| Papers [1-15] of 27 :: [Page 1 of 2] | | Go to page : 1 2 —> | Search results on "MARCEL BREUER": |
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Marcel Breuer, 2007.
This paper presents an overview of the life and accomplishments of architect Marcel Breuer.
1,261 words (approx. 5.0 pages), 4 sources, MLA, $ 42.95
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Abstract
The paper discusses modernist architect Marcel Breuer's background and his style of work. The paper relates that Breuer is well known for his emphasis on the technical and structural aspects of his buildings. The paper adds that his architecture is recognized for its attention to light and shading, particularly in the use of tinted or shaded windows and overhanging elements. The paper notes his many accomplishments.
From the Paper
"Born in Pecs Hungary in 1902, Marcel Breuer attended university at the newly formed Weimar Bauhaus, attracted to the promises of new architectural and artistic approaches (Marcel Breuer: architect biography, par. 1). He attended the Bauhaus in the early twenties and taught there after finishing his studies. Though the Bauhaus did not yet offer architecture when he began there, Breuer, aided by Georg Muche, began to study housing anyway. He had a particular interest in high-rise structures and soon after developed a seven-story apartment block that would be mass-produced in the years to come (Marcel Breuer: architect biography, par. 1)."
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Bauhaus and Furniture Design, 2006.
An examination of the influence of Marcel Breuer upon modern furniture design.
2,048 words (approx. 8.2 pages), 10 sources, MLA, $ 64.95
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Abstract
This paper examines the furniture designs of one of the Bauhaus' most famous designers, Marcel Breuer (in the context of the Bauhaus and the modern movement). The paper argues that Breuer's furniture designs reflect the overall Bauhaus interest in the application of industrial mass production to the creation of domestic spaces defined by quality design. The writer explains that although the Bauhaus was to only exist for a few short years before its closing by Germany's Nazi government in 1933, its ethos can be seen to be reflected in much of Breuer's innovations in furniture design. The writer also notes that Marcel Breuer's furniture design would prove so enduring and popular that it came to be characteristic of the modern movement. The writer concludes that in situating Breuer within the context of the Bauhaus, we can see how his modernist vision evolved from an emphasis upon aesthetic principles to a focus upon the primacy of industrial design that may be inexpensively reproduced through mass production techniques. An annotated bibliography is appended.
Outline:
Introduction
The Bauhaus Vision
Marcel Breuer and Modern Furniture Design
Conclusion
From the Paper
"The Bauhaus School that came into being in Germany in the wake of the First World War represented arguably the single most influential school in the history of modern design. Headed by figures such as Walter Gropius and Mies van der Rohe, and defined by a socially egalitarian ethos that envisioned industrial production as the key to presenting quality designed products for the general public, the Bauhaus was to play a critical role in the shaping of how the twentieth century perceived modern design."
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Comparison in Modern Architecture and Urbanism, 2004.
Compares the architectural designs and ideas of William Morris and Marcel Breuer.
1,848 words (approx. 7.4 pages), 7 sources, MLA, $ 59.95
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Abstract
William Morris and Marcel Breuer were architects that took two different physical approaches in removing worthwhile design out of palaces and putting it into the homes of ordinary people. Both brought to their design philosophy a substantial political agenda and, in fact, a substantially similar political agenda. The paper shows that Morris's politics had the gentle color of his native England in the second half of the 19th century and of one of its great philosophers, John Ruskin. In comparison, the paper shows that Breuer's political inspiration came, not from his native Hungary, but a post-WWI Germany and its socialist leanings and, later, from American abundance and willingness to experiment. The paper shows that where Morris's ideas reflected the natural life of a still somewhat pastoral England that surrounded him (especially as he had the means to choose his locale), Breuer's ideas reflected a more muscular, sinewy, hardened landscape of assembly lines and relentlessly turning crankshafts and gears. Where Morris was organic and 'green,' Breuer was skeletal and 'steely gray'.
From the Paper
"Despite the intent of both men to bring good design down to earth, the results could not have been more different. Morris, because of the time in which he worked, was limited to traditional furniture materials, mainly wood and metal used only in joinery and sometimes in decoration. In fact, it was in decoration that Morris excelled. His use of curvilinear carving in his wallpapers and furniture, especially his dining chairs, makes clear his connection to the pastoral settings so familiar to educated Englishmen. In addition, because his belief demanded that the overburdened workingman have a respite from the world of shoddy utilitarian objects, (or ugly goods, as he might put it), embellishment suitable to the object and its use was essential."
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Marcel Proust's "Swann's Way", 1981.
This paper discusses "Swann's Way", the first of 7 volumes comprising the book "Rememberance of Things Pasts, which begins Marcel Proust's story of how a little boy becomes a writer.
