Fall 2020/5781 “ Fix a P Eri Od F Or Th E Stud Y of Torah” Pirk Ei Avot 1: 15
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Claire Maingon, Claude Monet, Mentor Ou Repoussoir De La
RIHA Journal 0047 | 14 July 2012 | Special Issue "New Directions in New-I pressionism" This article is part of the Special Issue "New Directions in Neo-Impressionism." The issue is guest- edited by Tania Woloshyn and Anne Dymond in cooperation with egina Wenninger and Anne-!aure "risac-#hra$bi from I%A &ournal. '(ternal peer reviewers for this Special Issue were %ollis #layson* Andr+ Dombrowski* #hantal -eorgel* #atherine .eneu(* obyn osla,* and .ichael Zimmermann. * * * Claude Monet, mentor ou repoussoir de la génération néo- impressionniste? Claire Maingon Abtract Was Monet the father of neo-impressionism? This article investigates the various answers that have been offered to this important and controversial question by examining the relationships – actual and purported ones – between Claude Monet and the neo- impressionists, notably !eorges "eurat and #aul "ignac. It discusses the significance that impressionism with its striving for spontaneity and its sub&ective approach to landscape had for the young painters. ' close reading of "ignac's letters to Monet suggests an amicable relationship between these two artists. Moreover significant artistic parallels can be observed between Monet(s painting and that of "eurat and "ignac especially with regard to the element of seriality$ )inally the article highlights the reception of Monet(s paintings by the neo-impressionists, notably of his *ouen Cathedral series in +,-.$ Sommaire Intro!uction Dans la o!ernit" !e #onet $n nou%el i pressionnisme &a série' la %ision( un en)eu !i**"rentiel &i+ert" -
French Poetry and Contemporary Reality C. 1870 - 1887
Durham E-Theses French poetry and contemporary reality c. 1870 - 1887 Watson, Lawrence J. How to cite: Watson, Lawrence J. (1976) French poetry and contemporary reality c. 1870 - 1887, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/8021/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk FRENCH POETRY AND CONTEMPORARY REALITY c 1870 - 1887 A study of the thematic and stylistic implications of the poetic treatment of the modern and the ephemeral LAWRENCE J WATSON Thesis submitted in the University of Durham for the degree of Doctor of philosophy December 1976 VOLUME TWO FULL COIIMtfTS Oi VULTJlli, TwO P^T TWO ^CMTIlilJiJ) onapter Two: Contemporary Subjects (f) Everyday Lue 478 (g) The World of Sens<?Tion 538 Chapter Three: The Impact of Contemporary Speech 582 (a) 'The Particulcrisation of Poetic Language in the /.ge of Science and ilc^terialism P. -
Penn Bowl 2018 Packet 12 Editors: Jaimie Carlson, Jordan Brownstein, Eric Mukherjee, Jinah Kim Writers
Penn Bowl 2018 Packet 12 Editors: Jaimie Carlson, Jordan Brownstein, Eric Mukherjee, JinAh Kim Writers: Jaimie Carlson, Nitin Rao, Margaret Tebbe, Ayush Parikh, Antonio Jimenez, Paul Lee, Lorenza Colagrossi, Will DiGrande, Eric Mukherjee, Sam Claypoole, Jacob Dubner, JinAh Kim, Gabe Ajzenman, Lam Tran, Joe Jun, Alex Quinn Tossups 1. Thomas Mann’s rhetorical question, “is not peace an element of civil corruption?” and an unnamed person’s observation about the “unconscious boredom of peace” are cited in this book’s chapter “The Flames of Louvain.” John F. Kennedy was influenced by this book during the Cuban Missile Crisis and sent copies of it to every American military base in the world. This book opens with the funeral of Edward VII, observing that “on history’s clock it was (*) sunset, and the sun of the old world was setting in a dying blaze of splendor never to be seen again.” The sections “Plans,” “Outbreak,” and “Battle” make up most of this Pulitzer-winning book. For 10 points, name this historical work by Barbara W. Tuchman that detailed the events that occurred during the first month of World War I. ANSWER: The Guns of August <AJ, European History> 2. Liebert and Baron performed an experiment inspired by this one in which subjects could press a button to heat up a handle that another subject was holding. This experiment tried to simplify theories of “defensive identification” by Mowrer and Freud. Follow-up experiments to this one included a version with a cartoon cat to examine effects of media influence, as well as reprimands or rewards given to the main participants. -
