park dominates the east part of the center. My proposal is to open up parts of the shopping mall and to create new connections between the car park, the center and the surrounding landscape. By adding new housing blocks and new functions to existing buildings, the city center of Skärholmen could become a living place, also after the shops closed at 20.00.
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Latour, Philippe. "Charles Mingus, Jazz and Modernism." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=117176.
Повний текст джерелаАнотація:
The purpose of this thesis is to explore the diverse discourses of modernism in jazz at mid-century in relation to the work of Charles Mingus. What was meant by modern jazz in Mingus' time? How was his music, as well as his life as a jazz musician and composer, affected by discourses of modernism? Modernism was used in the jazz field as a discourse to elevate jazz from its role as entertainment music into a legitimate art form. In its transfer from European art music to African-American jazz, the concept of aesthetic modernism retained most of its signification: it was associated with the notions of progress, of avant-gardism, and, eventually, of political militancy; and all these notions can be found in multiple forms in Mingus' work. This thesis defines the concept of modern jazz as it was used in the jazz press in the 1950s and 1960s in relation to the critical discourse around Afro-modernism as well as in relation with Mingus' conception of himself as a composer.<br>L'objectif de ce mémoire est d'explorer les différents discours sur le modernisme et le jazz des années 1950 et 1960 en relation avec l'œuvre de Charles Mingus. Que signifiait le terme modern jazz à l'époque de Mingus? Comment la musique de ce dernier, ainsi que sa carrière comme musicien de jazz et compositeur, furent affectées par les discours sur le modernisme? Ces discours furent utilisés dans le monde du jazz pour légitimer celui-ci en tant que forme artistique. Dans son passage de la musique « sérieuse » européenne au jazz afro-américain, la notion de modernisme artistique a conservé la majeure partie de sa signification : association avec les idées de progrès, d'avant-gardisme, et aussi de militantisme politique. Toutes ces idées se retrouvent sous différentes formes dans l'œuvre de Mingus. Ce mémoire définit le concept de modern jazz tel qu'il était utilisé dans le discours journalistique des années 1950 et 1960, et y relie le discours académique sur le modernisme afro-américain, afin d'évaluer comment Mingus interagit avec ceux-ci.
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Charles, Alec. "James Joyce, modernism and postmodernism." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284287.
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Stevenson, Lesley. "Still life, modernism and Cézanne." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367941.
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Cosgrove, Mary. "Paul Henry and Irish modernism." Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243622.
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Quick, Miriam Siân. "Performing modernism : Webern on record." Thesis, King's College London (University of London), 2011. https://kclpure.kcl.ac.uk/portal/en/theses/performing-modernism(feb4a628-fe15-4834-8cb8-ba4da3126b10).html.
Повний текст джерелаАнотація:
This thesis examines performance style in commercial recordings of the works of Anton Webern. Considering style not as a ‘surface’ issue but one essential to questions of musical meaning, I explore the relationships between the sound of Webern recordings and the ways in which people have understood his music. This question is addressed from both historical and psychological perspectives and using both critical and empirical methodologies. In Chapter 1, I argue that Webern favoured a particular kind of pre-war performance style for his works, before moving on in Chapter 2 to an historical survey of Webern recordings and reception from the 1930s to the present day. I outline the idea, proposed by Timothy Day and others, that performers have moved away from the dry ‘pointillism’ of Robert Craft’s pioneering 1950s LP set towards a more ‘lyrical’ and ‘expressive’ Webern style. In Chapter 3, I analyse this trend in more detail and relate it to broader changes in twentieth-century performance styles and recording practices. Chapters 4 to 6 are case studies of particular passages or works by Webern based on recording data. Chapter 4 examines string quartet intonation in a passage from Op. 5 no. 5, Chapter 5 discusses timing in the first movement of the Op. 27 Piano Variations and Chapter 6 considers vocal portamento in recordings of the Op. 14 Trakl songs. The empirical results in each of these chapters are related to wider critical issues such as the ideological significance of equal temperament, the relationship between musical structure and expressive performance and the construction of a lyrical voice. Studies on music perception, record reviews and material from interviews with performers are used to inform discussions of the links between sound and meaning. An original and extensive Webern discography is included on the accompanying DVD.
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Grinchtein, Olga. "Portraits of Sculptors in Modernism." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-443240.
Повний текст джерелаАнотація:
The portrait of sculptor emerged in the sixteenth century, where the sitter’s occupation was indicated by his holding a statue. This thesis has focus on portraits of sculptors at the turn of 1900, which have indications of profession. 60 artworks created between 1872 and 1927 are analyzed. The goal of the thesis is to identify new facets that modernism introduced to the portraits of sculptors. The thesis covers the evolution of artistic convention in the depiction of sculptor. The comparison of portraits at the turn of 1900 with portraits of sculptors from previous epochs is included. The thesis is also a contribution to the bibliography of portraits of sculptors.
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Yarygina, Tatiana. "Women's Pseudonyms in Russian Modernism." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18349.
Повний текст джерелаАнотація:
The purpose of this research was to explore the phenomenon of a literary pseudonym in different countries with the main focus on Russia at the end of the 19th and the beginning of the 20th centuries. This thesis also discussed in depth the pseudonyms taken by Russian female writers of the Silver Age, the reasons for having the pseudonyms, and how their pseudonyms affected their lives and literary careers. This study highlighted the three examples of pseudonym-creation during the said period: it demonstrated the cases of Elizaveta Dmitrieva (the pseudonym "Cherubina de Gabriak"), Zinaida Gippius (the pseudonym "Anton Krainii"), and Anna Gorenko (the pseudonym "Akhmatova"). The results showed that each pseudonym manifested itself in the works of each writer as well as in their personal and professional lives in quite different ways and that both the pseudonym and the real name played a significant role in the creative activity of the three female writers.