1,575 words (approx. 6.3 pages), 1 source, $ 55.95
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From the Paper
"The sequence from "Swann's Way" by Proust associates the name of a person and the name of a place with Marcel in a direct way. The person's name is Gilberte, and the place is the Champs-Elysees and areas around Paris. Gilberte is Swann's daughter. Her name floats by as Marcel, and hearing that name will lead Marcel into a love relationship. He is in the Champs-Elysees when he overhears a little girl calling out, "Good-bye, Gilberte, I'm going home now; don't forget we're coming to you this evening, after dinner" .The name itself has a power, and hearing it now creates links for Marcel with an earlier time in Combray when he heard the name, and he then knew that the little red-headed girl was Swann's daughter. In the Champs-Elysees, Marcel is affected by hearing the name, by the mystery surrounding this girl, and by the idea of the girl herself, the idea ... "
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Marcel Duchamp, 1990.
This paper discusses the influence of Marcel Duchamp on the Dadaist movement in art andrReady-made art forms.
900 words (approx. 3.6 pages), 5 sources, $ 31.95
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From the Paper
"This paper will discuss the influence that Marcel Duchamp had on the Dadaist movement in art. Dada originated in Paris and Zurich during the First World War. The despair of that war caused many Europeans to perceive a breakdown in the society of their time. This in turn led to the creation of Dada, a style of art which was paradoxically opposed to art. By seeking the destruction of art as they knew it, the European Dadaists made a statement about their world, which was apparently crumbling down around them. At approximately the same time in history, the concept of Dada was also being introduced in the United States by way of New York City. Although they were not directly involved in the war, the New York Dadaists still rejected the traditional values of the art world. This rejection was accompanied by a sense of humor, and their art often utilized elements of nonsense ... "
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Marcel Duchamp, 2000.
The life and career of the Dadaist artist, focusing on the critique of his masterpieces, "The Bride Stripped Bare by Her Bachelors, Even," and "Large Glass."
5,400 words (approx. 21.6 pages), 14 sources, $ 135.95
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From the Paper
"Marcel Duchamp (1887-1968) was one of four siblings who became artists in the period of intellectual and artistic ferment that saw out the last decades of the old century and extended beyond World War I. Duchamp's early interest was in painting and Cubism and much of his most influential work was related to Dada practice. But Duchamp was ultimately the most independent of artists--eventually becoming independent of art itself. Much of his influence derived from gestures or positions related to the nature of art, and a great deal of his fame rests on works consisting of ordinary objects altered or 'readymade.' But Duchamp's masterpiece is usually held to be the glass, metal, and paint construction entitled The Bride Stripped Bare by Her Bachelors, Even (1915-23), frequently known simply as Large Glass."
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Marcel Duchamp's "Rrose Selavy", 2002.
Describes the artist's performance of Rrose Selavy.
2,250 words (approx. 9.0 pages), 9 sources, $ 79.95
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Abstract
Describes the artist's performance of Rrose Selavy. The Rrose persona. Its network of meanings. Relationship of Rrose to DuChamp's readymades. Commodity aspect of readymades. Postmodernism. Visual portrayal of women. Boundaries of sexual differences. History and ideas of assisted and semi-readymades. Notion of artistic function. Cites specific examples.
From the Paper
"Marcel Duchamp's project is as complex, ambiguous, and rich as anything undertaken by any artist of the twentieth century. One of the most elaborate networks of meaning started by Duchamp derives from his 'performance' of Rrose Selavy, the female personification first used as a signature, mocked up in a series of posed drag photographs by Man Ray, and then persisting as an alter ego for Duchamp in many subsequent projects. The spectacle of a male artist who adopts a female persona and employs 'her' in the titles of various works, as the 'author' of other pieces, and simply as a sort of working fiction in his life raises questions of many kinds. Certainly the eroticization of the communication between artist and spectator, the performative nature of gender, the nature of the patriarchal art system and art history, and the meaning of authorship of works of art are all implicated in ..."
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Marcel Duchamp's "Fountain", 2002.
Discusses the artwork and its impact.
2,475 words (approx. 9.9 pages), 10 sources, $ 87.95
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Abstract
Discusses the artwork and its impact. The historical and cultural context of the time it was exhibited. How it was received by critics and the public. How the piece affected and transformed art. The aesthetic significance of the sculpture. Aesthetic example of modern art. Overview of Duchamp's life and avant-garde art.
From the Paper
"This research examines Marcel Duchamp's artwork Fountain. The research will set forth the historical and cultural context in which the work first presented and then discuss how it was received, its impact on the history of art, and how it affected and transformed art, including the relevance of art criticism of the work to its aesthetic significance.
