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Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI Bell & Howell Information and beaming 300 North Zeeb Road, Ann Aibor, Ml 48106-1346 USA 800-521-0600 CRITICAL DISCOURSE OF POSTMODERN AESTHETICS IN CONTEMPORARY FURNITURE: AN EXAMINATION ON ART AND EVERYDAY LIFE IN ART EDUCATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sun-Ok Moon ***** The Ohio State University 1999 Dissertation Committee: ^Approved by Dr. -
Baroque and Rococo Art and Architecture 1St Edition Pdf, Epub, Ebook
BAROQUE AND ROCOCO ART AND ARCHITECTURE 1ST EDITION PDF, EPUB, EBOOK Robert Neuman | 9780205951208 | | | | | Baroque and Rococo Art and Architecture 1st edition PDF Book Millon Published by George Braziller, Inc. He completed two chapters and a table of con- tents for a projected five-volume treatise on painting, Discorso intorno alle immagini sacre e profane, published in part in , which, although directed at a Bolognese audience, had a great impact on artistic practice throughout the Italian peninsula. As Rubenists they painted in a similar manner; indeed contempo- raries called both "the Van Dyck of France" because they borrowed so considerably from Flemish Baroque pictorial tradition. United Kingdom. Francis ca. Both authors portray the sim- artists to study its sensuous and emot1onal ly stimulating effects. Create a Want BookSleuth Can't remember the title or the author of a book? Photographs by Wim Swaan. Henry A. Championing the that he took liberties with generally accepted ideas concept of art as the Bible of the illiterate, and pressing for regarding the Day of Judgment. Dust Jacket Condition: None. The university also prompted a strong antiquarian tradition among collectors, who sought out ancient sculpture and encouraged historical subjects in painting. Published by George Braziller To browse Academia. Thus Louis XIV, worshiping from the balcony, ruler or noble and focused on status rather than personal- appeared as successor to the great rulers of the past, spe- ity. Millon, Vincent Scully Jr. Gently used, light corner wear; crease to the spine. Sean B. The author, former Director of the Courtauld Institute of Art, is known internationally for his many works on French and Italian architecture and painting. -
Champion Maker
MAKER CHAMPION The Toyota Blue Grass Stakes has shaped the careers of many notable Thoroughbreds 48 SPRING 2016 K KEENELAND.COM Below, the field breaks for the 2015 Toyota Blue Grass Stakes; bottom, Street Sense (center) loses a close 2007 running. MAKER Caption for photo goes here CHAMPION KEENELAND.COM K SPRING 2016 49 RICK SAMUELS (BREAK), ANNE M. EBERHARDT CHAMPION MAKER 1979 TOBY MILT Spectacular Bid dominated in the 1979 Blue Grass Stakes before taking the Kentucky Derby and Preakness Stakes. By Jennie Rees arl Nafzger’s short list of races he most send the Keeneland yearling sales into the stratosphere. But to passionately wanted to win during his Hall show the depth of the Blue Grass, consider the dozen 3-year- of Fame training career included Keeneland’s olds that lost the Blue Grass before wearing the roses: Nafzger’s Toyota Blue Grass Stakes. two champions are joined by the likes of 1941 Triple Crown C winner Whirlaway and former record-money earner Alysheba Instead, with his active trainer days winding down, he has had to (disqualified from first to third in the 1987 Blue Grass). settle for a pair of Kentucky Derby victories launched by the Toyota Then there are the Blue Grass winners that were tripped Blue Grass. Three weeks before they entrenched their names in his- up in the Derby for their legendary owners but are ensconced tory at Churchill Downs, Unbridled finished third in the 1990 Derby in racing lore and as stallions, including Calumet Farm’s Bull prep race, and in 2007 Street Sense lost it by a nose. -
The Furnishing of the Neues Schlob Pappenheim
The Furnishing of the Neues SchloB Pappenheim By Julie Grafin von und zu Egloffstein [Master of Philosophy Faculty of Arts University of Glasgow] Christie’s Education London Master’s Programme October 2001 © Julie Grafin v. u. zu Egloffstein ProQuest Number: 13818852 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818852 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 l a s g o w \ £5 OG Abstract The Neues SchloB in Pappenheim commissioned by Carl Theodor Pappenheim is probably one of the finest examples of neo-classical interior design in Germany retaining a large amount of original furniture. Through his commissions he did not only build a house and furnish it, but also erected a monument of the history of his family. By comparing parts of the furnishing of the Neues SchloB with contemporary objects which are partly in the house it is evident that the majority of these are influenced by the Empire style. Although this era is known under the name Biedermeier, its source of style and decoration is clearly Empire. -
