1,041 research outputs found
Ruskin traduzido: Sesame and Lilies por Proust e Catalán
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2009.Este trabalho parte da análise das traduções da obra Sesame and Lilies, de John Ruskin, para o francês e para o castelhano para fazer um exame de questões ligadas ao gênero ensaístico, à tradução de ensaios e à autoria. Para isso, analisarei a tradução de Marcel Proust para o francês e seu paratexto e a tradução para o castelhano feita por Miguel Catalán e o respectivo paratexto.This study analises the translations of Sesame and Lilies, by John Ruskin, into French and Spanish in order to examine issues related to the essay as a literary genre, to the translation of essays and to authorship. This exam will be carried out by analising the translation into French by Marcel Proust and its paratext and the translation into Spanish by Miguel Catalán, accompanied by its paratext
THE EXISTENTIAL AND THE SPIRITUAL IN THE EXISTENTIAL ANTHROPOLOGY OF G. MARCEL AND E. MINKOWSKI
No full textPurpose. To examine the existential anthropology of G. Marcel and E. Minkowski, in order to demonstrate the necessity of distinguishing the universal-spiritual, as human in human being, apart from the individual-existential in him, and to reveal the hierarchical correlation of biosocial, existential and spiritual spheres in personality. Theoretical basis. Within existential philosophy the author differentiates two separate traditions and proceeds from the insufficiency of the distinction of existential sphere, proposed by phenomenological tradition, showing the necessity of its correlation with the spiritual sphere as a sphere of humanity, proposed by non-phenomenological tradition of G. Marcel and E. Minkowski. Originality. The author presents the anthropological conception of G. Marcel and E. Minkowski, in which human personality is understood as unity of individual-existential and universal-spiritual, which requires a special trans-empirical field of culture, which contains senses, images and symbols of humanity. Also, the author presents the recent developments of existential thinkers in distinguishing existential and spiritual dimensions, both not reducible to the physical and social dimensions. Conclusions. In both existential traditions, the specifically human was founded as a trans-biological and trans-social phenomenon, which appears as indefinable and non-predetermined. But in first tradition (M. Heidegger, J.-P. Sartre), humanity is understood as an existence, as a unique individuality, "project", variant of humanity, equivalent to other variants, and universal is understood as a community of human condition in the world. While in the second tradition (G. Marcel, E. Minkowski, also V. Frankl), the universal is understood as spiritual. Thus, horizontal level of our private existence, as the process of movement from birth to death, is supplemented by vertical of human, universal ideals and images. Humanity appears as a task, on the way to which human being transcends beyond the limits of his individual "self" to the "super-individual", through inclusion into spiritual community, into universal culture
UniCouncil_1925-32_150
No full textG.
Government difficulty re College students 1140
H.
Habib Eff. Isk&ndar Headlee, medical allowance Housing
K.
Kiven, Mr, Marcel
L.
Library
M.
McClenahan, Dr, R, S. Minister of Education Mosque ticket
P.
Property Committee uses of
1167
1120
1161
1177
1135, 1188
1108, 1127 1147 1156
1161, 1189
1125
R.
Reece, Mr, L. R. 1136, 1180, 1181, 1192
Residences, staff 1101, 1108, 1161
S.
S,0.S. Dean
building
< Suburban Property C0mmittee V,
1127 1155, 1214
1126
Vacation allowance
1190
Y.