IDS 2935 EUROPEAN EXPERIENCE: a HUMANITIES PERSPECTIVE UF Quest 1 – Identities General Education-Humanities-International-Writing Requirement 2 Spring 2019
IDS 2935 EUROPEAN EXPERIENCE: A HUMANITIES PERSPECTIVE UF Quest 1 – Identities General Education-Humanities-International-Writing Requirement 2 Spring 2019 Instructor Dr. Chrysostomos Kostopoulos, Classics, Center for EU Studies Contact Info: [email protected], 352-294-7146, Turlington Hall 3328 Office Hours: MTWR 4 and by appointment The best way to reach me is through email. You do not need an appointment for walk-in office hours, but without an appointment, you may have to wait your turn. Teaching Assistant: Asli Baysal, Political Science Contact Info: [email protected], Turlington 3343 Office Hours: Tuesdays and Thursdays 13:50-14:50 and by appointment Lectures Tuesday and Thursday, Periods 8-9; 9, Turlington 2350 Course Description The concept of “Europe(an)” has been delineated by the cultural achievements of the ancient European people, the domination of the Roman Empire and the spread of Christianity, the scientific and philosophical advances of the Renaissance and the political developments of the French revolution. For many centuries, European civilization dominated the world through empires that competed politically and economically but essentially represented a single cultural heritage and that heritage was regarded by many as the crucible of human civilization. However, today we acknowledge the existence of a variety of concepts of Europe, defined along territorial, cultural, political and ethnic lines and Europe is viewed as a continent of a great cultural diversity. The main goal of this course is to examine the complex nature of collective European identities in general and the common “European Identity” in particular. Collective identity has become an issue in Europe where public debate is increasingly concerned with the problem of a European identity that is seen as lacking or as needed. -
Jag Final Draft
Copyright by Jason Alan Goldstein 2017 The Dissertation Committee for Jason Alan Goldstein Certifies that this is the approved version of the following dissertation: Translating Art into Words: The Work of Claude Monet in the Writings of Gustave Geffroy and Octave Mirbeau Committee: Richard Shiff, Supervisor Michael Charlesworth Kurt Heinzelman Linda Dalrymple Henderson Alexandra Wettlaufer Translating Art into Words: The Work of Claude Monet in the Writings of Gustave Geffroy and Octave Mirbeau by Jason Alan Goldstein Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2017 Dedication To my parents Acknowledgements In these rather uncertain times, I consider myself particularly fortunate to devote my life to the study and teaching of art and literature. Careful looking and close reading slow down our frenetic pace and encourage creative thought. I have found few things more rewarding than spending an unbroken hour in front of one of Claude Monet’s magnificent canvases. Experiencing Monet through the eyes and words of two of his staunchest critical supporters Gustave Geffroy and Octave Mirbeau has enriched my understanding of his paintings in ways I never could have imagined. I would have lacked the means to complete a project of this nature without the following magnanimous individuals and institutions. The libraries and the remarkable people who keep them running at the University of Texas at Austin deserve a great deal of credit for my ability to research and write this dissertation. -
2014 Revue De L’Académie
