569 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
An ‘axe for the frozen sea’ : Estrin’s magic agential realism, insect thigmotaxis, and the problem with Kafka
No full textThis paper seeks to demonstrate how Marc Estrin’s Insect Dreams: the Half Life of Gregor Samsa constitutes the first piece of magic agential realist literature about insects. The term ‘magic agential realism’ has been coined from an observed coincidence in the literary commitments of Estrin’s novel to the literary genre of magic realism and the posthumanist assumptions it shares with the agential realism of Karen Barad. Given Kafka’s axiom that a literary work ought to function as an ‘axe for the frozen sea within us’. A further claim will be defended is the claim that Estrin’s Insect Dreams is the magic agential axe that shatters the frozen sea of liberal humanist representationalism within Kafka. In providing us with a book that affects us like a disaster and like a suicide (both of which are evoked and exceeded by the ever-more pressing concerns of posthumanism), I will demonstrate how Estrin both fulfils the literary criteria laid out by Kafka to Oskar Pollak and opens up the possibility of re-configuring ethics in order to account for insects through the observed phenomenon of thigmotaxis.peer-reviewe
Material inhomogeneity: the source of variation in the observed band gap of Indium Nitride
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Monte Carlo based simulation of surface light emission profiles from AlGalnP light emitting diodes
No full text« On peut parler de mauvaises manières ! » Le téléphone mobile au restaurant
No full textBecause it has become a means for defining socially appropriate or inappropriate behaviour, use of the mobile telephone in various situations prompts us to reconsider how we construct our social worlds. It calls for a re-evaluation of that which is taken for granted in daily life. Drawing upon Goffmanian notions of drama and display, this article examines the behaviour of people confronted with an inappropriate use of the mobile phone, particularly in restaurants. The author first explains why restaurants are particularly difficult places for using a mobile phone. He then examines situations in which several actors are simultaneously placed in the foreground of various scenes, as well as situations of forced eavesdropping. Finally, he describes strategies devised to cope with " threatening " situations.Parce qu'elle est devenue l'une des modalités qui nous servent à définir le comportement socialement approprié ou au contraire inconvenant, l'utilisation du téléphone mobile dans diverses situations nous amène à reconsidérer comment nous construisons nos mondes sociaux. L'utilisation du portable appelle à une réévaluation des allant-de-soi de la vie quotidienne. Cet article examine la conduite de personnes confrontées à un emploi déplacé du téléphone mobile, en particulier dans les restaurants. Il s'appuie également sur les notions goffmaniennes de drame et de mise en scène. Sur cette base l'auteur explicite d'abord les raisons pour lesquelles les restaurants sont des lieux particulièrement délicats pour utiliser un téléphone mobile et il examine ensuite des situations où des acteurs sont placés simultanément sur le devant de plusieurs scènes ainsi que des situations d'écoute clandestine forcée. Enfin, il décrit des stratégies destinées à faire face à des situations « menaçantes ».Ling Richard, Relieu Marc. « On peut parler de mauvaises manières ! » Le téléphone mobile au restaurant. In: Réseaux, volume 16, n°90, 1998. Quelques aperçus sur le téléphone mobile. pp. 51-70
J.C. Bach's London keyboard sonatas : style and context
No full textJ. C. Bach's keyboard works include several sets of accompanied sonatas, a genre that enjoyed a wide popularity during the Classical era, but never
found its way into the concert repertoire. The accompanied sonata was a genre meant for domestic performance; the solo keyboard sonata, on
the other hand, was adopted in due course by concert audiences. J. C. Bach composed works within both genres during most of his productive years, and his output constitutes a corpus of remarkable consistency. J. C. Bach's removal to London in 1762 coincided with his clear adoption of a galant style, marked by the Italianate influence, and the abandonment of most Baroque traits. The British milieu provided additional factors: the rise of the pianoforte, a thriving music-publishing market, and a great interest in domestic music making among the affluent classes. These factors marked J. C. Bach's output at various levels. Keyboard works had to conform to the proficiency of the amateur performer, a
fact reflected in the accompanied output mostly. The number of movements, their length, and the inclusion of particular technical devices are readily observable differences between the two genres. The most remarkable
distinction lies perhaps in the preference for binary sonata format in the accompanied. sonatas from the mid 1760s to the 1770s, in spite of a later tendency for tripartite designs in both genres. J. C. Bach's lifelong preference for motivic phrase structure conditioned his keyboard production and partly explains the gap in quality between some of his works and sonatas composed around the same time by Haydn and Mozart, who developed more effective means to connect the melodic material
to higher structural units. J. C. Bach's influence, however, endured in Mozart's handling of melody, and his keyboard production constitutes, in spite of some flaws, a noteworthy example of elegance and craftsmanship
Portrait of Richard Dehmel (1863-1920).
No full textFull-face view of the poet. Signed in lower left.The German author Richard Fedor Leopold Dehmel (1863 – 1920) is considered one of the foremost German poets of the pre-World War I era. His lyrics inspired many contemporary composers. Dehmel enlisted in the German Army voluntarily in 1914 and served until 1916, when he was wounded. He died in 1920 from the after-effects of his war-injury. - Leopold Dehmel’s second wife was the feminist poet Ida Dehmel.Hermann Struck was born Chaim Aaron ben David in 1876 in Germany. He is best known as a master etcher, lithographer and early Zionist. He studied for five years at the Berlin Academy and in 1908 wrote Die Kunst des Radierens (The Art of Etching), while mentoring artists such as Marc Chagall, Max Liebermann and Lesser Ury. His art was included in an exhibition at the Fifth Zionist Congress and he helped establish the religious Zionist movement called Mizrachi. Struck was an Orthodox Jew but believed that culture and religion could thrive cooperatively in Israel. He immigrated to Haifa where he created an artistic community and participated in the development of the Tel Aviv Museum and the Bezalel art school in Jerusalem. He died in 1944.digitizedDigital imag
Richard Dehmel in German Officer's Uniform.
No full textA three-quarter view Dehmel in uniform. Initialed, dated Kowno 1916, and star of David in lower right. Signed and numbered 45/45 in lower left.The German author Richard Fedor Leopold Dehmel (1863 – 1920) is considered one of the foremost German poets of the pre-World War I era. His lyrics inspired many contemporary composers. Dehmel enlisted in the German Army voluntarily in 1914 and served until 1916, when he was wounded. He died in 1920 from the after-effects of his war-injury. - Leopold Dehmel’s second wife was the feminist poet Ida Dehmel.Hermann Struck was born Chaim Aaron ben David in 1876 in Germany. He is best known as a master etcher, lithographer and early Zionist. He studied for five years at the Berlin Academy and in 1908 wrote Die Kunst des Radierens (The Art of Etching), while mentoring artists such as Marc Chagall, Max Liebermann and Lesser Ury. His art was included in an exhibition at the Fifth Zionist Congress and he helped establish the religious Zionist movement called Mizrachi. Struck was an Orthodox Jew but believed that culture and religion could thrive cooperatively in Israel. He immigrated to Haifa where he created an artistic community and participated in the development of the Tel Aviv Museum and the Bezalel art school in Jerusalem. He died in 1944.There exist further prints, same portrait record No 2666 and 2678digitizedDigital imag
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