Students Will Develop an Understanding of the Major Ideas
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June 1962 Acknowledgments
A CRITICAL ANALYSIS OF FIVE POEMS BY ALFRED DE VIGNY "MOISE," "LA MAISON DU BERGER," "LA COLERE DE SAMSON," "LE MONT DES OLIVIERS," AND "LA MORT DU LOUP" A THESIS SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS BY ELAINE JOY C. RUSSELL DEPARTMENT OF FRENCH ATLANTA, GEORGIA JUNE 1962 ACKNOWLEDGMENTS In the preparation of this thesis I have received generous as sistance from many persons, and it is my wish to acknowledge their kind efforts. I am indebted to Doctor Benjamin F. Hudson, Chairman, Department of French, Atlanta University, to Mrs. Jacqueline Brimmer, Professor, Morehouse College, and to Mrs. Billie Geter Thomas, Head, Modern Language Department, Spelman College, for their kind and help ful suggestions. In addition to my professors, I wish to thank the Library staff, especially Mrs. Annabelle M. Jarrett, for all the kind assistance which I have received from them. ii TABLE OF CONTENTS Page ACKNOWLEDGMENTS ±± Chapter I. INTRODUCTION ! II. THE ORIGIN AND DEVELOPMENT OF THE ROMANTIC THEMES 5 III. THE FUNCTION OF THE POET 21 IV. THE PHILOSOPHY OF ALFRED DE VIGNI AS REVEALED IN: "LA MAISON DU BERGER, •' AND "LA COLERE DE SAMSON" 30 V. THE PHILOSOPHY OF ALFRED DE VIGNY AS REVEALED IN: »LE MONT DES OLIVIERS,» AND "LA. MORT DU LOUP" £2 Conclusion 5j^ BIBLIOGRAPHY 57 iii CHAPTER I INTRODUCTION Each literaiy movement develops its favorite themes. Love, death, religion, nature and nationalism became the great themes of the romantic period. The treatment of these themes by the precursors of romanticism was later interpreted and developed by the major romantic poets, Alphonse de Lamartine, Victor Hugo, Alfred de Musset and Alfred de Vigny. -
“Tutorial for Graduating Majors” French 3500
“TUTORIAL FOR GRADUATING MAJORS” FRENCH 3500 This course prepares majors for the completion of their requirements in the B.A. in French. through advising by a designated professor. The course concludes with the Written Exit Exam, a 2-hour long comprehensive exam written in French. 1 credit. Pass/Fail. The exam is made up of 3 parts: 1) Literature (40 minutes);2) Culture/Civilization (40 minutes); 3) Advanced Grammar/Phonetics (40 minutes). In literature and in civilization, the candidate receives 10 topics, to choose 6 of them, and to write a paragraph for each. In Advanced Grammar/Phonetics some choices also occur, according to specific instructions. Approximately one month prior to the Written Exit Exam (scheduled during final exams week), an oral mid-term exam occurs. Both the mid-term and the final exams are based on “The Topics Lists” (see attached), and the guidance given by the “designated professor”. A jury made up of three professors examines the candidate in both cases. If the candidate fails one of the 3 parts of the written exam, that part may be retaken within 7- 10 days of the initial exam in the same semester. Three parts: 1. French Literature a. Middle Ages to the Revolution b. 19th and 20th Centuries 2. French Civilization a. Through the 18th Century b. The 19th – 21st Centuries 3. French Language a. Advanced Grammar b. Phonetics Part 1a: French Literature Through the 18th Century Authors Chrétien de Troyes Marie de France Villon Charles d’Orléans Rabelais Clément Marot Montaigne Pétrarque Du Bellay Corneille Racine Molière Diderot André Chénier Works, Movements, etc. -
Nomination Form, You Can Find a CD with Examples Illustrating the Content of the Collections