No discussion of Duchamp's art would be complete without reference to the sundry trends and styles of modernism and postmodernism. And no account of Duchamp's Fountain can be considered complete that does not include reference to the manner in which his output as a whole both proceeds and departs from various trends. Indeed, the cultural context for the creation of Fountain as a work of modern art is as important to an understanding of it as is the fact of context as an aesthetic ..."
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Elusive Desire, 2004.
An analysis and comparison of "L'Immoraliste" by Andre Gide and "The Captive" by Marcel Proust.
2,987 words (approx. 11.9 pages), 4 sources, MLA, $ 88.95
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Abstract
In "L'Immoraliste" by Andre Gide and "The Captive" by Marcel Proust, neither main character attains his desire. This paper shows that the reason for each gentleman's failure can be found in the theories of Sigmund Freud and Jacques Lacan. It explains that, according to the work begun by Freud and continued by Lacan, desire is forever elusive because the object of desire is continually non-existent. This lack of an object for desire is explored by applying the theories of Freud and Lacan to the works in question.
From the Paper
"The main desire of Michel, the narrator in L'Immoraliste is self-actualization and self-discovery. His own inner soul becomes his elusive Other. The problem however arises when circumstances devastate Michel's original self, and another takes its place. It is interesting that Michel and Marceline's positions as they relate to each other change progressively throughout the novel, as do Michel's own disposition and desire. In the beginning of the narrative Michel is ill, and Marceline is healthy. These positions reverse as the novel continues. The hope of a new baby is lost with Marceline's miscarriage and things basically deteriorate in Michel's inner world as they do for Marceline's physique."
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"The Metamorphosis" and "Melancholy Summer", 2006.
A comparison of Franz Kafka's "The Metamorphosis" and Marcel Proust's "The Melancholy Summer of Madame de Breyves".
845 words (approx. 3.4 pages), 2 sources, MLA, $ 30.95
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Abstract
This paper discusses how, although they accomplish the task in vastly different ways, both Franz Kafka and Marcel Proust in the stories considered here exposit the conflict between their protagonists' internal and external realities. It shows how Kafka's Gregor Samsa is human on the inside, as it were, but externally and to those who have no access to the world of his thoughts, he is but a beetle. For Proust, it is more important that Madame de Breyves' subjective world was more real to her than the objective world. Though it remains true that none but Francoise has access to her thoughts, Proust implies that his title character does not care.
From the Paper
"Gregor Samsa is not only an insect, but he is suddenly an insect, and he discovers this after having awoken from dreams. One asks, upon reading this, what sort of reality would allow one to suddenly turn into an insect, and furthermore, Gregor was only just dreaming, so isn't it possible that he is just imagining his new shape-that it is in fact just a remnant of some bizarre dream? By contrast, even as Proust mentions the possibility that Fran?oise Breyves is hallucinating, it is not immediately clear that this will be central to his story. These tendencies continue as the two stories develop; Kafka fully explores the disconnect between Gregor's noumenal and phenomenal worlds, whereas Proust develops this theme largely by allusion and implication. This is fitting, for Gregor's thoughts about the aforementioned disconnect are central to "The Metamorphosis," whereas Fran?oise Breyves is interested only in her subjective reality, with no interest for the outside world."
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"Black Orpheus", 2005.
This paper examines the 1959 film "Black Orpheus" by Marcel Camus.
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
The paper discusses how the 1959 film "Black Orpheus" by Marcel Camus presents a retelling of the myth of Orpheus and Eurydice within the modern context of the Carnival in Rio de Janeiro. The paper explains that while this updating of a classical Greek myth may seem puzzling or absurd to some, "Black Orpheus" captures the spirit of humanity in the context of fatalism that was characteristic of much of Greek tragedy. In order to illustrate this argument, the paper compares "Black Orpheus" to Sophocles classic tragedy "Oedipus Rex."
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The Spatial Duality of Form, 2006.
An examination of the opposing views of sculpture expressed by Kurt Schwitters and Marcel Duchamp.
2,013 words (approx. 8.1 pages), 13 sources, APA, $ 63.95
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Abstract
This paper explains that Marcel Duchamp saw sculpture as a self-contained object that packages its own space and ideas, whereas Kurt Schwitters, in direct contrast to Duchamp's view, saw sculpture as the relationships of the parts to the whole actively which serve to create the space and idea. The paper then proposes that, in fact, sculpture has the ability to express Duchamp's and Schwitter's opposing ideas simultaneously, and to become a multidimensional spatial experience.
From the Paper
"At the same time, Marcel Duchamp was introducing the ready-made object. His inverted urinal, among other objects, significantly impacted our thinking of sculpture as well. At the other end of the spectrum from Schwitters, Duchamp glorified, to the point of fetishizing , the objectness of sculpture. By opposite means, he too questioned the meaning of spatial experience."
