Relevant bibliographies by topics / Antoine, 1896

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Academic literature on the topic 'Antoine, 1896'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Antoine, 1896"

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Shrestha, Chunu, and Varun Shrestha. "Marfan Syndrome with Bilateral Retinal Detachment." Medical Journal of Shree Birendra Hospital 13, no. 2 (August 3, 2015): 52–54. http://dx.doi.org/10.3126/mjsbh.v13i2.13118.

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Marfan syndrome is an autosomal dominant systemic disorder of connective tissue. Marfan syndrome affects most organs and tissues, especially the skeleton, lungs, eyes, hearts, and the large blood vessels. It is described by Antoine Marfan in 1896. Aortic root aneurysm and ectopia lentis are the cardinal features. In the absence of family history, the presence of these two manifestations is sufficient for confirmatory diagnosis of Marfan syndrome. Patient with ocular manifestations should be screened for cardiac involvement to support diagnosis. Retinal detachment is a potentially dangerous manifestation for its sight threatening nature. There is no cure for Marfan syndrome, so treatment focuses on managing the symptoms and reducing the risk of complications. Recent advances in diagnosis, improved surgical technique and application of prophylaxis has contributed in preservation of sight in such patients.
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Pals, Gerard. "Marfan Syndrome, A Review." Journal of Biomedicine and Translational Research 4, no. 2 (December 31, 2018): 33. http://dx.doi.org/10.14710/jbtr.v4i2.3560.

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Marfan syndrome is named after the French pediatrician Antoine Bernard-Jean Marfan who described in 1896 a girl with arachnodactyly and long limbs1. The patient also had congenital contractures of the elbows and would not fulfill the current criteria for Marfan syndrome. She probably was suffering from a condition that we now call contractural arachnodactyly, caused by mutations in the FBN2 gene.The clinical features of Marfan syndrome affect many systems of the body. The most obvious are the skeletal features, long limbs, tall stature, long thin fingers (arachnodactyly or spider fingers). The skeletal features can be scored objectively as: arm span more than 1.05 x body length; wrist sign (thumb and index finger can encircle the wrist of the other hand with at least one digit overlap) and thumb sign (when making a fist around the thumb, one digit of the thumb sticks out). The main neurological symptom is dural ectasias. The most severe symptoms are cardiovascular: mitralis valve prolapse, aortic dilatation and thoracic aortic aneurysms and dissections, which may lead to sudden death5. However, I noticed in discussions with patients that they often consider the ocular symptoms, severe myopia and lens luxation, the worst for themselves, because the latter may lead to blindness.
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Kolchanov, Vladimir V. "On the origins of the crowd scenes in the novel “The Master and Margarita” by Mikhail Bulgakov." Vestnik of Kostroma State University 27, no. 2 (June 28, 2021): 137–42. http://dx.doi.org/10.34216/1998-0817-2021-27-2-137-142.

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The article deals with the roots of the crowd scenes in “The Master and Margarita” by Mikhail Bulgakov, focusing on such motifs of the novel as death's head hawkmoth and theatrical motifs. The origins of the crowd scenes in Mikhail Bulgakov’s literary work are all connected with the mentioned three motifs. The researcher uses information from the little-known literary, historical, and cultural sources. These include, firstly, the occult works of the Fin de siècle writers, such as novels “The Gloomy House Mystery” and “The New Power” written by the “Criminal Novel Master” Aleksandr Tsehanovich (1862-1896); the play “The Fair God” by David Aizman (who has been justly called “Chekhov of the Jews”) (1860-1922); the story “The Succubus” written by the Belgian writer Antoine Louis Camille Lemonnier. “A House in a Delirium” by a German prose writer W.Hollander. Second, these include literary work by a Soviet writer: story “The Condemned” by Mikhail Kozakov. Third, an important role belongs to sketches from the “The Red Panorama” journal: “The Footsteps Leading Westward” by Jānis Larri, “Travelling from Resort to Resort: Yalta” by D. Gorodinskiy. The plots and details of the named works had a great influence on Mikhail Bulgakov and inspired him while writing such chapters of the novel as “Never Talk with Strangers”, “The Seventh Proof”, “The Chase”, “Praise Be to the Rooster”, “News from Yalta”, “Black Magic and Its Exposure”, “Nikanor Ivanovich’s Dream”, “The Great Ball at Satan's” and some fragments of the auxiliary plot connected with the figure of Pontius Pilate.
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NABOZHENKO, MAXIM V., ATHANASIOS MPAMNARAS, and KONSTANTINOS KALAENTZIS. "Contribution to the knowledge of Mediterranean lichen-feeding darkling beetles of the genus Stenohelops Reitter, 1922 (Coleoptera: Tenebrionidae)." Zootaxa 4896, no. 2 (December 21, 2020): 292–300. http://dx.doi.org/10.11646/zootaxa.4896.2.10.