Memory of the World International Register Collections of the 19th century of the Polish Historical and Literary Society / Polish Library in Paris / Adam Mickiewicz Museum (Poland) 2012-26 1.0 Summary (max 200 words) The Polish Library in Paris (Bibliothèque Polonaise de Paris—BPP) was created in 1838 by Polish political émigrés who had found shelter in the French capital. This is where they could carry on various actions aiming at gaining back the independence of the State which had been lost at the end of the 18th century. Led by the wave of ideologies linked to independence and people’s freedom movements arisen in Europe in the early 19th century, it was established as a peaceful form aiming at fighting for freedom and independence. In the 19th century, Europe built places of memory such as libraries and archives in the independence States. At that time, the BPP acted as a means of substitution and continuity of the institutions destroyed by the foreign forces occupying the Polish territories. It came to birth thanks to the efforts carried out by the émigrés and the support of European intellectual elites as well as the authorities of the French State. The latter felt involved in the idea originating the creation of the BPP and they supported the action of a nation whose fight for independence, during the Uprising of 1831, had moved many European nations, aroused their admiration and strengthened their own aspirations for independence. The Polish Library gathered the scattered sources which enabled to document the history of Poland, along with the publications carried out by the emigration. -
9. Gundolf's Romanticism
https://www.openbookpublishers.com © 2021 Roger Paulin This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Roger Paulin, From Goethe to Gundolf: Essays on German Literature and Culture. Cambridge, UK: Open Book Publishers, 2021, https://doi.org/10.11647/OBP.0258 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. Copyright and permissions information for images is provided separately in the List of Illustrations. In order to access detailed and updated information on the license, please visit, https://doi.org/10.11647/OBP.0258#copyright Further details about CC-BY licenses are available at, https://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://doi.org/10.11647/OBP.0258#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 9781800642126 ISBN Hardback: 9781800642133 ISBN Digital (PDF): 9781800642140 ISBN Digital ebook (epub): 9781800642157 ISBN Digital ebook (mobi): 9781800642164 ISBN Digital (XML): 9781800642171 DOI: 10.11647/OBP.0258 Cover photo and design by Andrew Corbett, CC-BY 4.0. -
Aidan Smith 44-45 Henry W
Who’s Inside 6 Yigit˘ Akin 7 James Alm & Steven M. Sheffrin 8 Mohan Ambikaipaker 9 Mia L. Bagneris 10 Robert Birdwell 11 Ryan Boehm 12 William C. Brumfield 13-14 Amy Chaffee 15 Michael R. Cohen 16 Teresa Cole 17 Aaron Collier 18 Peter Cooley 19 Clare Daniel 20 Martin K. Dimitrov 21 Patrick J.W. Egan 22 AnnieLaurie Erickson 23 Christopher J. Fettweis 24-25 Holly Flora 26-27 Kevin H. Jones 28 Gene Koss 29 Zachary Lazar 30 Nora Lustig 31 Anna Mitchell Mahoney 32 Laura Helen Marks 33 Bernice L. McFadden 34 Roberto Nicosia 35 Ari Ofengenden 36-38 Amy Pfrimmer 39 Stephanie Porras 40 Gary A. Remer 41 Oana Sabo 42 Eduardo Silva 43 Aidan Smith 44-45 Henry W. Sullivan 46 Edwige Tamalet Talbayev 47 Raymond Taras 48 Mark I. Vail A Message from Dean Edwards Our annual showcase provides an opportunity to recognize the scholarly and creative achievements of faculty in the School of Liberal Arts. This year, we celebrate 32 books, 6 solo exhibitions, 2 theatrical performances, and 3 musical recordings—a remarkable collective accomplishment. With these works, professors in SLA advance scholarly conversations in a range of fields and disciplines, and our arts faculty bring both beauty and provocative creative thinking to publics near and far. SLA’s faculty helps us to understand the world we live in—past, present, and sometimes future—and expand our own sensibilities. They inspire their students and bring the lessons of their labors into the classroom, educating and inspiring by their discoveries and their example. -
