| Papers [1-4] of 4 | Search results on "MALLARME STEPHANE": |
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Stephan Korner's "The Philosophy of Mathematics", 2004.
Summary and review of Stephan Korner's "The Philosophy of Mathematics: An Introductory Essay".
1,091 words (approx. 4.4 pages), 2 sources, MLA, AU$ 41.95
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Abstract
The first part of this paper expounds on Stephan Korner's discussion, in "The Philosophy of Mathematics, of the nature of mathematics, and the three main schools of thought relating mathematics to philosophy. The paper continues with a discussion on logicism and why it provides the clearest way to look at mathematical concepts and the best way to explain mathematical philosophy.
From the Paper
"Mathematics is an indispensable science that justifies and confirms many aspects of other scientific subject matter. Mathematics relies on conclusions not assumptions and evidence is required to confirm theoretical entities as true. Of course the debates exist as to which school of thought holds the most validity. Mathematical realism will always be different to each of these philosophical schools and arguments can be found to both support and reject each school of thought."
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The Role of Impressionism in Late Nineteenth Century French Music, 2002.
A comparison of Claude Debussy's "Prelude a l'apres-midi d'un faune" (1894) (Prelude to the afternoon of a faun) and the impressionist poem upon which it was based, Stephane Mallarme's "L'apres-midi d'un faune."
2,700 words (approx. 10.8 pages), 8 sources, MLA, AU$ 85.95
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Abstract
This paper compares Claude Debussy's music "Prelude a l'apres-midi d'un faune" (1894) (Prelude to the afternoon of a faun) and the impressionist poem upon which it was based, Stephane Mallarme's "L'apres-midi d'un faune." It discusses the role impressionism played in the visual arts in the development of impression in French music at the end of the nineteenth century. A discussion of the movement away from Wagnerian and Romantic ideals is also included.
From the Paper
"By the late nineteenth century, Romantic music in Europe had reached the pinnacle of its success, in terms of both mastery of the art form and popularity among the public. Epitomized by the musical accomplishments of the Germans (Wagner and Brahms) and those of the Russians (Tchaikovosky), music composed in the Romantic style was markedly sentimental and quite non-evasive in its presentation of ideas, particularly those of "true passion" (Wright, 320). It was in direct opposition to these norms of expression of true passion through sentimentality and overt symbolism that the Impressionist movement in music began. Beginning in France and drawing its ideals from the rebellions against Romantic and Classical styles in such other artistic mediums as painting and literature (particularly poetry), Impressionist music attempted to express true emotion in more subtle ways, in ways other than "sheer volume of sound and epic length" (Ibid). A principal example of this new fin-de-siecle style can be found in Claude Debussy's Prelude a l'apres-midi d'un faune (1894) (Prelude to the afternoon of a faun). Based loosely on Stephane Mallarme's 1876 poetic work, L'apres-midi d'un faune, the Prelude exemplifies the Impressionist tendency to suggest ideas rather than explicitly set them forth. Debussy, in working in close conjunction with Impressionists representing alternate artistic mediums, extracts many of the Prelude's compositional strategies from ideals prevalent in Impressionist art and Symbolist poetry. The resulting composition exhibits all the ideals of the Impressionist movement, and it served to bring the Impressionist movement to the general public, quickly preparing the way for the genesis of modern music."
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Violence in Literary Texts, 2002.
A look at the role of violence in "Narrative of the Life of Frederick Douglass, An American Slave" published in June 1845 and "Maggie, A Girl of the Street" by Stephan Crane.
1,250 words (approx. 5.0 pages), 3 sources, MLA, AU$ 45.95
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Abstract
The issue of violence is addressed in these two stories. They allow the reader to experience on a very superficial level, the horrors and violence that the African Americans went through during the period of slavery. The books documents physical, sexual and emotional abuse and violence.
From the Paper
"Slavery is an undisputed fact. No matter how disquieting this fact may seem that the slaves were treated brutally is vividly seen through the narratives of the slaves. From Fredrick Douglass to Harriet Jacobs the violence, sexual and racial is seen to be a common facet of their lives. The ironic aspect to this violence is that the very people who upheld equality and democracy were fostering the racial elements within the paradigm of society. Considering here the Narrative of the Life of Frederick Douglass, An American Slave published in June 1845 and Maggie, A Girl of the Street by Stephan Crane we shall explore the different dimensions of violence in the texts. Violence can be emotional or physical---in both circumstances the effect is tragic and devastating."
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"The Open Boat", 2002.
An analysis of the concept of symbolism in Stephan Crane's "The Open Boat".
1,740 words (approx. 7.0 pages), 2 sources, MLA, AU$ 60.95
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Abstract
This paper briefly outlines the storyline of this novel and proceeds to examine the symbolism that is open for the reader to interpret. It shows how there are several different approaches and methods of interpretation found within the story: how each of the men approaches their situation, how each man perceives the others, the interaction between the men and the people on shore, and finally the conflict between the men and unyielding nature.
From the Paper
"According to the Merriam Webster dictionary, an interpreter is "a person who interprets" (Merriam). To interpret means "to explain or tell the meaning of: present in understandable terms or to conceive in the light of individual belief, judgment, or circumstance"(Merriam). Using this understanding of these words, since each of the men is trying to explain their beliefs about the circumstances that they find themselves in, it can be said that each of the men in "The Open Boat" by Stephen Crane are interpreters."
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