1,357,787 research outputs found
Perrault Collection; no.07662
No full textBlack and white image of an identified man, Cliff Davis M. D., dressed in late 19th or early 20th century informal clothing, posed for a portrait photograph. Written on lower middle edge of image in black ink; ""Yours Truly Cliff Davis M. D."" Image mounted on a light gray matte board.Original cataloged metadata states that Mr. Davis may of lived in Kingston, N. M.Master file: image/tiff; 82,318 KB; Computer Hardware: Intel Pentium (R) 4 3.20 GHz/ 1.99 GB RAM manufactured by Dell; Operating system: Windows XP 2002; Creation software: Adobe Photoshop CS2 version 9.0.2; Scanner: flatbed reflective scanner Microtek 1000XL; Scanner software: Microtek SilverFast Ai 6.4.2r2b; Scanned by Jackie Becker on 2009-10-23
Perrault Collection; no.07663
No full textBlack and white image of an identified man, ""Mr. Parker- Lawyer,"" dressed in late 19th or early 20th century informal clothing, posed sitting on a rocking chair in office. Pictured: desk, hanging lamp, and law books placed on shelving behind desk . Perpendicular wall- an open door leading to what appears to be a wash room, wood bench, wall pocket with what appears to be newspapers, and an art print placed on wall above. Image mounted on an off white matte board.Master file: image/tiff; 92,271 KB; Computer Hardware: Intel Pentium (R) 4 3.20 GHz/ 1.99 GB RAM manufactured by Dell; Operating system: Windows XP 2002; Creation software: Adobe Photoshop CS2 version 9.0.2; Scanner: flatbed reflective scanner Microtek 1000XL; Scanner software: Microtek SilverFast Ai 6.4.2r2b; Scanned by Jackie Becker on 2009-10-23
A presença de Giambattista Basile nas narrativas populares de Charles Perrault e dos irmãos Grimm: os vultos de Cinderela
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2009.Esta dissertação tem por objetivo analisar Lo cunto de li cunti de Giambattista Basile, escrito em dialeto napolitano, no século XVII. Esta obra é um conjunto de histórias narradas em prosa, apresentado sob o modelo do Decameron, que representou de forma abrangente a cultura de sua época, principalmente a popular. Dentre as várias histórias presentes neste livro, foi selecionada a história de Cinderela, para, através de seu arquétipo, verificar a presença de Basile nas versões de Charles Perrault e na dos irmãos Grimm, dessa mesma história.The goal of this dissertation is to analyze Giambattista Basiles Lo Cunto de li cunti, which was written in Napolitan dialect, on the XVII century. This work is a prose stories collection, presented under Decamerons model, and that represented that times culture, especially the popular one. Between the stories in this book, Cinderella was chosen for verifying the Basiles presence on the Charles Perrault and Brotherss version
C'era una Volta. Esopo-Perrault.
No full textA big book in every way! There are six thematic groups of between seven and fourteen stories each, every group starting with one Perrault story and finishing with the rest from Aesop. The introduction speaks of offering cotolette of Perrault along with many contorni of Aesop! The art is big and bold in several styles. Sample good illustrations are DS (85), BF (88), and The Horse and the Ass (178-9). Should the lion's skin (79) have eyes of its own? T of C on 238.This is a hardbound book (hard cover)Language note: Italia
Gerontoformica Nel and Perrault
No full textGerontoformica Nel and Perrault Gerontoformica Nel and Perrault, 2004: pg. 24. Type species: G. cretacica Nel and Perrault, by original designation. In Albian-aged amber from France. Sphecomyrmodes Grimaldi and Engel, 2005: pg. 5. Type species: Sphecomyrmodes orientalis, by original designation. In Burmese amber. New synonymy. Diagnosis (Emended). Distinguished from other Cretaceous genera by an uninterrupted row of peg-like denticles on the anterior margin of the clypeus; mandibles falcate, with one large apical tooth and one preapical tooth. The revised diagnosis and new generic synonymy is based on re-examination by one author (P.B.) of the type specimen, officially housed at the National Museum of Natural History, Paris. Species formerly placed in Sphecomyrmodes [16, 20, 25] are now placed in Gerontoformica.Published as part of Phillip Barden & David A. Grimaldi, 2016, Adaptive Radiation in Socially Advanced Stem-Group Ants from the Cretaceous, pp. 515-521 in Current Biology 26 on page 518, DOI: 10.1016/j.cub.2015.12.060, http://zenodo.org/record/26953
Ordonnance des cinq especes de colonnes selon la methode des anciens.