Writing Against the Reader: Poetry and Readership in France 1840-1880
Writing Against the Reader: Poetry and Readership in France 1840-1880 Jacqueline Michelle Lerescu Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Jacqueline Michelle Lerescu All rights reserved ABSTRACT Writing Against the Reader: Poetry and Readership 1840-1880 Jacqueline Michelle Lerescu This dissertation examines the changing ways in which nineteenth-century French poets addressed readers and constructed relationships with them from the late Romantic period through the rise of the Symbolist movement. While poetry’s increased isolation from the public is recognized as an important facet of the evolution of nineteenth-century poetry, the specific reasons for this have not been broadly studied. This dissertation first examines the poet-reader relationship in prefaces to poetic works, examining the shift from Romantic poets such as Victor Hugo and Alphonse de Lamartine, who considered addressing humanity an important part of their vocation, to mid-century poets such as Charles Baudelaire, Lautréamont and Charles Cros, who used prefaces to criticize and chase away readers, to later poets such as Stéphane Mallarmé and Arthur Rimbaud, who abstained from addressing readers by not writing prefaces or publishing their poetry. In order to understand the reasons for this shift, this dissertation examines new media and new readers which these poets rejected as the antithesis of poetry: the press, women and working-class readers. This dissertation studies poetry and critical articles in the mainstream press, women’s publications and publications by and for workers to reveal the models of the poet-reader relationship they presented. -
Romanticism, Realism, Symbolism
SUNY Cortland Department of International Communications and Culture FRE 417/423 Romanticism, Realism, Symbolism Spring 2018 Bob Ponterio 3 cr. hrs Tel: 2027 home: 756-4813 MWF 12:40-1:30 Office: Main 225D Main 224 Office hrs: MWF 8:00-9:00, [email protected] MW 1:30-2:30 & by appointment Textes : Baudelaire – Les Fleurs du mal; ISBN 9781511511532426 (cheap edition). Mérimée – Carmen; Folio classique. (It’s ok to use a different edition of either.) We will use photocopied or electronic texts for most works. Each student will also be choosing one novel to read and present that can either be borrowed from the library or bought online at Amazon.com. Resources utiles: Free online versions: http://gallica.bnf.fr/classique/ Styles de peinture: http://discipline.free.fr/lesstyles.htm La musique française au XIXe siècle : Romantisme, réalisme et symbolisme: https://www.acim.asso.fr/spip.php?article37 Course Description: Themes as basis for study of several works or authors, e.g., women, love, society, revolution. For students with knowledge of French, although subject may be comparative in nature if indicated by subtitle. May be repeated as subtitle changes. Prerequisite: FRE 311, 315 or 316. (3 cr hrs) Fulfills: LASR, WI. Romanticism, Realism, Symbolism subtopic: We will explore how changing ideas about the nature of the world and of mankind led through three major approaches to writing literature in the 19th century: Romanticism, Realism, and Symbolism. An examination of a few major works of poetry, drama, and prose will help us see how these related concepts evolved and were reflected in other art forms of the period such as painting and music. -
Alphonse De LAMARTINE