Yoder, Mr, T, 0
111
The representation of nature in Marcel Pagnol's childhood autobiography
No full textDas Bild der Natur in der Kindheitsautobiografie von Marcel PagnolBianka FuchsIn den Souvenirs d?enfance, der vierbändigen Kindheitsautobiografie des südfranzösischen Autors Marcel Pagnol, nimmt die provenzalische Natur, wie auch in anderen seiner Werke, einen zentralen Stellenwert ein. Ziel dieser Arbeit ist es daher, das darin enthaltene Naturbild zu analysieren und zu interpretieren. In einem ersten Schritt erfolgen Erläuterungen zum Begriff Natur sowie zum Genre der Kindheitsautobiografie. Danach findet eine kurze Analyse zu Pagnols Position als regionaler Autor und zur Gewichtigkeit der Naturdarstellung in den einzelnen vier Bänden der Souvenirs d?enfance statt. Zudem werden mögliche Einflüsse auf das Naturbild Pagnols nachgezeichnet. Eine zentrale Frage der vorliegenden Arbeit besteht darin herauszufinden, welche Auswirkungen der kindliche Blick auf die Darstellung der Natur hat. Des Weiteren wird der Frage nachgegangen, ob bestimmte natürliche Komponenten besonders deutlich in den Vordergrund rücken. Der dritte Teil dieser Arbeit beschäftigt sich mit der motivischen Analyse des Naturbildes. Hierbei wird der Versuch unternommen, dieses an vier als zentral erachteten Motiven festzumachen, welche vor allem die gefühlsbetonte Verbindung des Kindes Marcel zur Natur widerspiegeln. Die Natur wird zur Heimat, zur Trägerin von Stimmungen, zum Ort des Abenteuers und in einem größeren Zusammenhang betrachtet zum verlorenen Paradies. Regelmäßig auftretende, rhetorische Stilmittel (Vergleich und Personifikation), präzise Darstellung von Geräuschen und Gerüchen sowie andere stilistische Besonderheiten (die Darstellung der Zeit anhand von natürlichen Elementen und die Symbolfunktion der Vögel) bilden den vierten und letzten Teil dieser Arbeit. Hierbei wird auch die Wirkung auf den Leser zu einem wichtigen Kriterium.The representation of nature in Marcel Pagnol?s childhood autobiography Bianka FuchsIn Les Souvenirs d?enfance, the childhood autobiography of the Southern French author Marcel Pagnol, written in four volumes, the provincial nature takes up an important position. Therefore, the aim of this thesis is to analyse and to interpret the representation of nature. In a first step it gives a detailed explanation of the terms nature and autobiography of childhood. Therefore, Marcel Pagnol?s role as a regional author will be discussed as well as the importance of the provincial nature in the four volumes. Beyond that, possible influences in Pagnol?s representation of nature will be retraced. In this thesis an essential question consists of ascertaining the implications that consist, because of how the child Marcel perceives nature. Furthermore, it will be explored, if certain elements of nature are emphasised in the representation of nature. The third part of this thesis deals with a motivatic analysis of the representation of nature. In this context, four motives of description of nature will be spotlighted which mainly reflect an emotional connectivity between the child Marcel and nature. Nature is represented as homeland, as a mirror of Marcels feelings, as an adventurous place and last but not least as a lost paradise. The fourth and last part of the presented thesis, gives a description of special rhetorical devices that occur regularly (such as comparisons and personifications) as well as other stylistic characteristics (the description of time on the basis of natural elements and the symbolic function of birds) and a specific description of sounds and flavours. Hereby, the impact on the reader is as well awarded special attention.vorgelegt von Bianka FuchsAbweichender Titel laut Übersetzung der Verfasserin/des VerfassersGraz, Univ., Masterarb., 2012Zsfassung in dt. u. engl. Sprach
The representation of nature in Marcel Pagnol's childhood autobiography
No full textDas Bild der Natur in der Kindheitsautobiografie von Marcel PagnolBianka FuchsIn den Souvenirs d?enfance, der vierbändigen Kindheitsautobiografie des südfranzösischen Autors Marcel Pagnol, nimmt die provenzalische Natur, wie auch in anderen seiner Werke, einen zentralen Stellenwert ein. Ziel dieser Arbeit ist es daher, das darin enthaltene Naturbild zu analysieren und zu interpretieren. In einem ersten Schritt erfolgen Erläuterungen zum Begriff Natur sowie zum Genre der Kindheitsautobiografie. Danach findet eine kurze Analyse zu Pagnols Position als regionaler Autor und zur Gewichtigkeit der Naturdarstellung in den einzelnen vier Bänden der Souvenirs d?enfance statt. Zudem werden mögliche Einflüsse auf das Naturbild Pagnols nachgezeichnet. Eine zentrale Frage der vorliegenden Arbeit besteht darin herauszufinden, welche Auswirkungen der kindliche Blick auf die Darstellung der Natur hat. Des Weiteren wird der Frage nachgegangen, ob bestimmte natürliche Komponenten besonders deutlich in den Vordergrund rücken. Der dritte Teil dieser Arbeit beschäftigt sich mit der motivischen Analyse des Naturbildes. Hierbei wird der Versuch unternommen, dieses an vier als