No full textTitle vignette: arms of Louis XIV. Engraved head-piece and decorative initial; woodcut tail-piece; engraved plates.Signatures: pi² a-h² A-2H².Catalogo ragionato dei libri d'arte e d'antichità posseduti dal conte Cicognara,Mode of access: Internet.Library's c. 2 bound with: Des cinq ordres d'architecture de Vincent Scamozzi ... A Paris : Chez Jean Baptiste Coignard ..., 1685. (85-B12332
De la réécriture du conte de fées. Politique des contes. Il était une fois Perrault aujourd’hui... d’Alice Brière-Haquet
No full textThis review aims to discuss the book Politique des contes. Il était une fois Perrault aujourd’hui... by Alice Brière-Haquet. In this book, after replacing Charles Perrault’s tales in their original context of publication, the author shows how contemporary writers use these tales to put them in resonance with our current times and to express our era and its modernity. That way, she puts an interesting light on the work of Perrault, but also on the challenges involved today in the rewriting of Perrault’s tales. Moreover, her work shows that the parodic rewriting of Perrault’s tales is particularly alive today (the large corpus of these rewritings holds the attention by its ambition and its diversity) but also that the process of rewriting tales is not a specific practice of our contemporary era : indeed, Perrault himself used it in order to invite his readers to interpret political discourses of his time
Hommes illustres qui ont paru en France pendant ce siecle: avec leurs portraits au naturel
No full textPerrault, Charles (1628-1703) À Paris, chez Antoine Dezallier, ruë Saint-Jacques, à la Couronne d\u27or. 1696, avec Privilège du Roy First edition Charles Perrault\u27s two volume work contains one hundred eulogies with engraved portraits, fifty per volume, of famous men who had died during the seventeenth century. Hommes illustres is divided into five categories: churchmen, military leaders, statesmen, scholars and men of letters, and artists. The University of Utah copy is particularly rare, one of only a few copies containing portraits of Antoine Arnauld and Blaise Pascal - the portrait of Arnauld mounted at a later date. While the book was still being printed, Jesuits complained about the inclusion of Jansenists. Perrault and his editor, Dezallier, struggled to publish the complete edition of biographical portraits. Threatened to blackmail by the Jesuits and afraid of losing his royal pension, Perrault capitulated. The interference caused no small amount of scandal. Jean Racine purportedly wrote a now-lost poem about the incident
Los arquetipos masculinos de los cuentos de Perrault: modelos de masculinidad que aprender o desaprender desde la infancia
No full textCharles Perrault writes his tales within the preciosity, a movement of female assertion born and developed in Parisian salons during the second half of the 17th century. Précieuses, who first tell and then write fairy tales in salons, will consolidate fairy tales as a literary genre as well as their transition from the oral to the written form. The interest elicited by the study of masculinity in many scientific disciplines in recent years reflects the social need that a new masculinity be established in the everyday reality of men and women. An analysis of the masculine in the tales by Perrault, known to all, reveals that they contribute to creating a male gender identity that does not match the needs of our current reality. Deconstructing the concept of masculinity presented by such tales becomes thus essential in order to establish new masculinities since childhood.Charles Perrault escribe sus cuentos dentro del preciosismo, movimiento de reivindicación femenina que nace y se desarrolla en los salones de París en la segunda mitad del siglo XVII. Las preciosas, que primero cuentan y después escriben cuentos de hadas en los salones, harán que el cuento se consolide como género literario y pase de la forma oral a la escrita. El interés que en los últimos años ha suscitado el estudio de la masculinidad en numerosas disciplinas científicas, refleja la necesidad social de que se instaure en la realidad cotidiana de hombres y mujeres una nueva masculinidad. El análisis de lo masculino en los cuentos de Perrault, de todos conocidos, pone de manifiesto que estos contribuyen a la formación de una identidad de género masculina la cual no se corresponde con las necesidades de nuestra realidad actual. Se impone la deconstrucción del concepto de masculinidad que presentan tales cuentos para implantar, desde la infancia, nuevas masculinidades
Charles Perrault, Il Gabinetto delle Belle Arti: traduit par Annalisa Bertoni et Giuseppe Di Liberti, introduction et notes de Giuseppe Di Liberti
No full textInternational audienceCharles Perrault’s Cabinet des Beaux Arts (1690) was written at the height of the Querelle des Anciens et des Modernes. It rep- resents, albeit with the conciseness of a pamphlet, an important document both to understand some aspects of the debate on the arts in late 17th-century France (e.g., the notion of progress be- tween perfection and perfectibity, the relationship between taste and reason) and also to reconstruct a significant shift in the his- tory of the concept of art.Historically, the Cabinet is the rst text to include in its title the term “ ne arts”. It also synthesizes the theoretical approach that in those same years Perrault was articulating in his monumental Parallèle des Anciens et des Modernes and that, three years earlier, he had provocatively presented in his poem Le Siècle de Louis le Grand. Rather than an anticipation of Batteux’s “system of the ne arts” and, therefore, of modern aesthetics, the Cabinet makes it possible to understand some of the main assumptions that will establish that concept in the 18th century and also the changes that occurred in the prevailing views on artistic production be- tween the 17th and 18th century.The present edition, by Giuseppe Di Liberti is not only the first one in Italian, but also the first reprint since the original edition. It includes the illustrations that Perrault chose and that, in line with 17th-century rhetorical culture, become discourse
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