906 research outputs found
Art and the artist in the literary works of Elsa Triolet
No full textThis thesis takes a representative selection of Triolet's works to study the themes of writing and creativity as they are presented in the novels. These are all portraits of artists and the accounts of the search for a synthesis of aesthetic freedom and ethical responsibility. It considers Triolet's importance as a foreign writer, adopting a new creative language to be adopted by a different cultural
environment, to be essential in understanding her importance to the French literary tradition. By emphasising her formative years in the avant-garde circles of prerevolutionary Russia, my study demonstrates her considerable contribution to the meeting of Russian and French aesthetic theories. I extend this with close textual
readings of certain works to demonstrate her techniques in novelistic construction which reveal many Formalist practices before Formalist works in translation made
their official influence on creative methods.
The introduction considers the reasons for Triolet's neglect as a writer. It then considers various contemporary and recent critical appraisals which indicate
the interest she has received until present and which allow me to define my own critical approach. Part One traces Triolet's literary evolution from her formative
years in Russia, through exile to her first publications in Russian. It then considers her insertion into French literary activity, and her association with the schools of
socialist realism and the "nouveau roman".
Part Two examines two traditional novels which portray the creative and metaphorical roles of the artist and his work, showing the constant conflict between private and public lives. In Part Three, I show how aspects of novelistic
traditionalism are gradually foregrounded so that the work develops a dual-sided character where it both narrates and examines the processes of its own narration. In Part Four, this move to highly self-conscious aesthetics demonstrates an idiosyncratic exploration of new paths for the novel that bring visual, auditive and cinematographic media into the traditional domain of written art. Accompanying
the very post-modernist experimentation, I show how this research within the novel into the novel's own future has an ethical and redemptive purpose whose final conclusion is that creativity and human freedom are inexorably interwoven
«Where there is no vice of exterminating poets»: Elsa Morante and The world saved by kids
No full textreservedIn questo elaborato verrà analizzato il libro più eccentrico di Elsa Morante: Il mondo salvato dai ragazzini.
Dopo un iniziale inquadramento storico e una precisazione in merito al genere letterario in cui l'opera rientra, si analizzeranno gli influssi che la cultura orientale ha avuto sull'opera e i rimandi intertestuali con Simone Weil, dichiarato modello dell'autrice.
Si passerà poi a un'analisi più puntuale sulla terza sezione: le Canzoni popolari, e si spiegherà dettagliatamente chi siano i Felici Pochi e i ragazzini a cui Elsa Morante affida il compito di salvare il mondo.
Per concludere si porteranno degli esempi puntuali di Felici Pochi anonimi, mettendoli in relazione con alcuni personaggi di un'altra importante opera della stessa autrice: La Storia.This paper will analyse Elsa Morante's most eccentric book:The World Saved by Little Kids.
After an initial historical background and a clarification regarding the literary genre in which the work falls, the influences that Eastern culture had on the work and the intertextual cross-references with Simone Weil, the author's declared model, will be analysed.
It will then turn to a more pointed analysis on the third section: the Folk Songs, and will explain in detail who the Happy Few and the little kids are to whom Elsa Morante entrusts the task of saving the world.
To conclude, timely examples of anonymous Happy Few will be brought in, relating them to some of the characters in another important work by the same author, The Story
Elsa Oestreicher Collection 1878-1963 bulk: 1942-1945
No full textElsa Oestreicher, the wife of a physician, had a successful career of her own as a cooking teacher instructor and author of cookbooks. Series II and III of the collection comprise her notes on Theresienstadt, written in camp from 1942 to 1945, as well as a collection of poems from the same time. Moreover, the collection contains concentration-camp insignia, such as yellow “Jew” stars, camp money, ration cards, a library card, working papers etc. Further items of the collection are certificates related to her profession, culinary arts material, correspondence with relatives and former students and family papers as well as memoirs written by Elsa Oestreicher, which provide detailed genealogical information on her ancestors.Some handwritten notes, written in Theresienstadt and Deggendorf (box 1, folder 4) are available in electronic form in an English translation by Vernon Mosheim.Photographs of Jewish communities of Beerfelden and Frankfurt am Main have been removed to the LBI Photograph CollectionElsa Herz was born in Berlin on November 6, 1878, the first child of Salomon Herz and Anna Margarete Alexander. In 1898 she married the physician Dr. Jacques Oestreicher and in 1899 their daughter Anni Henriette Oestreicher, who immigrated to the U.S. in 1935, was born. During World War I Elsa Oestreicher worked as a Hilfsschwester (assistant nurse) for the Red Cross for more than 4 years and