zentral erachteten Motiven festzumachen, welche vor allem die gefühlsbetonte Verbindung des Kindes Marcel zur Natur widerspiegeln. Die Natur wird zur Heimat, zur Trägerin von Stimmungen, zum Ort des Abenteuers und in einem größeren Zusammenhang betrachtet zum verlorenen Paradies. Regelmäßig auftretende, rhetorische Stilmittel (Vergleich und Personifikation), präzise Darstellung von Geräuschen und Gerüchen sowie andere stilistische Besonderheiten (die Darstellung der Zeit anhand von natürlichen Elementen und die Symbolfunktion der Vögel) bilden den vierten und letzten Teil dieser Arbeit. Hierbei wird auch die Wirkung auf den Leser zu einem wichtigen Kriterium.The representation of nature in Marcel Pagnol?s childhood autobiography Bianka FuchsIn Les Souvenirs d?enfance, the childhood autobiography of the Southern French author Marcel Pagnol, written in four volumes, the provincial nature takes up an important position. Therefore, the aim of this thesis is to analyse and to interpret the representation of nature. In a first step it gives a detailed explanation of the terms nature and autobiography of childhood. Therefore, Marcel Pagnol?s role as a regional author will be discussed as well as the importance of the provincial nature in the four volumes. Beyond that, possible influences in Pagnol?s representation of nature will be retraced. In this thesis an essential question consists of ascertaining the implications that consist, because of how the child Marcel perceives nature. Furthermore, it will be explored, if certain elements of nature are emphasised in the representation of nature. The third part of this thesis deals with a motivatic analysis of the representation of nature. In this context, four motives of description of nature will be spotlighted which mainly reflect an emotional connectivity between the child Marcel and nature. Nature is represented as homeland, as a mirror of Marcels feelings, as an adventurous place and last but not least as a lost paradise. The fourth and last part of the presented thesis, gives a description of special rhetorical devices that occur regularly (such as comparisons and personifications) as well as other stylistic characteristics (the description of time on the basis of natural elements and the symbolic function of birds) and a specific description of sounds and flavours. Hereby, the impact on the reader is as well awarded special attention.vorgelegt von Bianka FuchsAbweichender Titel laut Übersetzung der Verfasserin/des VerfassersGraz, Univ., Masterarb., 2012Zsfassung in dt. u. engl. Sprach
(A) Study on Marcel Dupre´&apos;s Organ Music
No full textThe purpose of this thesis is to inspire the understanding of the organ music of Marcel Dupre´ (1886∼1971) through the study of his work Variations sur un Noe¨l, Op. 20 (1922). There are characteristics of his work and his musical techniques which can be considered through an analysis of this work.
Dupre´&apos;s renowned musical career encompassed that of composer, music editor, author, teacher, Director of the Paris Conservatoire, and as the successor to C-M, Widor (1841∼1937) as organist of St. Sulpice church. Dupre´ became one of the greatest composers of twentieth-century French organ music through his own unique originality and his establishment of creative musical techniques.
Symphonic style is a great characteristic of nineteenth-century French organ music. The outstanding Cavaille´-Coll organ made it possible for the symphonic style to prosper. The symphonic school of nineteenth-century French organ composition was encouraged by the orchestral organs of Aristide Cavaille´-Coll(l811∼1899). The symphonic school composed majestic works utilizing through later romantic techniques. Dupre´ was the successor to this French romantic organ school.
In this thesis, the historical background of nineteenth-century French romantic organ music, which inspired Dupre´, is studied.
The general characters of Dupre´&apos;s organ music is also studied for the purpose of discovering whether or not his organ music was influenced by the tradition of French romantic organ music.
Dupre´ composed two wonderful works of symphonic style, and one of them is Variations sur un Noe¨l, Op. 20. This work was composed when Dupre´ traveled America in 1922. Dupre´ understood well the character of American organ for which he composed the work. So this work, Variation. sur un Noe¨l, Op. 2U is brilliant and majestic. The theme of this work is Noe¨l nouvelet, a fifteenth-century French folk song. Tonality is based on the dorian mode which was one of the church modes of the medieval period.
The theme is very simple and cheerful. Its form consists of three parts(ABA&apos;). The rhythm repeats a simple rhythmic pattern of our measures six times, and adds to its simplicity. Each variation progresses by such means as changing tone quality. Dupre´ elected to divide the variations into two groups with respect to the literal and free treatment ol the theme. The presto changes chord passages quickly and flows out brilliantly. That is part of the character of the symphonic school.
