352 research outputs found
Author's gift inscription, in The heather on fire; a tale of the Highland clearances
No full textThis edition includes an author's gift inscription, "To Mrs John Dillon with sincere esteem Mathilde Blind".Blind, Mathilde, 1841-189
Gender and pedagogics - Mathilde Vaerting, professor of educational science (Jena, 1923-1933)
Full text linkDer Aufsatz skizziert Leben und Karriere von Mathilde Vaerting (1884-1977), der ersten Professorin für Erziehungswissenschaft in Deutschland, Jena 1923-1933. Ihr Hauptwerk „Neubegründung der Psychologie von Mann und Weib", 1921ff., wird unter Aspekten der Forschungslogik analysiert und auf Konsequenzen für die Erziehungswissenschaft befragt. Ihre Forderung nach Gleichberechtigung und Abwehr jeglicher Herrschaft werden vor dem Hintergrund heutiger feministischer Forderungen diskutiert. Im Anschluß an die Betrachtung der zeitgenössischen Rezeption Mathilde Vaertings wird die Frage aufgeworfen, inwieweit ihr Leben und ihre Karriere die Stellung der Frau in der Wissenschaft während der zwanziger Jahre (und auch später?) spiegeln. (DIPF/Orig.)The author outlines the biography and career of Mathilde Vaerting (1884-1977), the first woman to hold a chair in educational science in Germany. Her major work - Neubegründung der Psychologie von Mannund Weib (1921 fol.) - is analyzed from a methodological point of view and with respect to its implications for educational research. Vaerting\u27s demands for equal rights for women and her rejection of any kind of domination are discussed within the framework of present feminist positions. After having studied how contemporaries reacted to Mathilde Vaerting\u27s writings, the author raises the question of whether Vaerting\u27s life and career reflect the Status of women in science during the 1920s (and later on?). (DIPF/Orig.
Effi Briest, Mathilde Möhring. The Development of Theodor Fontane's Female Characters on the Background of Women Emancipation.
No full textTheodore Fontane is best known as the author of numerous women's novels, which he wrote in the last ten years of his life. This diploma thesis deals with the topic of women's emancipation on the basis of textual analysis of two latter novels by Theodore Fontane - Effi Briest and Mathilde Möhring. In the first part, it characterizes the topic of the period women's emancipation and puts the author's biography into context. In the second part, it creates the picture of position of the main women characters. The last part describes the personal development of the women characters, on the basis of which I determine how much the women's emancipation reflects in the author's work and what is his attitude towards it. This thesis deals with the interpretation of the author's intent to illustrate the creation of an advanced character like Mathilde Möhring. Key words: Theodore Fontane, women's emancipation, Effi Briest, Mathilde Möhring, development of women's characters, women's novels, interpretation, author's intent, counterpoin
Effi Briest, Mathilde Möhring. Vývoj postavy žen na pozadí dobové emancipace ve stejnojmenných románech Theodora Fontana.