received two medals, a Zivilverdienstkreuz and the Rote Kreuzmedaille, for her efforts. After World War I she worked as a cooking instructor for about five years at the Schule der Hausfrauen (Am Karlsbad 13) and wrote a number of cookbooks. Due to growing anti-Semitism she had to give up her position there and she opened a private cooking school which operated successfully until Elsa was at first forbidden to instruct Christian students and later on, to teach Jewish students as well. After that, Elsa Oestreicher worked in a Jewish hospital, the Siechenheim der Reichsvereinigung in Gross-Lichterfelde and when it was dissolved, in the kitchen of the Durchgangslager (transit camp), Grosse Hamburgerstrasse. Three months after her husband’s death in August 1942, she was deported to Theresienstadt on November 4, 1942. In Theresienstadt Elsa Oestreicher worked as a cook, a cooking instructor and as head of the soup-kitchen. After the liberation of Theresienstadt she had to stay at the Displaced Persons Center Deggendorf until she immigrated via Sweden to the United States in 1946, where she died in New York in 1963.3-page inventory.digitizedBeerfelden ; Frankfurt am Mai
Charging tenants with maintenance fees. Analysis on the basis of tax on goods and services
No full textArtykuł opublikowany w czasopiśmie "Przegląd Prawniczy Europejskiego Stowarzyszenia Studentów Prawa ELSA Poland" w zeszycie 1/2013, został wyłoniony w drodze konkursów organizowanych przez Grupy Lokalne ELSA Poland w 2013r.This article identifies key problems connected with imposing a value added tax on re-invoicing
the costs of utilities relating to rental agreement. I throws doubt on whether all the supplies which the
landlord makes to the tenant constitute a single supply from the point of view of VAT. Author discusses
possible classification of above -mentioned transaction for VAT purposes (i.e. as an autonomous and
separate from tenancy supply or as a indivisible economic supply which it would be artificial to split
rental component). It also gives the readers the insight into tax consequences of designed legal and tax
classifications. Moreover, the article shows differences between standpoints presented in a recent
interpretation issued by tax authorities and judicial decisions. It also gives an overview of the most
recent judicial practice of the Court of Justice of the EU connected with re-invoicing service charge.
Author emphasizes the relevance of judgments issued by the CJEU (especially the verdict
on 27 September 2012 in case C-392/11 Field Fisher Waterhouse LLP v. Commissioners for Her
Majesty’s Revenue and Customs which seems to play a major part in resolving the dispute in question)
Les textiles dans les tombes gauloises à dépôt de crémation en vase métallique : usages pratiques, mises en scène et perspectives anthropologiques (seconde moitié du vie s.-ve s. av. J.-C.)
No full textL’omniprésence des usages textiles dans les pratiques funéraires anciennes est aujourd’hui bien attestée par les découvertes archéologiques. Au cours de la phase Hallstatt D2-3 et de La Tène A, un groupe de dépôts de crémation en vases métalliques, circonscrit dans le centre-est de la Gaule, illustre à la fois la diversité et la cohérence des gestes conduisant au dépôt textile au sein d’un phénomène funéraire d’ampleur européenne. L’interprétation de la disposition des fragments identifiés sur les objets suggère des différences sémantiques entre le drapé simple, l’emballage multiple, l’imitation d’un vêtement porté ou le dépôt de bandes étroites. Ces dispositions peuvent être combinées pour un même récipient, ce qui implique une grande quantité de pièces de tissu qui sont, par ailleurs, d’une qualité souvent exceptionnelle.The deposit of cremated remains in a metal vessel is a funerary practice adopted by a limited number of individuals belonging to the elite members of protohistoric European societies (Verger 1995b; Desplanques 2022). Used as ossuaries, the vessels are mostly made of copper alloys. This funerary practice was used over a period of about a thousand years, between the 14th c. BC and the 3rd c. BC, across an immense geographical area, covering part of present-day Europe, from Scandinavia to Cyprus and Western to Central Europe. Between the second half of the 6th and the 5th c. BC, a shift occurred at the European scale. The phenomenon of metal vase cremation deposits appeared, or rather reappeared, suddenly and markedly, for about 50 or even 100 years, particularly in Gaul, the Greek world, Northern Europe and the Italian peninsula. Textiles were frequently present among the burnt bones of these metal ossuary assemblages. The transition from the Late Hallstatt to the Early La Tène period is particularly interesting considering the use of textiles in tombs, as their presence is attested to for a significant number of cases. Gallic ossuaries are particularly well documented in this regard. Although the use of cloth in this context has been regularly attested to since the 19th c., particularly for Gallic and Rhenish sites, the description of this material remained brief and disparate. A review was necessary in order to quantify and qualify the fragments (number, nature, arrangement) in relation to the ossuary and burnt bone assemblages, as well as to then attempt to understand the way in which these fabrics were used within funerary ritual. In an attempt to identify possible differences or similarities, cloth fragment arrangements within Gallic ossuaries, as well as technical