REVUE de L’ACADÉMIE DU VAR REVUE DE L’ACADÉMIE DU VAR 2014 REVUE DE L’ACADÉMIE 15e 2014 Revue de l’académie du Var Année 2014 Nouvelle série Tome XV La Revue de l’académie du Var paraît depuis 1833 grâce à une importante participation financière du Conseil général du Var Toulon, académie du Var, 2014 La Revue de l’académie du Var est publié par : ACADÉMIE DU VAR (association loi 1901) Passage de la Corderie 83000 Toulon - France Téléphone 04 94 92 62 67 Site Internet : http ://www.academieduvar.fr Mél. : [email protected] Directeur de la publication : Jacques KERIGUY Rédacteur en chef : Georges GIRARD Secrétaire de rédaction : Annie BOFFA Comité de rédaction : Jean PERREAU (commission des beaux-arts), Gilbert BUTI (commission d’histoire et d’archéologie), Bernard CROS (commission des sciences), Yves STALLONI (commission de littérature), Anne SOHIER-MEYRUEIS, Bernard BRISOU, Jacques KERIGUY, Yves ARTRU, Philippe DEVERRE, Gérard GARCIA, André BÉRUTTI Imprimeur : Imprimerie SIRA - 960 route de Bandol - 83110 Sanary-sur-Mer Parution : janvier 2016. Dépôt légal : 1er trimestre 2016. ISSN : 1148-7852 Les opinions émises dans cette revue n’engagent que la responsabilité de leurs auteurs. Droits de traduction et d’adaptation réservés pour tous pays. Le Code de la propriété intellectuelle, dans l’article L122-5, alinéa 2, autorise « les copies ou reproductions réalisées à partir d’une source licite et strictement réservées à l’usage privé du copiste et non destinées à une utilisation collective » et, dans l’alinéa 3a, « les analyses et courtes citations justifiées par le caractère critique, polémique, pédagogique, scientifique ou d’information de l’œuvre à laquelle elles sont incorporées ». -
Les Années Cubistes R Collections Du Centre Georges Pompidou, Musée National D'art Moderne Et Du Musée D'art Moderne De Lille Métropole
Centre Musée d'art moderne Lille Métropolep' Georges Pompidou Villeneuve d'Aval Les Années Cubistes r Collections du Centre Georges Pompidou, Musée national d'art moderne et du Musée d'art moderne de Lille Métropole 13 mars - 18 juillet 1999 Alexandre Archipenko, Géorges Braque, Joseph Csaky, Robert Delaunay, Sonia Delaunay, André Derain, Marcel Duchamp, Raymond Duchamp-Villon, Henri Gaudier- Brzeska, Albert Gleizes, Juan Gris, Roger de La Fresnaye, Henri Laurens, Fernand Léger, André Lhote, Jacques Lipchitz, Louis Marcoussis, Jean Metzinger, Pablo Picasso, Léopold Survage, Jacques Villon, Ossip Zadkine. vernissage samedi 13 mars 1999 à 12 heures documents photographiques sur demande Contacts presse Karine Desombre Anne-Marie Pereira Musée d'art moderne Direction de la communication de Lille Métropole Centre Georges Pompidou Villeneuve d'Ascq tél . 01 44 78 40 69 tél . 03 20 19 68 80 fax . 01 44 78 13 02 fax .03 20 19 68 99 e-mail : anne-marie .pereira@cnac-gp .fr e-mail : kdesombre@nordnet .fr 5/02/1999 Les Années Cubistes Sommaire . ... .. ... .... .... ... .. ... .. .. ... ... ... ... .. .... .. paqes Présentation générale de l'exposition 3 Les Années Cubistes 1907-1920 : chronologie Les artistes et les oeuvres 7 Bibliographie sélective 17 Catalogue 20 Outils et activités culturels et pédagogiques 21 Les partenaires 22 Informations pratiques 23 Commissaires de l'exposition . .. .... .. ... ... .. ...... ... .. .. .. .. ... ...... ... Isabelle Monod-Fontaine, directeur adjoint, et Claude Laugier, conservateur, Musée national d'art moderne, Joëlle Pijaudier-Cabot, conservateur en chef, et Savine Faupin, conservateur, Musée d'art moderne de Lille Métropole. Scénographie de l'exposition . .. .... .. ... ... ... .. .. .... ... .. ... .. .. .. ... .. ... ... Richard Klein & Benoît Grafteaux, architectes d .p .l .g . Les Années Cubistes Présentation générale de l'exposition . -
1941 Painting Today and Yesterday in the US (June 5-September 1)
1941 Painting Today and Yesterday in the U.S. (June 5-September 1) “Painting Today and Yesterday in the United States” was the museum’s opening exhibition, highlighting trends in American art from colonial times onward as it reflected the unique culture and history of the United States. The exhibition also exemplified the mission of the SBMA to be a center for the promotion of art in the community as well as a true museum (Exhibition Catalogue, 13). The exhibition included nearly 140 pieces by an array of artists, such as Walt Kuhn [1877–1949], Yasuo Kuniyoshi [1889-1953], Charles Burchfield [1893-1967], Edward Hopper [1882-1967] and Winslow Homer [1836-1910]. A very positive review of the exhibition appeared in the June issue of Art