scholarly journals L’inquiétante sincérité : Baudelaire et Chopin lus par André Gide

2021 ◽  
pp. 247-263
Author(s):  
Augustin Voegele
Keyword(s):  
Nineteenth Century ◽  
Andre Gide ◽  
The One ◽  
André Gide

Why does André Gide so often compare Chopin to Baudelaire? For several reasons: because for him, the two artists are unique, irreplaceable, incomparable; because both were initially misunderstood; and because they are both classics of the nineteenth century. In other words, what distinguishes them, according to Gide, is their aesthetics of discretion, which is verysimilar to the one he develops in his own works – particularly those in which he defends the homosexual cause.

scholarly journals A PICTURE BY DOSTOEVSKY AND A PANORAMA BY TOLSTOY: ON THE HISTORY OF A PARALLEL IN THE WORKS BY VYACH. IVANOV AND ANDRÉ GIDE

2021 ◽  
Vol 3 ◽  
pp. 36-49
Author(s):  
Viktor Mikhalovich Dimitriev ◽  
◽  
Keyword(s):  
Art History ◽  
Common Source ◽  
Andre Gide ◽  
History Of ◽  
The One ◽  
Diffused Light ◽  
André Gide

The article deals with the pictorial analogy used in V. Ivanov and André Gide’s works on Dosto-evsky. According to the analogy, the artistic technique of Tolstoy can be associated with the diffused light, while the one of Dostoevsky — with the art of chiaroscuro. We are trying to understand if Gide could have been familiar with the work by Ivanov; what historical, literary and art history works could have served as a common source for this analogy, and how the analogy functions in the works by the two authors.

James Thomas Marshall's correspondence (1887–1895) with Scotland's Alexander Somerville: practical, personal and controversial matters in conchology

2009 ◽  
Vol 36 (1) ◽  
pp. 4-25 ◽  
Author(s):  
P. G. MOORE
Keyword(s):  
Nineteenth Century ◽  
Taxonomic Revision ◽  
Marine Science ◽  
The One ◽  
Clyde Sea ◽  
Sea Area ◽  
Molluscan Species

Attention is drawn to the one side remaining of a nineteenth-century correspondence addressed to Alexander Somerville that is housed in the archives of the Scottish Association for Marine Science at Oban, concerning conchological matters. Previously unstudied letters from James Thomas Marshall shed new light on the practicalities of offshore dredging by nineteenth-century naturalists in the Clyde Sea Area; on personalities within conchology; on the controversies that raged among the conchological community about the production of an agreed list of British molluscan species and on the tensions between conchology and malacology. In particular, the criticism of Canon A. E. Norman's ideas regarding taxonomic revision of J. G. Jeffreys's British conchology, as expressed by Marshall, are highlighted.

The Cloud‐Astrophysics of Xenophanes and Ionian Material Monism

2009 ◽  
Author(s):  
Alexander P. D. Mourelatos
Keyword(s):  
Nineteenth Century ◽  
Fifth Century ◽  
Second Century ◽  
Human Knowledge ◽  
Next Generation ◽  
Critical Thought ◽  
Standard Edition ◽  
The One

This article discusses Xenophanes' “cloud astro-physics”. It analyses and explains all heavenly and meteorological phenomena in terms of clouds. It provides a view of this newer Xenophanes, who is now being recognized as an important philosopher-scientist in his own right and a crucial figure in the development of critical thought about human knowledge and its objects in the next generation of Presocratic thinkers. Xenophanes' account has been preserved in Aëtius, the doxographic compendium (1st or 2nd century ce) reconstructed by Hermann Diels late in the nineteenth century mainly from two sources that show extensive parallelism: pseudo-Plutarch Placita Philosophorum or Epitome of Physical Opinions (second century ce); and Ioannes Stobaeus' Eclogae Physicae or Physical Extracts (fifth century ce). In the Stobaeus version, which is also the one printed in the standard edition of the Pre-socratics.

Sr. José, the Worker mélomane, or Opera and Democracy in Lisbon ca. 1850

2016 ◽  
Vol 40 (2) ◽  
pp. 81-105
Author(s):  
Gabriela Cruz
Keyword(s):  
Nineteenth Century ◽  
Urban Environment ◽  
Bel Canto ◽  
History Of ◽  
The One ◽  
One Act ◽  
A Performance

Sr. José do capote, a worker and an opera lover, is the monad contemplated in this article. He is a theatrical figure, the protagonist of the one-act burlesque parody Sr. José do capote assistindo a uma representação do torrador (Sr. José of the Cloak attends a performance of The Roaster, 1855), but also an idea that expresses in abbreviated form the urban environment of nineteenth-century Lisbon, the theatrical and operatic sensibility of its citizens, and the politics of their engagement with the stage. This article is a history of Il trovatore and of bel canto claimed for a nascent culture of democracy in nineteenth-century Portugal.

Portrait of André Gide. A Critical Biography

Books Abroad ◽  
1954 ◽  
Vol 28 (2) ◽  
pp. 222
Author(s):  
Willis H. Bowen ◽  
Justin O'Brien
Keyword(s):  
Andre Gide ◽  
André Gide

scholarly journals André Gide et la mise en scène textuelle

1978 ◽  
Vol 14 (1-2) ◽  
pp. 47
Author(s):  
Martine Léonard
Keyword(s):  
Andre Gide ◽  
Mise En Scene ◽  
André Gide

Andre Gide and Curiosity

2010 ◽  
Vol 65 (1) ◽  
pp. 115-116
Author(s):  
J. Van Tuyl
Keyword(s):  
Andre Gide ◽  
André Gide

The One-Drop Rule in Reverse? Interracial Marriages in Napoleonic and Restoration France

2009 ◽  
Vol 27 (3) ◽  
pp. 515-548 ◽  
Author(s):  
Jennifer Heuer
Keyword(s):  
Nineteenth Century ◽  
Early Nineteenth Century ◽  
French Army ◽  
French Government ◽  
Interracial Marriages ◽  
Blacks And Whites ◽  
The One ◽  
Ministerial Decree

In the early nineteenth century, an obscure rural policeman petitioned the French government with an unusual story. Charles Fanaye had served with Napoleon's armies in Egypt. Chased by Mameluks, he was rescued in the nick of time by a black Ethiopian woman and hidden in her home. Threatened in turn by the Mameluks, Marie-Hélène (as the woman came to be called) threw in her lot with the French army and followed Fanaye to France. The couple then sought to wed. They easily overcame religious barriers when Marie-Héléne was baptized in the Cathedral of Avignon. But another obstacle was harder to overcome: an 1803 ministerial decree banned marriage between blacks and whites. Though Fanaye and Marie-Héléne begged for an exception, the decree would plague them for the next sixteen years of their romance.

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