The Symbolism of Blood in Two Masterpieces of the Early Italian Baroque Art
The Symbolism of blood in two masterpieces of the early Italian Baroque art Angelo Lo Conte Throughout history, blood has been associated with countless meanings, encompassing life and death, power and pride, love and hate, fear and sacrifice. In the early Baroque, thanks to the realistic mi of Caravaggio and Artemisia Gentileschi, blood was transformed into a new medium, whose powerful symbolism demolished the conformed traditions of Mannerism, leading art into a new expressive era. Bearer of macabre premonitions, blood is the exclamation mark in two of the most outstanding masterpieces of the early Italian Seicento: Caravaggio's Beheading a/the Baptist (1608)' (fig. 1) and Artemisia Gentileschi's Judith beheading Halo/ernes (1611-12)2 (fig. 2), in which two emblematic events of the Christian tradition are interpreted as a representation of personal memories and fears, generating a powerful spiral of emotions which constantly swirls between fiction and reality. Through this paper I propose that both Caravaggio and Aliemisia adopted blood as a symbolic representation of their own life-stories, understanding it as a vehicle to express intense emotions of fear and revenge. Seen under this perspective, the red fluid results as a powerful and dramatic weapon used to shock the viewer and, at the same time, express an intimate and anguished condition of pain. This so-called Caravaggio, The Beheading of the Baptist, 1608, Co-Cathedral of Saint John, Oratory of Saint John, Valletta, Malta. 2 Artemisia Gentileschi, Judith beheading Halafernes, 1612-13, Museo Nazionale di Capodimonte, Naples. llO Angelo La Conte 'terrible naturalism'3 symbolically demarks the transition from late Mannerism to early Baroque, introducing art to a new era in which emotions and illusion prevail on rigid and controlled representation. -
Roy Lichtenstein's Drawings. New York, Museum of Modern
EXHIBITION REVIEWS and located anything that looks Biedermeier in a bourgeois milieu. The traditional view has recently come under damaging scrutiny. Dr Haidrun Zinnkann in a study of furniture produced in Mainz - an important centre of manu- facture - has looked at cabinet-makers' order books, finding that it was the aris- tocracy who first commissioned pieces in Biedermeier style. Only around 1830 did the local Mainz middle classes, copying their 'social betters', approach manufac- turers for such furniture.2 What of Biedermeier in Munich? Here, the Stadtmuseum collection is important because so many of its 300-odd Biedermeier pieces can be dated, and their history documented. To be more precise, the mu- seum has fallen heir to a good deal of furniture from the residences of the former ruling house ofWittelsbach. Between 1806 and 1815 the Wittelsbachs commissioned large numbers of pieces in a style that can only be described as Biedermeier (Fig.76). This furniture was for everyday use, while grander rooms were decorated in Empire style. Thus in Munich Biedermeier appears a full decade before 'it should'. It was in- troduced by a court that also had a taste for French furnishings, and the work was not executed by craftsmen in the town 76. Biedermeierchair, but by the royal cabinet-maker, Daniel, c. 1806-15. and his sub-contractor. (The evidence Height92/46 cm, breadth46.5/44.5 cm. presented to support this is so overwhelm- as to be (Exh. Stadtmuseum, ing incontestable.) Moreover, Munich). enough is known about Munich in this period to be able to say how Biedermeier over from spilled the ruling house into the travellers reached Munich, but they took 2H. -
A Theological Reading of the Gideon-Abimelech Narrative
YAHWEH vERsus BAALISM A THEOLOGICAL READING OF THE GIDEON-ABIMELECH NARRATIVE WOLFGANG BLUEDORN A thesis submitted to Cheltenham and Gloucester College of Higher Education in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts & Humanities April 1999 ABSTRACT This study attemptsto describethe contribution of the Abimelech narrative for the theologyof Judges.It is claimedthat the Gideonnarrative and the Abimelechnarrative need to be viewed as one narrative that focuseson the demonstrationof YHWH'S superiority over Baalism, and that the deliverance from the Midianites in the Gideon narrative, Abimelech's kingship, and the theme of retribution in the Abimelech narrative serve as the tangible matter by which the abstracttheological theme becomesnarratable. The introduction to the Gideon narrative, which focuses on Israel's idolatry in a previously unparalleled way in Judges,anticipates a theological narrative to demonstrate that YHWH is god. YHwH's prophet defines the general theological