Browsing by Subject "Paris"

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Connecting The Dots: An Examination Of The Relationship Between Civil Unrest, City Planning, And Civil Liberties
(2018-05) Smyrl, Caroline Michele
The urban environment shapes our experiences within our worlds by creating the background for our everyday lives. The importance of the planning of public space cannot be underestimated, so we must ask the question of where plans came from and what are their effects. As society fluctuates with civil unrest and revolution, the urban atmosphere evolves with it. This thesis examines this dynamic, the relationship between civil unrest, city planning, and civil liberties. It looks at how the urban environment shapes historical revolutions, as well as how, in turn, city planning is shaped by civil unrest. By looking at two cases, Paris during and after the French Revolution in 1789 and Washington D.C. after the American Revolution, this thesis examines how city planning changed as a result of these revolutions. It also looks at the effects the planning of cities has on civil liberties, specifically the freedom of speech through assembly, that are guaranteed by the constitutions that also came out of these revolutionary periods. The first section creates operational definitions of civil unrest, city planning, and freedom of assembly that will be used in the cases that follow. The second section looks at Paris during and after the French Revolution. It examines how city planning shaped the revolution, as revolutionaries targeted symbolic structures from the old regime and the streets shaped the formation of protests. The second section also looks at how city planning changed after the revolution, disrupting the spaces that had shaped the revolution. The third section studies the formation of Washington D.C. after the American Revolution, and looks at how the ideals of forming a new, powerful government shaped the way that the monumental core of the city was planned.
Letter from Alfred R. Bellinger to Emmett L. Bennett Jr., February 01, 1953
(1953-02-01) Bellinger, Alfred R.
Letter to Fernand Poimboeuf from Unknown on 1954-08-11
(1954-08-11) Unknown
Letter to H.B. Stenzel from Gilbert Ranson on 1962-12-10
(1962-12-10) Ranson, Gilbert
Letter to H.B. Stenzel from J.L. Staed on 1938-10-10
(1938-10-10) Staed, J.L.
Letter to H.B. Stenzel from Jean-Paul Zwilling on 1962-08-29
(1962-08-29) Zwilling, Jean-Paul
Letter to H.B. Stenzel from Mary Grace Adkins on 1957-11-05
(1957-11-05) Adkins, Mary Grace
Letter to H.B. Stenzel from Mary Grace Adkins on 1957-11-28
(1957-11-28) Adkins, Mary Grace
Letter to H.B. Stenzel from R. Soyer on 1950-03-03
(1950-03-03) Soyer, R.
Letter to R. Soyer from H.B. Stenzel on 1950-03-29
(1950-03-29) Stenzel, Henryk B.
Letter to Robert Soyer from H.B. Stenzel on 1951-01-15
(1951-01-15) Stenzel, Henryk B.
The LIBERATOR Blog, January 2014
(University of Texas at Austin, 2014-01) University of Texas at Austin
Multum in parvo : the miniature hours of Edith G. Rosenwald as woman’s devotional book and amulet
(2013-05) Pietrowski, Emily Diane; Holladay, Joan A.
The Hours of Edith G. Rosenwald (c.1340–80) is a small book of hours in the Rosenwald Collection at the Library of Congress. Despite unique iconography and luxurious illuminations, this manuscript has so far received little scholarly attention. This thesis analyzes the size and iconography of the Rosenwald Hours to suggest that it was designed for a specific owner and function. No surviving documentation gives evidence of ownership, yet the standard program of miniatures was changed to suit a specific audience. The manuscript’s iconographic program and stylistic treatment are here considered in the context of contemporary books made for women, particularly women of the royal court in Paris, to suggest a likely audience. One of only a few extant miniature books of hours, the Rosenwald Hours is a valuable tool for looking at the place of small manuscripts in medieval society. This thesis examines the physical size, the iconography, and the inclusion of saint portraits as indicators of a function beyond the standard devotional use. A case is made for the manuscript’s connection to pilgrimage and to protective amulets. Combined with the assessment of its iconography, this study suggests an owner and intended use for miniature books of hours that provides a new way to look at these manuscripts, from obscure Flemish examples to the famous Hours of Jeanne d’Evreux.