• NE PAS JETER SUR LA PUBLIQUE • VOIE • NE PAS Alphonse de LAMARTINE Défenseur de l’école publique, poète, historien, romancier, voyageur et penseur Groupe scolaire Lamartine • DIRECTION DE LA COMMUNICATION VILLE DE DIJON / DIJON MÉTROPOLE • IMPRIMÉ SUR PAPIER PEFC VILLE DE DIJON / MÉTROPOLE • IMPRIMÉ SUR PAPIER • DIRECTION DE LA COMMUNICATION 21, rue Paul Gasq •Dijon OCTOBRE 2019 OCTOBRE • dijon.fr École Lamartine © Ville de Dijon Une belle école, un grand homme Le groupe scolaire Lamartine est désormais entièrement rénové. Il porte le nom* d’un personnage qui a marqué l’histoire de la littérature française. Ses recueils de poésie, en particulier, ont fait d’Alphonse de Lamartine un des chefs de file du romantisme. Souvent étudié dans les écoles pour ses qualités d’écrivain, il fut aussi un homme politique connu pendant une période agitée de l’histoire française. Il a eu des moments de gloire lors de la révolution de 1848, avec des discours à la fois lyriques et éloquents devant la chambre des députés où il a siégé pendant près de 20 ans. Il a défendu des causes sociales de premier ordre : l’abolition de l’esclavage et de la peine de mort ainsi qu’une instruction publique forte au cœur de la République. Qu’Alphonse de Lamartine, qui fut un célèbre Bourguignon, ait donné son nom à une école dijonnaise n’est donc que justice. *Délibération de la ville de Dijon du 8 février 1973 3 Alphonse de Lamartine qui es-tu ? Alphonse de Lamartine, dont on célèbre cette année le 150e anniversaire de la mort, est d’abord connu comme poète. -
Alphonse De Lamartine. I.-Childhood
" There dwelleth in the heart of every creature, 0 Arjuna, the Master- (.,hajar u-who ::y his n~agicpower causeth all things and creatures to revolve mounted upon the uliiversal n heel of time. Take sanctuary with him alone, O son of Rharata, with all thy soul ; by his grace thou shalt obtain supreme happirless, the eternal peace."--h'/~a~yavad-Gzta. No. 8. ALPHONSE DE LAMARTINE. I.-CHILDHOOD. BY ALEXANDER WILDER, M. D. 4E heart of man only rerne~~lbersa similar plane with the person of the what moves and impassions it, ' ' story. says the hero of our story. The Lamartine has admirably fulfilled popular taste never looks to details in these conditions. He was horn when history, but only to the men 1%-hohave the storm was rising that should change associated their own history with these the whole face of things, shake all ex- facts. History, as a book, is a dead isting institutions and the very ground thing, but when personified in a living on which they stood, break up the old person it becomes itself alive through arrangements of society, overturn the and through with his vital forces. Sym- throne of France and involve all Europe pathy is the key to memory. The sketch in commotion. of a career is interesting from its epic His family was of a rank sufficiently and dramatic features, from what the high to distingtlish its members from actor has experienced, from the toil, the neighboring community, and its vicissitude and anguish that he has en- representatives had attained honorable courlterecl The reader contenlplates all position in the public service. -
Nuits Lyriques Chapitre
Le livre du professeur • Français • 3e THÈME IV : REGARDER LE MONDE, INVENTER DES MONDES 6 Nuits lyriques CHAPITRE TEXTES ET IMAGES HISTOIRE DES ARTS 1. Le lyrisme romantique p. 164 Visions poétiques de la nuit p. 174 Alphonse de Lamartine, « Le Lac » ✔ J’étudie la représentation de la nuit comme témoignage des Victor Hugo, « Soleils couchants » émotions profondes. ✔ Je définis le lyrisme et les thèmes chers aux auteurs ■ JE MOBILISE DES RÉFÉRENCES CULTURELLES POUR INTERPRÉTER DES romantiques. PRODUCTIONS LITTÉRAIRES OU ARTISTIQUES ■ J’INTERPRÈTE DES TEXTES LITTÉRAIRES EN M’APPUYANT SUR DES ÉLÉMENTS D’ANALYSE POÉTIQUE LEXIQUE ET LANGUE p. 176 2. Le moi au centre de l’expérience poétique p. 166 ✔ J’utilise les figures de style et la création de périphrases. Anna de Noailles, « À la nuit » ✔ J’étudie la poésie à travers la ponctuation et je révise les William Ernest Henley, « Invictus » chaines d’accord. ✔ J’étudie la place du « je » dans le poème lyrique. ■ JE CONNAIS LA DIFFÉRENCE ENTRE L’ORAL ET L’ÉCRIT ■ J’INTERPRÈTE DES TEXTES