News, with particular accolades going to the folk art section. The Santa Barbara News- Press wrote up the opening in the June 1 edition, and Director Donald Bear wrote a series of articles for the News-Press that elaborated on the themes, content, and broader significance of the exhibition. Three paintings from this exhibition became part of the permanent collection of the SBMA: Henry Mattson’s [1873-1953] “Night Mystery,” Katherine Schmidt’s [early 20th century] “Pear in Paper Bag” and Max Weber’s [1881-1961] “Winter Twilight” (scrapbook 1941-1944-10). The theme of this exhibition was suggested by Mrs. Spreckels (Emily Hall Spreckels [Tremaine]) at a Board meeting and was unanimously approved. The title of the exhibition was suggested by Donald Bear, also unanimously approved by the Board. Van Gogh Paintings (& Jongkind) (September 9) Seventeen of Vincent van Gogh’s paintings were shown in this exhibition of the “most tragic painter in history.” This exhibition was shown in conjunction with the Master Impressionists show (see “Three Master French Impressionists” below). -
Universidade De São Paulo Faculdade De Filosofia, Letras E Ciências Humanas Departamento De Teoria Literária E Literatura Comparada
UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE TEORIA LITERÁRIA E LITERATURA COMPARADA GUILLAUME APOLLINAIRE: REFLEXÃO ARTÍSTICA E ELABORAÇÃO POÉTICA Conrado Augusto Barbosa Fogagnoli Tese apresentada ao Programa de Pós- Graduação em Letras do Departamento de Teoria Literária e Literatura Comparada da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, para obtenção do título de Doutor em Letras. Orientadora: Professora Drª. Sandra Margarida Nitrini. São Paulo 2018 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação na Publicação Serviço de Biblioteca e Documentação Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo Fogagnoli, Conrado Augusto Barbosa Fg Guillaume Apollinaire: Reflexão Artística e Elaboração Poética / Conrado Augusto Barbosa Fogagnoli ; orientador Sandra Margarida Nitrini Nitrini. - São Paulo, 2018. 252 f. Tese (Doutorado)- Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo. Departamento de Teoria Literária e Literatura Comparada. Área de concentração: Teoria Literária e Literatura Comparada. 1. Guillaume Apollinaire. 2. Arte Moderna. 3. Pintura Francesa. 4. Poesia Francesa. 5. Pintura e Poesia. I. Nitrini, Sandra Margarida Nitrini, orient. II. Título. Para Tina minha paciente companheira das batalhas diárias Ao Juan e ao Leon por me ensinarem diariamente esta lição de poesia: estranhar, sempre, o óbvio. AGRADECIMENTOS Agradeço à minha orientadora, Sandra Margarida Nitirini, por aceitar o desafio de acompanhar este projeto de trabalho, no início, apenas tateado. À Tina, que me acompanhou ao longo de toda minha trajetória acadêmica, que pacientemente me escutou, me aconselhou, me apoiou incondicionalmente, e que nos momentos mais difíceis sempre esteve a meu lado. -
Gauguin, Gilgamesh, and the Modernist Aesthetic Allegory
© 2011 Jennifer Mary McBryan ALL RIGHTS RESERVED GAUGUIN, GILGAMESH, AND THE MODERNIST AESTHETIC ALLEGORY: THE ARCHAEOLOGY OF DESIRE IN NOA NOA by JENNIFER MARY McBRYAN A dissertation submitted to the Graduate School - New Brunswick Rutgers, the State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Comparative Literature Written under the direction of Ben. Sifuentes-Jáuregui and approved by _________________________________ _________________________________ _________________________________ _________________________________ New Brunswick, New Jersey MAY, 2011 ABSTRACT OF THE DISSERTATION Gauguin, Gilgamesh, and the Modernist Aesthetic Allegory: The Archaeology of Desire in Noa Noa By JENNIFER MARY McBRYAN Dissertation Director: Professor Ben. Sifuentes-Jáuregui This dissertation explores Paul Gauguin's Noa Noa (“fragrant” in Tahitian), a fictionalized “memoir” of his first journey to French Polynesia, which includes a transformative episode recounting a trip into the forest to collect wood for carving into sculptures. In Gauguin scholarship, this episode has provoked speculation because of the eroticized way in which the artist describes his relationship with his young Tahitian male guide on the expedition; several scholars have argued that this episode of Noa Noa is designed to trouble conventional bourgeois boundaries, while others have offered sharp postcolonial critiques. I offer a different reading of this episode, arguing that the forest journey in Noa Noa replays the journey to the cedar forest in the myth of Gilgamesh, and that the artist’s transplantation of this ancient Assyrian epic to a Polynesian setting adds a ii new layer to our understanding of the transnational and transhistorical nature of Gauguin's primitivism. -
