Macbeth Lollesgaard, Hans (1923-1993) bladtegner
1980.09.05
Image
Provider: - Institution: - Data provided by Europeana Collections- Björn Asker som Macbeth.- Tusch, pen REX DB003453- All metadata published by Europeana are available free of restriction under the ...Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- fotomontaż polski- odbitka na papierze srebrowo-żelatynowym- fotografia polska- Tyt. i data wg adnot. na rew.- Sygn. wg piecz. na ...rew.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
"L'Euguólionne est un roman féministe.", ,nous dit Joan Basilo dans son article écrit lors de la sortie du livre. C'est l'une des raisons pour lesquelles cette oeuvre risque d'intriguer toute ...lectrice, tout d'abord parce qu'en tant que femme, elle ne peut se sentir que concernée par le mouvement ici montionné, ensuite parce que le titre même semble au pre- mier abord loin de promettre un tel contenu: son étrangeté ne somblo guère annoncer de question aussi immanente que la con- dition do la femme dans notre société.Par aillouro, le livre ayant paru relativement récem mont (on 1976), il est probable que la situation de la femme qu'il prósento est encoro la même de nos jours, d'où notre dósir do l'oxaminor do plus près.
This dissertation represents an effort to discover and explain relationships between American-British popular song and the rhetoric of social conflict during a recent historical period. Its purpose ...was to investigate the use of rock songs to communicate messages of social criticism and protest. The tools employed in the investigation were those of historical research--chiefly the methods of biography and political history--and those of rhetorical theory and criticism. Part One contains a history of rock from its traditional beginnings to the recent past, focusing primarily on songs and social conflict rhetoric between 1965 and 1970. In Part Two, attention is turned toward traditional and contemporary theories of rhetoric in a critical effort to explain the discursive and suasory aspects of song during the period. Since literally hundreds of songs and singers addressed issues which engendered social conflict, the scope of the study was necessarily selective. A close historical link was found between the rhetoric of social movements which protested racial inequality and American military intervention in Vietnam and the songs of such artists as Bob Dylan, the Beatles, the Rolling Stones, the Jefferson Airplane, Country Joe and the Fish, and many others. Artists and songs commonly went beyond the traditional place of popular music as primarily an entertainment medium into the realm of advocacy concerning social issues and policy. The application in Part Two of rhetorical theories and criticism to the social conflict songs of the sixties revealed several interesting aspects of song rhetoric. Songs advocating social change have been recognized as potential threats to established social order at least since Plato's time. However, the stunning growth of mass communication media has greatly increased the abilities of singers to reach national and international audiences. Songs about social conflict appear in all of the three traditional rhetorical contexts--the judicial, the legislative, and the ceremonial. According to classical and modern definitions and theories, from Aristotle to the present, it is clear that songs can and do function as persuasive forms of communication. Songs are an important means of building unity and identification between singer and audience with regard to whatever issues, facts, policies, and values an artist chooses to address in song. Among the most important rhetorical images used by both singers and agitators to express discontent is their common identification with heroic outlaws in the tradition of Robin Hood and Jesse James. Songs in praise of outlaws as champions of the poor and oppressed symbolize the essential impulse to revolution. Moreover, the betrayed outlaw as victim and martyr to the cause of social justice serves as a metaphor that illuminates one fundamental process of social conflict and change--that is, the redemption and rebirth of society as the result of a ritual sacrifice of symbolic victims. This rhetoric of heroic outlawry, of self-sacrifice aimed at overthrowing the tyrannical authority of an unjust order, often appeared in the songs of the late sixties. As a rhetoric of protest, such songs conform to theories of social relations and symbolic action advanced by Kenneth Burke and Hugh Duncan. Social conflict rhetoric generated apocalyptic visions of death and renewal; song rhetoric in the late sixties gave expressive, artistic form to such visions in a unique and potent way.