Full text linkTheodore Fontane is best known as the author of numerous women's novels, which he wrote in the last ten years of his life. This diploma thesis deals with the topic of women's emancipation on the basis of textual analysis of two latter novels by Theodore Fontane - Effi Briest and Mathilde Möhring. In the first part, it characterizes the topic of the period women's emancipation and puts the author's biography into context. In the second part, it creates the picture of position of the main women characters. The last part describes the personal development of the women characters, on the basis of which I determine how much the women's emancipation reflects in the author's work and what is his attitude towards it. This thesis deals with the interpretation of the author's intent to illustrate the creation of an advanced character like Mathilde Möhring. Key words: Theodore Fontane, women's emancipation, Effi Briest, Mathilde Möhring, development of women's characters, women's novels, interpretation, author's intent, counterpointTheodor Fontane je známý především jako autor četných ženských románů, které psal ve svém pokročilém věku. Tato práce zpracovává na základě analýzy textu téma ženské emancipace v jeho dvou pozdějších románech - Manželství Effi Briestové a Mathilda Möhringová. V první části charakterizuje téma dobové ženské emancipace a zasazuje autorovu biografii do kontextu. V druhé části utváří obraz pozice hlavních románových hrdinek. V poslední části je shrnut osobní vývoj ženských postav, na jejímž základě má být zodpovězena otázka, nakolik se ženská emancipace odráží v autorově díle a jaký je jeho postoj k ní. Práce se zároveň zabývá intepretací autorova záměru, který vytvořil postavu pokročilé Mathildy Möhringové, čímž dosáhl kontrapunktu k tomu, co doposud psal. Klíčová slova: Theodor Fontane, ženská emancipace, Effi Briest, Mathilde Möhring, vývoj ženských postav, interpretace, ženské romány, záměr autora, kontrapunktInstitute of Germanic StudiesÚstav germánských studiíFilozofická fakultaFaculty of Art
Tunisian Politics in France: Long-Distance Activism since the 1980s
No full textInternational audienceWhat does it mean to oppose or support an authoritarian regime from afar? During the years of Ben Ali's dictatorship in Tunisia between 1987 and 2011, diaspora activism played a key role in the developments of post-independence Tunisian politics. Centring this study on long-distance activism in France, where the majority of leftist and Islamist exile groups took refuge, Mathilde Zederman explores how this activism helps to shed new light on Tunisia's political history. Tunisian Politics in France closely explores the interactions and conflicts between different constellations of pro-regime and oppositional actors in France, examining the dynamics of what the author persuasively describes as a 'trans-state space of mobilisation'. In doing so, Zederman draws attention to the constraints and possibilities of long-distance activism. Utilising material gathered from extensive fieldwork in France and Tunisia, this study considers how the evolution of diaspora activism both challenges and reinforces the boundaries of Tunisian politics
Book review: Photography of protest and community: the radical collectives of the 1970s by Noni Stacey
No full textIn Photography of Protest and Community: The Radical Collectives of the 1970s, Noni Stacey shows how a 1970s network of London-based photography collectives raised fundamental questions about the politics of photography, the role and responsibilities of photographers in relation to local communities and the uses of photography in the context of social activism. This book is a welcome addition to the expanding field of research on the photography of protest, writes Mathilde Bertrand, contributing to the ongoing documentation of this strong current in British photographic history. If you are interested in this book review, you can read an LSE RB interview with author Dr Noni Stacey. The archive of the Exit Photography Group is held at LSE Library; readers can find out more about the archive and the catalogue. Photography of Protest and Community: The Radical Collectives of the 1970s. Noni Stacey. Lund Humphries. 2020
Piano music of Mathilde Kralik von Meyrswalden (1857-1944)
No full textThesis (D.M.A.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at [email protected]. Thank you.This dissertation examines the life and music of Mathilde Kralik von Meyrswalden (1857-1944), with a focus on her piano solo works. This project is intended to bring new light to the forgotten late-romantic Austrian composer. As a pupil of Anton Bruckner, and as a colleague of Gustav Mahler, Kralik's style belongs to the late Romantic period in Vienna. Her musical aesthetics are similar to the styles of Schubert, Liszt, Schumann, Wolf, Mahler, and StraufS; however she had her
own unique voice from the beginning of her musical career. Though she was an active composer, performer, and musical figure of her time and was recognized and respected by the Viennese society, her life and work remain greatly understudied.
Chapter 1 presents a detailed biographical background of Mathilde Kralik von Meyrswalden. Chapter 2 provides a complete list of work by Mathilde Kralik. Chapter 3 depicts the political background of her time, and then discusses the situation of women as artists in Vienna between 1850 and 19 50. Chapter 4 focuses on two people in her closest circle: her elder brother, Richard Kralik, who was a renowned writer and cultural commentator; and her friend, Alice Scarlates, who was a lecturer for Roman language at the University of Vienna and lived with Kralik in the same house in Wiener Cottage-Viertel for over 30 years. Chapter 5 analyzes her 5 Klavierstiicke- Festmarsh, Triiumerei, Liedchen, Intermezzo, and Gavotte. Chapter 6 continues the analysis with her other major piano solo work: Priiludium, Passacaglia, und Fugato. Lastly, Chapter 7 discusses the public and critical reception of her music, both during her time and in the modern era.