Dupre´ used various and characteristic tones in Variations sur un Noe¨l, Op. 20 and made it possible for a player to perform effectively. Neo-classical characteristics appeared in this work and these characteristics were unified into symphonic style and expressed majesty and grandeur. So Variations sur un Nod, Op. 20 is suitable for organists who have high technique, and for symphonic organs.;본 논문의 목적은 Marcel Dupre&apos;(1886-1971)의 오르간 작품인 Variations sur un Noe¨l, Op. 20 (1922)을 분석 연구하여 작품의 특징과 음악 기법을 살펴봄으로써 그의 오르간 음악을 이해하고 이 작품을 연주하는데 도움을 주기 위함이다.
Dupre&apos;는 작곡가, 연주가, 저자, 교육가, 오르가니스트로서 위대한 업적을 남겼으며, 전통을 자신의 독특한 창의력으로 소화시킨 20세기의 프랑스 오르간 음악에 있어서 빼놓을수 없는 위대한 작곡가이다.
본 논문에서는 Dupre&apos;가 영향을 받은 19세기 프랑스 낭만 오르간의 시대적 배경을 연구하고, 그의 오르간 음악의 일반적인 특징을 살펴봄으로써 프랑스 낭만 오르간의 전통이 Dupre&apos; 오르간 음악에 어떻게 영향을 미쳤는지 연구하였다.
Dupre&apos;는 1920년대에 아주 훌륭한 2개의 심포니 스타일의 작품을 썼는데, 그중에 하나가 바로 Variations sur un Noe¨l, Op. 20이다. 이 작품은 Dupre&apos;가 1922년에 북미 대륙을 여행하면서 미국의 오르간의 특성을 잘 파악한 후에 거기에 맞추어 작곡하여 각 음색의 특성을 잘 살린 화려하고 웅장한 곡이다. 이 변주곡의 주제는 Dorian Mode에 기초한 15세기 프랑스 민속 선율인 &apos;Noe¨l Nouvelet&apos;이며 매우 단순하면서도 경쾌한 성격을 가진다. Dupre&apos;는 이 선율에 의거하여 주제의 열 개의 변주곡을 작곡하였다. 각 변주곡들은 각각 음색을 달리하면서 특징적으로 발전해 나가는데 엄격한 구성과 자유로운 구성이 비교적 교대로 펼쳐진다. Variation Ⅲ, Ⅵ, Ⅷ은 각각 옥타브, 4도와 5도, 2도의 Canon 형식을 사용하였고, 마지막 열번째 변주곡은 Fugato로 대위법적 형식의 극치를 이루었다. 반면에 Variation Ⅵ, Ⅶ, LX에서 나타나는 반음계적 화성 어법은 Dupre&apos;의 독특한 개성을 잘 나타내 준다.
Variations sur un Noe¨l, Op. 20은 Dupre&apos;의 오르간 작품 중 형식면에서는 가장 신고전주의적인 특징이 두드러지는 곡이며 음악의 내용에 있어서는 Symphonic School의 전통을 이은 그의 대표작이다. 따라서 이 곡은 오케스트라적인 특징을 가진 큰 규모의 악기에서 다양하고 특색있는 음색들을 사용하면 더욱 효과적인 연주를 할 수 있으며 고도의 기교를 가진 오르가니스트에게 적합한 곡이다.목차 = ⅲ
논문개요 = ⅳ
Ⅰ. 서론 = 1
Ⅱ. 시대적 배경과 Dupre´ 오르간 작품의 일반적 특징 = 4
A. 시대적 배경 = 4
B. Dupre´ 오르간 작품의 일반적 특징 = 11
Ⅲ. Variations sur un Noe¨l, Op. 20 분석 = 18
A. 주제 = 22
B. Variation Ⅰ = 27
C. Variation Ⅱ = 28
ABSTRACT = 5
Between the art of invisibility and the art of exaggeration: Marcel Proust caricatured by Jean Cocteau
No full textPartant d’un dessin de Marcel Proust par Jean Cocteau conçu en 1922 ainsi que d’un essai biographique de Claude Arnaud publié en 2013, l’auteur de l’article présente la relation entre les deux écrivains en référence à la problématique de leur « visibilité » (Nathalie Heinich). Dans ce contexte-là, le dessin de Cocteau, restant en accord avec le caractère démesuré de Marcel Proust, peut être aujourd’hui considéré comme une représentation caricaturale de l’auteur de la Recherche qui démythifie une image de Proust-écrivain invisible créée par la vulgate structuraliste. Aussi, dans le contexte médiatique et théorique contemporain, la représentation visuelle de Proust par Cocteau peut s'avérer utile pour la réflexion à propos de la « conduite » non-narrative de Proust qui, à côté de son activité discursive, définit la « posture » (Jérôme Meizoz) de l’auteur de la Recherche dans le champ littéraire français.The paper discusses the relationship between Marcel Proust and Jean Cocteau in connection with the problem of their “visibility” (Nathalie Heinich) based on Jean Cocteau’s portrait (1922) of Marcel Proust and Claude Arnaud’s biographical essay (2013). In this context, Cocteau’s drawing, which conveys Marcel Proust’s extravagant character, could nowadays be considered not only a caricatural representation of the author of In Search of Lost Time, but also a demythologizing one, especially in contrast to the image of invisible Proust created by structuralist interpretations. Also, in the mediatic and theoretical contemporary context, Cocteau’s visual representation of Proust could be used to reflect on Proust ’s action (conduite) which, combined with his narrative discourse, defines the “posture” (Jérôme Meizoz) of the author of In Search… within the literary field