The Poema de mio Cid and the Mocedades de Rodrigo are the only extant epic texts in the cycle of the Cid. Ramon Menendez Pidal characterized the semantic relationship between these two works as that ...of text to gloss. By these terms he referred to the supposedly historical faithfulness of the Cid (the text), originated by events, and the anti-historical orientation of the Rodrigo (the gloss), brought about by a declining epic tradition. I first consider Menendez Pidal's definitions of text and gloss, and his views on the traditional text as a variable and open composition. I then propose to analyze these poems retaining the pidalista notion of the fluidity of the traditional text, but opposing the deprecatory judgements contained in gloss. In Chapters Two and Three, semantic continuities and discontinuities are examined--within each poem and between them. I define the underlying semantic structures of both poems as consisting in the interaction between two units of meaning: the force and the sacred. In the Cid, the protagonist's banishment splits these values into the terms of an opposition between contraries. The Cid's gradual rise in power is seen as a reenactment of the pre-narrative harmony in which force and the sacred had been joined as a complex unity: the Cid and his king had been bound by juridical relationships and soldiering. The Cid's military feats culminate with his lordship of Valencia, which actualizes the exile's impulse to regain the harmony of values. His Valencia is called both heredad (a possession) and ganancia (acquired by conquest). The lexical choice rictad also conveys the twofold unity that the hero, his followers, and even his enemies try to obtain. The Cid's definition of rictad retains the duality of its etymon: the "power" of juridical authority and the "wealth" implied in defeating the enemy. Examined in light of these patterns, the "Afrenta de Corpes" shows the Infantes de Carrion willfully negating the twofold harmony that they had also desired. The Infantes' sadistic torture of their wives, or delight in cruelty, is a necessary stage of return to Carrion, the place the Infantes habitually invoke as synonymous to sacred univalence. The dualistic unity of the older poem is conceived of in the Rodrigo as that which unifies the narrative and ends it. The young warrior's oath not to wed Ximena nor to kiss the king's hand in vassalage until his return from five military victories decrees the articulation of force (the self-imposed ordeals) and the sacred (the delayed rituals). Military performance is equated with the internal referential level described in ritual. Force is thus to be represented in a sacred context. This is the dominant pattern of the Rodrigo that the miraculous epiphany comments on by reversing it. The protagonist's exaggerated bellicosity and his outrageous behavior are justified. They turn into the heroic signified and project the sacred onto the closing action of the Rodrigo. This union is analogous to the poem's own insertion into a poetic cycle. The text is predicated on the knowledge of the Cid's mythification by the epic and ballad traditions which it glosses. The concluding chapter weighs the Avengalvon-Burgos de Ayllon parallel as a point of contact between the poems and one that glosses both texts. The chief devices which bridge semantic breaks and modifying narrative patterns are consistent with the compositional flexibilities of the traditional text.
An interdisciplinary investigation of large ephermeral and journalistic literature, this work traces the main scenario of the nation's first legitimate novel from its roots in the conflicting mental ...set of the American Enlightenment to its vestiges in the Twentieth Century. Introducing the contrast between ancient and middle European uses of the legends and lore surrounding the Akedah, or Binding, and inferred meanings of that tradition in modern popular literature of the United States, it explores the peculiarly American presentiments that not only is the voice of the people not of necessity the voice of God but also that the voice of God is not always what it seems. At the center of a workingout of the culture's belief system relative to these matters is a structuralist approach to newspaper, pamphlet, and sermon accounts of scores of parricide cases concentrated in the early national period. A matrix of folktale-like components are described in an effort to link the homicides to the demands of an increasingly shrill campaign for a perceptibly national literature. Especially in the dramatic fictions of Philadelphians writing in the Federal period through the Jacksonian years, these themes are as noticeable as they are yet relevant. Research was completed under the auspices of The Philadelphia Center for Early American Studies of the University of Pennsylvania through a grant from the Andrew W. Mellon foundation.
Provider: - Institution: Gredos. Repositorio Documental de la Universidad de Salamanca - Data provided by Europeana Collections- "Este Artículo pertenece a la sección Arte, Letras, Espectáculos. "- ...All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