Reading the city : an examination of the parallels between Charles Meryon's Eaux-fortes sur Paris and the Tales of Edgar Allan Poe
(2014-05) Abare, Sarah Catherine; Charlesworth, Michael, 1955-
Charles Meryon is considered to be among the most skilled etchers in the history of French printmaking. Born in 1821, Meryon reached professional maturity during the French etching revival. His most ambitious and well-known project is his Eaux-fortes sur Paris (1850-1854), a suite of 22 etchings comprising twelve large views of Parisian landmarks and ten smaller prints of poems and other images. What is perhaps most remarkable about Meryon's representations of Paris is that they seem to show objective, detailed views of the city while also conveying the artist's subjective, uncanny perceptions of it. This tension between the real and the metaphysical is often interpreted as an indication of Meryon's mental illness, which was well known by critics of his time. One of the most frequently touched on but least developed themes in the scholarship on Meryon is his connection with Edgar Allan Poe, who was widely read and embraced in France beginning in the 1840s. The first French translation of Poe's work was published in 1844 and by the time that Meryon began the Eaux-Fortes suite, several of Poe's short stories had been translated in French journals and newspapers. Meryon began the suite in 1850, just a year after Poe's death, and had completed at least the first state of all of the etchings by 1854. Meryon's suite, like Poe's tales, has an ominous mood and, when considered as a whole, tells a story of a city haunted by corruption and evil and by its own history. In his depictions of the city's architecture and landscape, Meryon penetrates beneath Paris's surface into what he sees as its character and his treatment of his subject aligns closely with Edgar Allan Poe's representations of the modern world. The urban environment's metaphysical underpinnings that are evident in Meryon's Eaux-Fortes sur Paris merit a thorough examination, and a consideration of Meryon's representation in conjunction with Edgar Allan Poe's tales that were popular in France during the years in which Meryon was working makes it possible to put Meryon's work and his perceptions of Paris into a larger context.
The role of Buddhism, theosophy, and science in František Kupka’s search for the immaterial through 1909
(2012-05) Jones, Chelsea Ann; Henderson, Linda Dalrymple, 1948-; Leoshko, Janice
Czech painter František Kupka (1871-1957), who spent his active years in Paris, remains one of the most under-researched artists, given his important status as one of the first painters of totally abstract works of art, beginning in 1912. As such, his philosophical and iconographical sources have yet to be fully discussed. This thesis examines how three of Kupka's sources, Buddhism, Theosophy, and science, demonstrate his belief in the existence of an immaterial reality, which shaped his art and theory. In the late nineteenth and early twentieth centuries, the notion of invisible realities was a widespread concern of individuals aware of science and/or interested in mysticism and occultism. In this context, Buddhism would have offered another model for new ways of envisioning existence and consciousness. Two of Kupka's early works, The Soul of the Lotus (1898) and The Beginning of Life (1900), show his knowledge of Buddhist, and possibly Hindu, iconography. The Musée Guimet in Paris offered a rich supply of material by which an individual could learn about Buddhism, and Kupka's imagery likely drew upon such sources. In addition to the Musée Guimet, it is likely Kupka also encountered Buddhism through popularized Eastern thought--in part through books published in Paris on that subject as well as on Theosophy. The writings of Theosophical authors regularly addressed themes related both to Buddhism and to contemporary science, which was equally concerned with the invisible and the immaterial. Discoveries such as the X-ray, for example, affirmed the inaccuracy of human vision and the existence of a reality beneath surface appearances, which supported Theosophy in its reaction against materialism. I argue that Kupka's 1909 painting The Dream serves as a culmination of his concern for alternative conceptions of reality. Painted using a formal language of transparency, The Dream demonstrates Kupka's interest in Buddhism, Theosophy, and science and represents his belief in the immaterial as a critical stage in his philosophical and artistic evolution.