Painting Today and Yesterday in the United States (June 5–September 1)
1941 Painting Today and Yesterday in the United States (June 5–September 1) Painting Today and Yesterday in the United States was the museum’s opening exhibition, highlighting trends in American art from colonial times onward as it reflected the unique culture and history of the United States. The exhibition also exemplified the mission of the SBMA to be a center for the promotion of art in the community as well as a true museum (Exhibition Catalogue, 13). The exhibition included nearly 140 pieces by an array of artists, such as Winslow Homer (1836–1910), Walt Kuhn (1877–1949), Edward Hopper (1882–1967), Yasuo Kuniyoshi (1889–1953), and Charles Burchfield (1893–1967), and A very positive review of the exhibition appeared in the June issue of Art News, with particular accolades going to the folk art section. The Santa Barbara News-Press wrote up the opening in the June 1 edition, and Director Donald Bear wrote a series of articles for the News-Press that elaborated on the themes, content, and broader significance of the exhibition. Three paintings from this exhibition became part of the permanent collection of the SBMA: Henry Mattson’s (1873–1953) Night Mystery, Max Weber’s (1881–1961) Winter Twilight, and Katherine Schmidt’s (1899–1978) Pear in Paper Bag (scrapbook 1941–1944–10). The theme of this exhibition was suggested by Mrs. Spreckels (Emily Hall Spreckels (Tremaine)) at a Board meeting and was unanimously approved. The title of the exhibition was suggested by Donald Bear, also unanimously approved by the Board. Van Gogh Paintings (September 9) Seventeen of Vincent van Gogh’s (1853–1890) paintings were shown in this exhibition of the “most tragic painter in history.” This exhibition was shown in conjunction with the Master Impressionists show (see “Three Master French Impressionists” below). -
LA FEMME ET L'oiseau E Et XIX E Siècles
LA FEMME ET L’OISEAU aux XVIIIe et XIXe siècles dans la littérature, la peinture et la musique COLLECTION Révolutions et Romantismes Colloque de doctorants organisé dans le cadre de l’ED LLSH de Clermont-Ferrand Études réunies et présentées par Simone Bernard-Griffiths et Daniel Madelénat 16 © Maison des Sciences de l’Homme 4, rue Ledru – 63057 Clermont-Ferrand Cedex 1 Tel. 04 73 34 68 09 – Fax 04 73 34 68 12 [email protected] www.pubp.fr Collection “Révolutions et Romantismes” dirigée par le CELIS, Clermont-Ferrand ISBN - 978-2-84516-539-7 Troisième trimestre 2011 LA FEMME ET L’OISEAU AUX XVIIIe ET XIXe SIÈCLES Colloque de doctorants organisé dans le cadre de l’ED LLSH de Clermont-Ferrand © PUBP, 2011, ISBN - 978-2-84516-539-7 Préface Daniel MADELÉNAT Le soleil, la campagne, la grâce d’une femme, les chants des ramures fleuries : quoi de plus poncif ! Voici la jeune cycliste sur le chemin : Elle s’approche, avec un bruit d’ailes léger. Sa robe autour des roues a l’air de voltiger. Elle arrive, elle est là, elle peut goûter la douceur d’être ainsi, par ce matin sonore de feuillées et d’oiseaux, dans ce village frais, la jeune fille en blanc qui vient de la forêt.1 Qui n’associerait Berthe Morisot au célèbre Jour d’été (1879, Londres, National Gallery) exposé aux Impressionnistes de 1880 : deux élégantes, en canot, se détachent sur les reflets d’une eau où glissent, comme émanés de l’onde, deux cygnes ; thème maintes fois repris (Sur le lac ou Petite fille au cygne, Sur le lac du Bois de Boulogne, Cygnes en automne…), devenu comme l’emblème d’une manière et d’une sensibilité proprement féminines.