characteristics of the fabrics selected for burial, were compared with contemporary data available for other groups of metal vase cremation deposits, notably the Germanic, Greek and Italic groups. Analysis of the textile fragments suggests uses that were both homogeneous in their overall pattern, but varied in the details. The large majority of fragments were found within the ossuaries, in direct contact with the remains: they might have been used to wrap the bones or have been folded and the bones laid over top. The fragments found outside the ossuaries demonstrate more diverse types of use: the fabrics may have served to cover, wrap, or dress the cinerary or they may have simply been tied, as ribbons, around the deposit. All of these practices can be compared with those observed on earlier or contemporary funerary urns. The remarkable permanence of some of the fabric, highlights both their cultural and symbolic importance. Metal vessels used as ossuaries may have travelled long distances before being buried. Gestures involving cloth may be the result of specific local transmissions or learning. They may also be the result of transpositions from one society to another, of social, intellectual, cultural and personal choices. The use of fabrics in burials lead to the identification of shared codes of practice that Justin Jennings sees as one of the characteristics of globalised behaviour (Jennings 2017, p. 12-14). Furthermore, the Gallic textiles found in cremation deposit burials, and within metal vessel containers are among the most beautiful archaeological finds. The quality of the textiles is attested to by technical analysis, which indicates the use of worked materials and decorative additions. This study of the cloth fragments also indicates that while certain gestures may have been adopted in the burials, it seems that the communities specifically selected locally produced fabrics or imported fabrics whose technical and visual characteristics were consistent with local production. It is likely that personal and sentimental criteria played a role in the choice of fabric: the fabric embodies the identity of its wearer, but also of its creator. The display of this fabric at the funeral would have symbolised the relationship between the deceased and their community, as well as their social rank and ethnic origin. Within the framework of highly regulated and ritually established practices, the aim is to reflect on the modalities of implementation and the meaning of the manifest discourse, expressed by the gestures linked to textiles in the funerary contexts of ancient societies. These reflections are focused on the textiles potentially visible during funerals, those present on the exterior of the urns. Considerations of the anthropological interpretation of textile use are based on Greek written sources prior to or contemporary with the 5th c. BC, as well as later Irish and Welsh mythological sources. The aim is not, of course, to draw direct comparisons, but rather to highlight the strength of a potential symbolic system based on textile materials. While the practical aspect of the use of fabric in burials for the material protection of bone remains and metal objects at risk of corrosion should not be ignored, it cannot explain the continuity and coherence of the gestures observed over a period of nearly 1,000 years. Death represents the opportunity for a construction of the other, who has become dangerous if not enigmatic: it is a moment dedicated to specific discourses, gestures and staging, the identification of which reveal avenues of interpretation related to our understanding and representation of this natural phenomenon. Neither leaving visible nor hiding represent trivial choices: the available ancient sources underscore the close connection between seeing and not seeing, and between life and death. In ancient texts and iconography, death is often described as an opaque material or nebulous envelope. Whatever its nature, it blinds the condemned, rendering them invisible to the eyes of the living or submerging them in darkness (Vernant 1985). The fabrics thus appear to intervene in a similar staging of the representation/dissimulation dialectic. Arranged on or within the funerary materials, they lead to the breaking of the visual communication channel between the funeral participants and the deceased. The covering or wrapping expresses the irreversibility of the departed’s death, but also of the objects assigned to them (Augstein 2018, p. 82). The spectator’s view is directed outwards, towards the other living members of the ceremony, while the deceased is confined, dissimulated behind the woven boundary. The funeral spectator thus possesses both the literal and metaphorical vision, since by truly witnessing the action of death, they apprehend it, know it and master it. Furthermore, the empty garment is a particularly effective image to illustrate the physical disappearance of an individual, which in the case of cremation is a supervised disappearance. Moving cloth covers a living body, but in the grave it embodies the absence of the deceased. The anxiety produced by emptiness and the invisibility of the deceased is thus soothed by a visual reconstruction. Whatever the symbolic and social messages expressed by the covering or packaging of these objects, fabric was likely a very effective vector. The sensory role of textiles appears obvious: shapes, colours, textures, drapes and possible scented products are all elements of a visual, auditory, tactile and olfactory communication system. The structural properties of textiles make them ideal descriptive elements, that help to structure the visual and verbal narrative. Archaeological and literary comparisons open up enriching avenues of reflection concerning the polysemy of these funerary ensembles. The choices highlighted by these European-wide analyses and comparisons underscore the fact that individuals embraced a practice and imbued it with a meaning that was both generic and well-rooted in local cultural and religious contexts