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Second Language Acquisition, 2007.
This paper evaluates Marcel Danesi's "Adesso! A Functional Introduction to Italian, Second Edition" as a second language acquisition (SLA) textbook.
1,593 words (approx. 6.4 pages), 3 sources, MLA, $ 52.95
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Abstract
This paper examines Marcel Danesi's "Adesso! A Functional Introduction to Italian, Second Edition" in light of current theories in second language acquisition (SLA). The paper also analyzes how the text would function in a general classroom context. The paper relates that if "Adesso!" is evaluated in terms of meeting its stated objectives and in terms of the current theoretical models regarding SLA, then it clearly passes evaluation as a useful classroom textbook. The paper concludes that it can be highly recommended as a textbook for teaching Italian.
Outline:
Introduction
Organization Based on Interesting Topics and Cultural Contexts
Provide Activities for Students to Talk in Open-Ended Exercises
Inputs, Strategies and Tasks
Grammar and Vocabulary
The Question of Culture
Comparison of English and Italian Languages and Cultures
Opportunities for Further Exploration and Assessment
Cumulative Evaluation and Recommendation
From the Paper
"The organization of chapters and themes around their frequency of usage in everyday Italian speech is, admittedly, a rather arbitrary way of designing a text. After all, it is unclear how Danesi has determined what situations will be most frequent or functional. This being said, the range of everyday situations explored in the text is diverse and there is a level of progression through the text with succeeding chapters building upon, and referencing, previous ones."
"The text does contain some dialogues that allow students to converse with each other. These are sometimes open-ended, comprising of "interviews" in which one student may ask another student questions with no fixed answers (Danesi 82)."
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Dada Art, 2006.
This paper describes the Dada movement and the artists Marcel Duchamp and Francis (Francois) Picabia.
2,675 words (approx. 10.7 pages), 5 sources, MLA, $ 80.95
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Abstract
This paper explains that the Dada movement, whether a painting, book or treatise, was intended to make the viewer think, to reconsider every one of his or her opinions, to break through the old boundaries and begin to look at the world in a new way. The author points out that Marcel Duchamp's "Fountain", an ordinary urinal, was his manifesto about the society for which the "artwork" had been made because, in this still nearly-Victorian age, Duchamp committed the unpardonable sin of making public that which should never even be mentioned. The paper relates that Francis Picabia's "painting" "Sainte Vierge" or "Holy Virgin", which is no easier to identify with than Duchamp's "Fountain", is an inkblot; the importance of which is the viewer's initial reaction to this Dada art. The paper includes several long quotations.
From the Paper
"Whether in New York or Europe, Dada was a "movement" of the avant-garde. In order to understand the Dada, one must look into the conditions that gave it form and substance. The First World War was only an immediate cause - it was the spark that caused people like Duchamp and Picabia to search for a radically new form of expression. But Dada was more than paintings. Drama and literature could as much be expressions of Dada as any of Duchamp's or Picabia's works. By the time, Duchamp and Picabia had begun, independently, to create the style that would become Dada; the avant-garde had already established itself as a synthesis of the radical and the rebellious."
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Swann in Love, 2006.
This paper discusses the concept of love as expressed in Marcel Proust's 'Swann's Way'.
1,054 words (approx. 4.2 pages), 1 source, MLA, $ 37.95
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Abstract
In this article, the writer discusses the concept of love as expressed in Marcel Proust's 'Swann's Way'. The writer explains Proust's belief that love is thought to be a highly complex and unpredictable emotion that can inspire lovers to value each other in certain ways while also it can sometimes cause people to take on the same interests as their lovers just for the sake of pleasing them. The perception of love expressed within the story is that it is an uncontrollable urge that can strike future lovers unexpectedly. The writer discusses that the viewpoint on love that the story attempts to illustrate is that lovers attach great significance to whatever is even remotely associated with their love. Finally, the argument on love that can be derived from the story, is that it can overpower a person's sense of self so much so that he/she may become dependent upon making certain choices in life based on what the lover has done.
From the Paper
"The viewpoint on love that the story attempts to illustrate is that lovers attach great significance to whatever is even remotely associated with their love and use that association to justify it. Finally the argument on love that can be derived from the story, is that oftentimes it can overpower a person's sense of self so much so that he/she may become dependent upon making certain choices in life based on what the lover has done; this dependence can be regarded as being a negative aspect of love, since it not only robs a person of being independent of his/her lover, but also blinds him/her to any mistaken choices that might have been made.
The awareness that one has fallen in love can sometimes cause a person to experience bewilderment over the object of one's affection."
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