The purpose of this project is first, to discover new sounds from a past style; second, to give credit to a serious, prolific, and independent female composer, who bravely chose a career with special challenges in her time and her surroundings; third, to encourage further research and performances of Kralik's works
" Critique d'art au féminin au 19e siècle : Mathilde Stevens "
No full textInternational audienceMathilde Stevens started being really famous with Les Impressions d'une femme au Salon de 1859, which was first published as a serial. She wrote about the paintings in Le Salon and about painting generally. The artistic world was well-known to her: her husband was Arthur Stevens, the famous Belgian art critic and art dealer. Although she is now mostly forgotten, she was one of the most highly regarded women in Paris of the 1880s. She inspired Guy de Maupassant when he created Madame Forestier in Bel-Ami. Talking about her life is to discover who shaped her ideas about painting. Her taste for Romantic landscapes comes from her husband's love for the Barbizon School. Charles Baudelaire and his Salon de 1846 also inspired her: she took up his comparison between Painting and Musical harmony as well as the importance of memory. In spite of these men's influences, Les Impressions d'une femme au salon de 1859 is definitely a female text. Often, the author reminds the reader of her sexual identity, her thoughts are typically feminine: shallow and lightweight. In fact, Mathilde Stevens seems to caricature stereotypical female behaviour. Is it a strategy? In fact, she doesn't compete with male critics: she can write and think more freely.Cette femme de lettres, aujourd'hui tombée dans l'oubli, fut une des figures des plus en vue de la société parisienne des années 1880. Elle inspira à Guy de Maupassant le personnage de Mme Forestier dans Bel-Ami. Si cette figure atypique mérite que l'on s'attarde sur son existence, c'est pour découvrir qui a influencé sa conception de la Peinture. Elle a ainsi emprunté à son mari, marchand des artistes de l'école de Barbizon, son goût pour les paysages romantiques. On retrouve également certaines idées développées par Charles Baudelaire dans son Salon de 1846. Mathilde Stevens reprend son analogie entre peinture et harmonie musicale ainsi que le rôle important joué par la mémoire dans l'appréciation d'une œuvre. À bien y regarder, Mathilde Stevens semble avoir caricaturé le comportement féminin. Est-ce une stratégie de sa part ? Si son appartenance au " beau sexe " la marginalise et la discrédite quelque peu auprès de ses confrères masculins, elle lui offre paradoxalement un vaste champ de liberté. Étant une critique " hors norme ", elle n'a, de ce fait, aucun modèle, aucun discours à reproduire pour être entendue du grand public
Mathilde Blind
Full text linkThe first titles in the Eminent Women Series published in 1883 by W. H. Allen included studies of Emily Bronte and George Sand (Margaret Fuller, Maria Edgeworth, Elizabeth Fry, and Harriet Martineau would be in the next wave) as well as Mathilde Blind\u27s pioneering, sensitive, uneven and sympathetically feminist exposition of George Eliot\u27s life and art. Blind herself deserves a full-length study, and at particular points her own life and works touch those of George Eliot. Born Mathilde Cohen in Mannheim in 1841, she took her stepfather\u27s name when her mother remarried. Dr. Karl Blind was an ardent republican in Baden, was imprisoned, freed, then exiled himself, first to Belgium then to England, the family settling in St John\u27s Wood a couple of years after the European year of Revolutions in 1848. Richard Gamett, in the Memoir prefixed to the Poetical Works of Mathilde Blind (1900) refers to her unpublished autobiographical writings in which he notes her strong attachment to another girl at her school, her love of music and dancing (exemplified in her novel Tarantella, 1885) and her embracing of Christianity in her girlhood as \u27this profoundly personal religion\u27. Her early poetic predilections are seen in her reactions to Swiss scenery, where she describes \u27high white clouds changing chameleon-like as the sun and wind touched their ethereal substance. Sometimes they stood on tiptoe on the top of a mountain peak like columbines balancing themselves on the shoulders of a giant\u27. This was in 1859, ten years after George Eliot\u27s Geneva experience, and just as the emergent novelist was to rehearse her wittily ironic