El Tlacuache Núm. 655 (2015). 655 Año 13 (2015) enero. El Tlacuache
No full textEl maíz y la cultura campesina en Morelos por Elsa Guzmán Gómez
Notes on space, body and perception in Elsa Morante "Aracoeli"
No full textL’articolo analizza la spazialità come fattore poetico rilevante per la lettura dell’ultimo romanzo di Elsa Morante: Aracoeli. Grazie all’assunzione di un quadro teorico di riferimento che risale alla fenomenologia di Maurice Merlau-Ponty l’autore individua un percorso intra- ed inter-testuale che lo porta, fra l’altro, a definire un interessante contatto fra Elsa Morante, Pier Paolo Pasolini e Paolo Volponi.The aim of this article is to shows up spatiality as relevant poetic characteristic for analyzing Aracoeli, the Elsa Morante last novel. Moving from the theoretical frame of Maurice Merlau-Ponty phenomenology, the author defines an inner- and inter-textual path which brings him to define an interesting relation among Elsa Morante, pier Paolo Pasolini and Paolo Volponi
Elsa Morante's Novels
No full textThis thesis analyse life and work of the leading figure of italian literature in the twentieth century Elsa Morante. Important elements of her work are defined on the basis of analyses of all her novels. The introduction part shows her personal life and comlete work, which includes also poetry, short stories and fairy tales. Four chapters analysing her four novels are following. The author debuts in 1948 when she published novel Menzogna e sortilegio. Second book L'isola di Artura followed nearly ten years later in 1957. This novel won critical acclaim and favour of readers. Next book La Storia was a bestseller with more then 600 000 sold copies. Critic's opinions differ widely, up to now this novel is receiving opposing reviewes. Morante concluded her writing with the last very pessimistic novel Aracoeli. Author wrote just four novels, in every one of them she used the same methodes and themes. Typical components of her writing style are the subject of the last chapter. key words: Elsa Morante, Menzogna e sortilegio, L'isola di Arturo, La Storia, Aracoeli, author's styl
I racconti di Elsa Morante: stato dell'arte e prospettive future
No full textInternational audienceThis paper reviews the history of the publication of Elsa Morante's short stories, from the very first publications scattered through several journals and magazines to the posthumous publications, and in the middle two collections by the author herself: "Il gioco segreto" ("The secret game") (1941) and "Lo scialle andaluso" ("The andalusian shawl") (1963). This reveals the author's uncompromising strategy in which she tried to disguise her juvenile attempts, a list of which is included in the references along with any re-found work. The fact sheet lists the features of the two collections by the author and highlights some inconsistencies in the posthumous collections. The paper ends with a sample of subjects from some short stories that wer never published in one volume (neither by the author nor in any porthumous collection) and which are evidence of the critical importance of such texts, in the hope a ful, systematic collection of Elsa Morante's short stories may soon be prepared.Il contributo percorre la storia edioriale dei racconti di Elsa Morante, dalla prima pubblicazione dispersa in riviste e periodici alle edizioni postume, passando attraverso le due raccolte d'autore: "Il gioco segreto" (1941) e "Lo scialle andaluso" (1963). Ne emerge una strategia autoriale intransigente e volta a dissimulare la produzione giovanile, della quale viene presentato un ragguaglio bibliografico, indicando altresì eventuali recuperi. La scheda presenta le caratteristiche delle due raccolte d'autore e mette in luce alcune incongruenze nelle raccolte postume. Chiude il contributo un campione di temi tratti da racconti mai raccolti in volume (né dall'autrice, é in racconte postume) che testimoniano la rilevanza critica di questi testi, auspicando l'allestimento di una raccolta organica dei racconti di Elsa Morante
Elsa Morante's oeuvre in the Spanish press
No full text[ES] Elsa Morante ha sido una escritora clave en el desarrollo de la literatura contemporánea en Italia, pero en España no se apreció como autora hasta después de su muerte. En este estudio se analizan los artículos publicados en varios periódicos, sobre todo La Vanguardia Española y el ABC, entre 1948 y 2018 para determinar la trayectoria de las traducciones de la autora en España y los cambios en su recepción.[EN] Elsa Morante has been a key writer in the development of contemporary literature in Italy, but in Spain she was not appreciated as an author until after her death. This study analyzes the articles published in several newspapers, La Vanguardia Española and ABC mainly, between 1948 and 2018 to determine the trajectory of the author’s translations in Spain and the changes in her reception
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