The forms of the narrator in Marcel Pagnol's autobiographical novels
No full textThe bachelor's thesis deals with the theme of narrator in the autobiographical piece of work Souvenirs d'enfance by Marcel Pagnol in Czech translation by Eva Musilová, especially in the first two volumes entitled My Father's Glory and My Mother's Castle. It strives to characterize the narrative strategies by which the author mediates the story and at the same time creates his identity. Furthermore, the particular narrative perspectives and their mutual coexistence and confrontation. The thesis is mainly based on the book Vypravěč: Kategorie narativní analýzy written by Professor Tomáš Kubíček. Key words Narrator, autobiography, Marcel Pagnol, perspective, narrative, storytelling strategies, narrative identityBakalářská práce se zabývá tématem vypravěče v autobiografickém díle Jak voní tymián od Marcela Pagnola, zejména v prvních dvou knihách s názvy Tatínkova sláva a Maminčin zámek. Snaží se charakterizovat vypravěčské strategie, kterými autor zprostředkovává příběh a zároveň tvoří svou identitu. Dále pak jednotlivé vypravěčské perspektivy a jejich vzájemnou koexistenci a konfrontaci. Práce se opírá zejména o knihu Vypravěč: Kategorie narativní analýzy profesora Tomáše Kubíčka. Klíčová slova Vypravěč, autobiografie, Marcel Pagnol, perspektiva, vyprávění, vypravěčské strategie, narativní identitaInstitute of Romance StudiesÚstav románských studiíFilozofická fakultaFaculty of Art
'La muerte avla por mi boca': Marcel Cohen y la agonía del judeoespañol
No full textThe Judeo-Spanish idiolect reproduced in "Letras a un pintor ke kreya azer retratos imaginarios" (1985) [In "Search of a Lost Ladino", Jerusalem 2006] by Marcel Cohen and the author ́s own reflections on this topic serve as a background for the analysis of the endangerment of the Judeo-Spanish language. From a social point of view, the displacement of Judeo-Spanish by French (the dominant language in Cohen) and the author ́s dissociation from Sephardic speaking social networks turned him into a 'semi-speaker' or a 'rememberer', a prototype-speaker of an endangered language. The situation of linguistic isolation in which the author lives, the reduction of the domain of Judeo-Spanish and the reduction of the author ́s linguistic repertoire lead to a loss of linguistic competence that is manifest in the insecurity with which ohen expresses himself and in the construction of linguistic features that do not exist beyond the text "Letras a un pintor".El idiolecto judeoespañol representado en "Letras a un pintor ke kreya azer retratos
imaginarios" (1985) de Marcel Cohen y sus reflexiones sirven de fondo para el análisis de su situación como lengua amenazada de muerte. A nivel social, el esplazamiento del judeoespañol por el francés, que actúa como lengua dominante en Cohen, y su desvinculación de las redes sociales de hablantes de sefardí lo convirtieron en «semihablante» y «recordador», el prototipo de hablante de leguas amenazadas. La situación de aislamiento del autor, la extrema reducción de los dominios de uso de la lengua vernácula y de su repertorio lingüístico conducen a la pérdida de competencia lingüística que se manifiesta en la inseguridad con la que se expresa y en la construcción de formas lingüísticas que no existen más allá del texto "Letras a un pintor
- …