observations of people met in a pension, so Blind rehearsed her natural powers of observation on the elevating and consoling effects of nature. She read avidly, her German inheritance ensuring her admiration of Goethe, while she wrote an ode to celebrate the Schiller centenary in Bradford (1859), and shared with Lewes a fascination for Robespierre, writing a tragedy about him which was praised by Louis Blanc. Blind - dazzlingly beautiful when young - admired Mazzini, but found Gariba1di (c. 1864) lacking in personal magnetism though inspiring nonetheless. She sought the company of famous men: Mazzini prescribed a course of reading for her (as Scott Fitzgerald was to do for Sheila Graham in the 1930s) but, although she hung \u27with my whole soul upon his every word\u27, from the mid-l 860s onwards she was concerned with raising the status of women, passionately interested in their education, which she regarded essential if they were to achieve a proper equality with men. She was an enthusiastic admirer of George Eliot, had a more temperate admiration of George Sand, was bowled over by \u27Aurora Leigh\u27, was influenced by Carlyle, and more profoundly by Henry Thomas Buckle (1821-62), author of A History of Civilisation in England, only two volumes of which had appeared before his premature death. He adopted a scientific basis for historical investigation and was much admired by Darwin: Blind obviously found this congenial, so much so that one of her later (and greater) poems is called \u27The Ascent of Man\u27 and is distinctly Darwinian in its emphasis. In 1866 her brother Ferdinand committed suicide following his failed attempt to assassinate the great German statesman Bismarck, and annual tribute was paid to him by Blind and many sympathizers. In 1867 she published her first poems under the pseudonym of Claude Lake, and soon began to see herself as a lecturer: interestingly Trollope\u27s American friend Kate Field embarked on just that career with some success on both sides of the Atlantic. In 1869 Blind lectured on Shelley at St George\u27s Hall (her beauty winning, her accent difficult), and as a result met John Chapman, her lecture being reproduced in his Westminster Review (July 1870), the periodical George Eliot had edited for Chapman in the early 1850s. Thereafter she travelled much, became interested in another cult of the time, spiritualism, and, in 1873, published her translation of Strauss\u27s final work, The Old Faith and. the New. Visits to Scotland stimulated her sense of history and her poetic impulse: she was to write movingly about the clearances of the Highlands in \u27The Heather on Fire\u27 (1886), observing of the glens and the desolated villages that \u27it was but yesterday that they were inhabited by a brave, moral, and industrious peasantry, full of poetic instincts and ardent patriotism, ruthlessly expelled their native land to make way for sporting grounds rented by merchant princes and American millionaires\u27 . Bronchial, financially insecure, suffering from bouts of depression, she contributed two biographies to the Eminent Women Series. The first, on Eliot, cost her much labour, even anguish. When she had finished it, she feelingly recorded: \u27It was a lovely afternoon. I was too tired to walk, and sat down on a bench in a little garden in front of the house, drinking in the air, the hum of the insects, the colour of flowers and leaves, the glory of the sky\u27. The second, Madame Roland (1886) had to be cut down by a third (\u27So Madame Roland was decapitated for the second time\u27, observes Gamett); she produced a series of aphorisms from Goethe for Fraser\u27s Magazine, wrote a preface to a selection from Byron for the Camelot series (1886), and lived for some time with the Madox Browns in Manchester and London. In 1892 she inherited a fortune from her brother Max Cohen, journeyed to Rome and Egypt, and wrote a number of poems before she went into a decline: she spent some time in the company of the Regius Professor of Medicine at Cambridge, Dr. Clifford Allbutt (friend of Eliot and Lewes, thought by some to have provided the germ of Lydgate) and, wishing to benefit women\u27s education practically, left the greater part of her estate to Newnham College, Cambridge, when she died in 1896. A fine monument was erected to her memory in Finchley Cemetery, where she was buried close to the grave of her friends the Madox Browns
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