background and theme for the narrative by accusing Israel of having abandonedYHwH despite his deeds in their history and having worshipped foreign gods instead. YHWH calls Gideon to demolish the idolatrous objects of Baalism in response, so that Baalism becomes an example of any idolatrous cult. Joash as the representativeof Baalism specifies the defined theme by proposing that whichever god demonstrateshis divine power shall be recognised as god. The following episodesof the battle against the Midianites contrast Gideon's inadequateresources with his selfish attempt to be honoured for the victory, assignthe victory to YHWH,who remains in control and who thus demonstrateshis divine power, and show that Baal is not presentin the narrative. -
American Academy of Arts and Letters NEWS RELEASE
American Academy of Arts and Letters NEWS RELEASE 633 WEST 155 STREET, NEW YORK, NY 10032 Contact: Souhad Rafey (212) 368-5900 [email protected] www.artsandletters.org EXHIBITION THE AMERICAN ACADEMY OF ARTS AND LETTERS ANNOUNCES ARTISTS 2011 INVITATIONAL EXHIBITION OF VISUAL ARTS Rosaire Appel MARCH 10 – APRIL 10 Amy Bennett Willard Boepple February 17, 2011 – Over 110 paintings, photographs, sculptures, and works on paper by 35 con- temporary artists will be exhibited at the galleries of the American Academy of Arts and Letters John Bradford on historic Audubon Terrace (Broadway between 155 and 156 Streets) from Thursday, March 10 Katherine Bradford through Sunday, April 10, 2011. Exhibiting artists were chosen from a pool of nearly 200 nominees Troy Brauntuch submitted by the 250 members of the Academy, America’s most prestigious honorary society of Nathan Carter architects, artists, writers, and composers. Robert Chambers Willie Cole ART AWARDS AND PURCHASE PROGRAM The Academy’s art awards and purchase programs serve to acknowledge artists at various stages of Adam Cvijanovic their careers, from helping to establish younger artists to rewarding older artists for their accumu- Donna Dennis lated body of work. Paintings and works on paper are eligible for purchase and placement in mu- Bryan Drury seum collections nationwide through the Hassam, Speicher, Betts and Symons Funds. Works by Jim John Duff Nutt (The Morgan Library & Museum, New York, NY), Chris Martin (Museum of Contemporary Angela Dufresne Art, Chicago, IL), Judy Linn (Dallas Museum of Art, Dallas, TX), and Charles Gaines (Minneapo- lis Institute of Arts, Minneapolis, MN) are among the twelve works purchased last year. -
GERMAN LITERARY FAIRY TALES, 1795-1848 by CLAUDIA MAREIKE
ROMANTICISM, ORIENTALISM, AND NATIONAL IDENTITY: GERMAN LITERARY FAIRY TALES, 1795-1848 By CLAUDIA MAREIKE KATRIN SCHWABE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Claudia Mareike Katrin Schwabe 2 To my beloved parents Dr. Roman and Cornelia Schwabe 3 ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisory committee chair, Dr. Barbara Mennel, who supported this project with great encouragement, enthusiasm, guidance, solidarity, and outstanding academic scholarship. I am particularly grateful for her dedication and tireless efforts in editing my chapters during the various phases of this dissertation. I could not have asked for a better, more genuine mentor. I also want to express my gratitude to the other committee members, Dr. Will Hasty, Dr. Franz Futterknecht, and Dr. John Cech, for their thoughtful comments and suggestions, invaluable feedback, and for offering me new perspectives. Furthermore, I would like to acknowledge the abundant support and inspiration of my friends and colleagues Anna Rutz, Tim Fangmeyer, and Dr. Keith Bullivant. My heartfelt gratitude goes to my family, particularly my parents, Dr. Roman and Cornelia Schwabe, as well as to my brother Marius and his wife Marina Schwabe. Many thanks also to my dear friends for all their love and their emotional support throughout the years: Silke Noll, Alice Mantey, Lea Hüllen, and Tina Dolge. In addition, Paul and Deborah Watford deserve special mentioning who so graciously and welcomingly invited me into their home and family. Final thanks go to Stephen Geist and his parents who believed in me from the very start. -
The Long Ride
