Recueil. Documents concernant l'histoire de France jusqu'en 1293 (chronique du ménestrel d'Alphonse, comte de Poitiers), prière, commentaire du psaume L, moralité.

Contient : 1 « Ci commence la generacion de tous les rois qui ont esté en France ». Liste enluminée des rois de France jusqu'à Louis IX ; 2 « Ci commence le prologues dou livre des croniques des roys qui ont esté en France ». Premiers mots : « A son tres chier seigneur... conte de Poitiers et de Thoulouse, cil qui est ses serjanz, ses clers et ses obeissanz, qui a ceste oevre translatée en françois... Sire, ce sachiés vous et trestuit cil qui cest escript verront... » ; 3 « Ci commence la generacion des rois de France. Il issirent du lignage Francio qui fu fiex Hector,... » ; 4 Prière ; 5 Commentaire du psaume L ; 6 Moralités ou discours sur les vertus et les vices

L'art de propagande en Espagne, de la Seconde République au premier franquisme : affiches et portraits officiels

This thesis questions the major esthetic differences between the artistic productions of the Second Spanish Republic (1931-1939) and the nationalist artistic productions of the Civil War years and the first decade of the francoist dictatorship. These differences are analysed using the artistic productions of Josep Renau (1907 Valence – 1982 Berlin East) and of Ignacio Zuloaga (Elibar 1870 – Madrid 1945). Renau was an important artistic figure during the Spanich Republic. In this thesis, we analyse Renau’s different propaganda productions between 1931 and 1939. Zuloaga was an international artist when the nationalist uprising occurred in 1936. He was recognized by the European elites for his portraits of Andalousian and Castillian sceneries. Zuloaga supported the nationalist putsch and the francoist ideology. In 1939, the Caudillo ordered the painting of the portrait that we will be analysing. The theories of François Hartog, Reinhart Koselleck, Paul Ricoeur and Hannah Arendt are used to analyse the historical conceptual confrontation in Spain, portrayed by the artworks that we studied. During the Republic, it was the modern historical regime that was in force. The historical references used are close in time and the history is constructed in the future and attached to the idea of progress. With the nationalists, the historical conception is connected to the Historia magistra where the past is used as an example. In the first francoism, a return to Spain’s glorious past (the Middle Ages, the Golden Century and the Counter Reform) is clearly claimed in order to rescue the country from the ills of modernity. It is with these different historical conceptions in mind that we compare the esthetics specificities of the artworks, the identity and historical references and the mediums used to legitimize the power and the political actions of each front.

A queda da casa de Usher, de Edgar Allan Poe, e La chute de la Maison Usher, de Jean Epstein: um estudo do espaço na literatura e no cinema

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Ueber die Demokratie in Frankreich (Januar 1849)

Welsch (Projektbearbeiter): Streitschrift des im Februar 1848 zurückgetretenen Außenministers der Julimonarchie gegen das allgemeine Wahlrecht

Na 50 Nachlass Arthur Schopenhauer - 'Schopenhauer-Archiv', 76 - Antwortschreiben anlässlich der Erstellung eines Portraits

u.a.: Tyssen; Johanna Schopenhauer;

Na 50 Nachlass Arthur Schopenhauer - 'Schopenhauer-Archiv', 198 - Anfrage nach Übersendung eines Portraits

u.a.: Rezeption;

Na 50 Nachlass Arthur Schopenhauer - 'Schopenhauer-Archiv', 199 - Dankesschreiben nach erfolgter Übersendung des Portraits

veröffentlicht in: Schopenhauer, Arthur : Arthur Schopenhauers sämtliche Werke - München : Piper - Bd. 15 : Der Briefwechsel Arthur Schopenhauers ; 2 (1849 - 1860), Nr. 590

Na 50 Nachlass Arthur Schopenhauer - 'Schopenhauer-Archiv', 233 - Anfrage nach dem Verbleib des Schopenhauer-Portraits von Jules Lunteschütz

u.a.: Welt als Wille und Vorlesung; Hans Sachs;