LITTÉRAIRES EN SITUANT L’ŒUVRE DANS SON CONTEXTE HISTORIQUE EXPRESSION ÉCRITE ET ORALE p. 178 3. Le lyrisme amoureux p. 168 ✔ Pablo Neruda, Vingt poèmes d’amour et une chanson désespérée Je sais exprimer des émotions poétiquement. (poème 20) ✔ Je sais dire des poèmes lyriques. Je sais faire passer mes ✔ Je découvre le lyrisme élégiaque. émotions à l’oral. ■ JE MAITRISE LE FONCTIONNEMENT DU VERBE ET SON ORTHOGRAPHE ■ J’ADOPTE DES STRATÉGIES D’ÉCRITURE EFFICACES 4. « Ô rafraîchissantes ténèbres ! » p. 170 PROJET – pARCOURS CITOYEN p. 180 Charles Baudelaire, « Le crépuscule du soir » (poème en prose accompagné de sa version en vers) Donnez la parole à vos émotions ✔ J’analyse l’expression lyrique dans un poème en prose. -
Romantic Poetry 1 Romantic Poetry
Romantic poetry 1 Romantic poetry Romanticism, a philosophical, literary, artistic and cultural era[1] which began in the mid/late-18th century[2] as a reaction against the prevailing Enlightenment ideals of the day (Romantics favored more natural, emotional and personal artistic themes),[3][4] also influenced poetry. Inevitably, the characterization of a broad range of contemporaneous poets and poetry under the single unifying name can be viewed more as an exercise in historical The Funeral of Shelley by Louis Edouard Fournier (1889); the group members, from left compartmentalization than an attempt to right, are Trelawny, Hunt and Byron to capture the essence of the actual ‘movement’.[citation needed] Poets such as William Wordsworth were actively engaged in trying to create a new kind of poetry that emphasized intuition over reason and the pastoral over the urban, often eschewing consciously poetic language in an effort to use more colloquial language. Wordsworth himself in the Preface to his and Coleridge's Lyrical Ballads defined good poetry as “the spontaneous overflow of powerful feelings,” though in the same sentence he goes on to clarify this statement by In Western cultural context romanticism substantially contibuted to the idea asserting that nonetheless any poem of of "how a real poet should look like". An idealized statue of a Czech poet value must still be composed by a man Karel Hynek Mácha (in Petřín Park, Prague) repesents him as a slim, tender “possessed of more than usual organic and perhaps unhealthy boy. However, anthropological examination proved sensibility [who has] also thought long that he was a man of a strong, robust and muscular body constitution. -
Redalyc.Introducing Shakespeare to the Fringes of Europe: the First
SEDERI Yearbook ISSN: 1135-7789 [email protected] Spanish and Portuguese Society for English Renaissance Studies España Nicolaescu, Madalina Introducing Shakespeare to the fringes of Europe: The first Romanian performance of The Merchant of Venice SEDERI Yearbook, núm. 27, 2017, pp. 129-148 Spanish and Portuguese Society for English Renaissance Studies Valladolid, España Available in: http://www.redalyc.org/articulo.oa?id=333553631006 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Introducing Shakespeare to the fringes of Europe: The first Romanian performance of The Merchant of Venice Madalina Nicolaescu Universitatea din București, Romania ABSTRACT Shakespeare was introduced into the Romanian Principalities between 1830 and 1855, beginning with a production of The Merchant of Venice, translated from a French adaptation of the play. This essay considers the dearth of critical attention paid to the influence of French melodrama in Southeastern Europe, and in Romania in particular; examines the circulation of Shakespearean productions in this area; and investigates the various processes of de-and re-contextualization involved in the melodramatic adaptation of The Merchant of Venice in France in the 1830s and in its translation/performance in the Romanian Principalities in the 1850s. KEYWORDS: Shakespeare