SKIP DICKSTEIN THE LONG RIDE Patience helps jockeys navigate But how do riders prepare and race- plan for this uniquely competitive contest the Belmont Stakes’ 12 furlongs staged at a distance that is as unusual to them as it is to their 3-year-old equine counterparts? BY PAUL VOLPONI “You have to do your homework. You have to know where all the poles are. THE GRADE 1 BELMONT STAKES has been dubbed Make sure at all times during the race you know your position,” said Hall of Fame “The Test of the Champion,” and for good reason. Not jockey John Velazquez. “The track is so only is it the final jewel of the Triple Crown, but along big; it can be very deceiving. At a normal with the Brooklyn Invitational Stakes (G2), run the racetrack you enter the backstretch and 1 same day, it is the only 1 ⁄2-mile dirt race of any major you’ve got three-quarters of a mile re- consequence in the U.S. The 12 furlongs unfold around maining. When you hit the backstretch at Belmont Park, you’re a mile from home.” one full circuit of the Taj Mahal of racing, Belmont Hall of Fame rider Braulio Baeza won Park, known for its immense, sweeping turns. There the Belmont Stakes three times, over is little doubt it takes an ultra-talented Thoroughbred three different surfaces—at the old Bel- to prove victorious. mont Park with Sherluck in 1961, at Aq- 26 / BloodHorse.com / JUNE 9, 2018 / TheBloodHorse / BloodHorse The Belmont Stakes, one trip around the track, is a test of horse and rider THE LONG RIDE BLOOD HORSE LIBRARY HORSE LIBRARY BLOOD JEFFREY SNYDER Braulio Baeza and Arts and Letters win the Belmont in 1969; right, John Velazquez aboard Rags to Riches (outside) in 2007 ueduct (while Belmont Park was being Those two elements—conservation of the window after the start,” he said. -
La Traducción Como Interpretación
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Revistes Catalanes amb Accés Obert “Transfer” IV: 2 (noviembre 2009), pp. 40-52. ISSN: 1886-5542 TRANSFERRING U.S. LATINO POETS INTO THE SPANISH- SPEAKING WORLD1 Lisa Rose Bradford, Universidad Nacional de Mar del Plata Translation is slippery art that compounds the problems of the inherent instability of language with the unruly process of duplicating it in another system. The sliding that occurs in the translation of multicultural poetry is even more pronounced since the distance from “the norm” becomes greater and greater. This is true firstly because poetry is a genre that strives for verbal concision and innovation in a playful defiance of norms that pique the reader’s imagination; and secondly because the multilingual poet often involves a second language —either in its original form or as a translation into the language of composition—to enhance sound and cultural imagery. Latino poetry generally glides along on the linguistic and cultural tension inherent in both its poeticity and its English/Spanish and Latino/Anglo dualities that challenge normative discourse. Therefore, the translation of this verse must also produce for the reader a similarly slippery tension, a task that Fabián Iriarte and I constantly grappled with in the editing of a recent bilingual anthology, Usos de la imaginación: poesía de l@s latin@s en EE.UU. This book began as an experiment in heterolingual translation in general, and after selecting eleven Latino poets for an anthology —Rafael Campo, Judith Ortiz Cofer, Silvia Curbelo, Martín Espada, Diana García, Richard García, Maurice Kilwein Guevara, Juan Felipe Herrera, Pat Mora, Gary Soto and Gloria Vando—we spent two years researching and rehearsing versions in readings and seminars offered in the universities of Mar del Plata and Córdoba in order to test the success of our translation strategies.2 There were many aspects to be considered before deciding on the best approach to translating this verse. -
2018 Media Guide NYRA.Com 1 FIRST RUNNING the First Running of the Belmont Stakes in 1867 at Jerome Park Took Place on a Thursday
2018 Media Guide NYRA.com 1 FIRST RUNNING The first running of the Belmont Stakes in 1867 at Jerome Park took place on a Thursday. The race was 1 5/8 miles long and the conditions included “$200 each; half forfeit, and $1,500-added. The second to receive $300, and an English racing saddle, made by Merry, of St. James TABLE OF Street, London, to be presented by Mr. Duncan.” OLDEST TRIPLE CROWN EVENT CONTENTS The Belmont Stakes, first run in 1867, is the oldest of the Triple Crown events. It predates the Preakness Stakes (first run in 1873) by six years and the Kentucky Derby (first run in 1875) by eight. Aristides, the winner of the first Kentucky Derby, ran second in the 1875 Belmont behind winner Calvin. RECORDS AND TRADITIONS . 4 Preakness-Belmont Double . 9 FOURTH OLDEST IN NORTH AMERICA Oldest Triple Crown Race and Other Historical Events. 4 Belmont Stakes Tripped Up 19 Who Tried for Triple Crown . 9 The Belmont Stakes, first run in 1867, is one of the oldest stakes races in North America. The Phoenix Stakes at Keeneland was Lowest/Highest Purses . .4 How Kentucky Derby/Preakness Winners Ran in the Belmont. .10 first run in 1831, the Queens Plate in Canada had its inaugural in 1860, and the Travers started at Saratoga in 1864. However, the Belmont, Smallest Winning Margins . 5 RUNNERS . .11 which will be run for the 150th time in 2018, is third to the Phoenix (166th running in 2018) and Queen’s Plate (159th running in 2018) in Largest Winning Margins .