Abstract "In The House on Moon Lake Francesca Duranti creates a character who withdraws from life through literature. On a literal level Fabrizio Garrone moves forward in time. He is dissatisfied with his life, discovers an unknown novel, turns it into a best-seller, goes to the scene of the events that inspired the novel, and comes to a strange end.
From the Paper "In The House on Moon Lake Francesca Duranti creates a character who withdraws from life through literature. On a literal level Fabrizio Garrone moves forward in time. He is dissatisfied with his life, discovers an unknown novel, turns it into a best-seller, goes to the scene of the events that inspired the novel, and comes to a strange end. But this chronological progress contrasts with the metaphoric level of the book in which Fabrizio's life mirrors that of a novel. It mirrors, in fact, the life of the love story he discovers. That book is entitled The House on Moon Lake. Thus, at the most obvious level, the story of Fabrizio is identified with the story in the book he finds.
In the career of a love story, one written from the author's own feelings and experience, the writer, involved in an affair ..."
Abstract This paper examines the artistic style known as impressionism from an aesthetic and historical perspective, with particular emphasis on the way in which the sociological and demographic changes of the Parisian metropolis contributed to the development of the revolutionary impressionist painting technique. It pays particular attention to three works of art, Renoirs "The Great Boulevards," Degas "Place de la Concorde," and Manets "A Bar at the Folies-Berg?re," describing the way in which both the style and the subject of these paintings reflect the urban experience of late nineteenth-century Paris.
From the Paper "The physical changes wrought by Baron Haussman upon the architecture of late nineteenth-century Paris provided an appropriate backdrop for a social and cultural revolution that profoundly influenced the relationships of the citys inhabitants and visitors both to one another and to the modern metropolis itself. That revolution was known in the art world as Impressionism. More so than any other type of visual expression, the artwork of the impressionist masters perfectly captured the essence of the changing face of Paris, reflecting the manner in which the experience of the metropolis defined both the style and the substance of great paintings. Three works of art in particular epitomize this relationship and are therefore deserving of special mention: Renoirs The Great Boulevards, Degas Place de la Concorde, and Manets A Bar at the Folies-Berg"re. In addition to depicting the physical and social changes of the city, these paintings mirror the various emotional responses evoked by the modern metropolis and reflect the diverse relationships of the individual to the organic form of the city as a whole. Although the three paintings display different visions of urban life, they all seek to unify the contradictory and paradoxical elements of contemporary life under the transcendent theme of modernity. Renoirs The Great Boulevards conveys a sense of the duality of beauty, Degas Place de la Concorde draws a visual comparison between the fl"neur and the badaud, and Manets Bar at the Folies- Berg?re presents the dichotomy of isolation and interaction within a social setting."
