Атлас кораблей Франции 19-го века

Атлс кораблей Франции 19 века - линейные корабли, фрегаты, пароходы и пр. Для интересующихся военно-морской историей и судомоделистов.\n\nметки темы:\nИстория Франции

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Атлс кораблей Франции 19 века - линейные корабли, фрегаты, пароходы и пр. Для интересующихся военно-морской историей и судомоделистов.\n\nметки темы:\nИстория Франции

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T h i s exaltation of artificiality is not the only feature that distinguishes C a s a l ' s poetry from M a r t i ' s . C a s a l ' s dissatisfaction w i t h the status quo does not generate, as in M a r t i , an optimistic, energetic, o u t w a r d thrust, a push t o w a r d change. Q u i t e the contrary, his poetry is marked by an i n w a r d turn, the exploration of subtle psychic states, and the presence of suffering, death, b o r e d o m , bitterness, inadaptability, impotence, and an inexhaustible longing for escape.

A s Paz recognized w i t h regard to the R o m a n t i c s , the exaltation of the natural order of things, especially sexuality, is simultaneously a moral and political critique of civilization and an affirmation of a time before history (Los hijos del limo). Erotic passion is a part of nature that has been inhibited and/or destroyed by the social order. Reclaiming its importance becomes linked w i t h intuiting a primordial, more perfect w o r l d . For European poets of the second half of the nineteenth century and for the Modernists, the occult sciences provided the f r a m e w o r k for this stance.

For both W a g n e r and the Modernists, their artistic formulations were intimately related to the issues of national identity and the formation of national states (see Erika L o r e n z , Ruben Dario "Bajo el divino imperio de la musica ). For others like Julian del C a s a l , the Orient held the greatest fascination. Interest in C h i n a and Japan can be traced all the w a y back to the eighteenth century and the construction in the Palacio Real of M a d r i d of the Salon Gasparini (1764) or in the Palacio de Aranjuez of the Sala C h i n a (1784).

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