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Species of the genus Helopelius Reitter, 1922 (type species: Stenomax aeneipennis Allard, 1876) were known from Rhodes and North Africa. We found that two species described from Rhodes belong to the genus Stenohelops Reitter, 1922, and Helopelius can be interpreted as a subgenus within latter, guided by the article 23.2 of ICZN. The following synonyms are proposed: Helopelius, stat. n. (from genus to subgenus) = Stenomaleis Español, 1957, syn. n.; Stenohelops Reitter, 1922 = Gunarellus Reitter, 1922, syn. n.; Stenohelops (Helopelius) aeneipennis (Allard, 1876) = Helopelius disgregus Reitter, 1922, syn. n., = Gunarus gayirbegi Nabozhenko & Keskin, 2009, syn. n. As a result, the following species are transferred from the former genus Helopelius to the genus Stenohelops: Stenohelops (Helopelius) nodifer (Kraatz, 1880), comb. n.; Stenohelops (Helopelius) otini (Antoine, 1949), comb. n.; Stenohelops (Helopelius) subsinuatus (Antoine, 1951), comb. n.; Stenohelops (Helopelius) verrucosus (Vauloger de Beaupré, 1900), comb. n.; Stenohelops (Helopelius) zaianus (Antoine, 1949), comb. n. Thus, the subgenus Helopelius contains 11 species from three isolated geographical exclaves: Western Mediterranean, Eastern Mediterranean and China. Lectotypes of Stenomax aeneipennis Allard, 1876, Helops gratus J. Frivaldszky, 1894 and Cylindrinotus (Helopelius) disgregus Reitter, 1922 are designated. Data on fossil species of the genus and the allied extinct taxa, as well as on bionomics of extant species of the subgenus Helopelius are presented. The check-list for extant and extinct species of Stenohelops is given.
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Souza, R., L. Cassiano, A. Liberatore, R. Tedesco, I. Koh, A. Martins, C. Vretos, and L. Alonso. "Critical analysis of aortic dysmorphism in Marfan Syndrome." Journal of Morphological Sciences 34, no. 01 (January 2017): 001–6. http://dx.doi.org/10.4322/jms.102516.

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Abstract Introduction: Marfan syndrome (OMIM #154700) was described for the first time in 1896 by Antoine Bernard-Jean Marfan. It is characterized by its autosomal dominant inheritance pattern, affects 1:5000 of those born alive, and involves the gene that codifies the structural protein fribrillin-1. Fibrillin-1 is critical for the formation of the elastic system backbone and for the negative regulation of the cytokine transforming growth factor beta 1 (TGF-β1). In the syndrome this fibrillar component causes the degeneration of the fibers of the elastic system, which no longer sequesters matrix TGF-β, causing disorganization of the collagen fibers and vascular smooth muscles. The disease affects mainly the cardiovascular system, cardiovascular problems being the main cause of death. This is because arteries have large amounts of elastic fibers that rupture in an adverse process, causing mainly dissections and aneurisms, which have been better clariied in experimental studies with mice. Objective: The objective of this study was to conduct an etiopathogenic and molecular review to describe the advances in the understanding of blood vessel dysmorphism in the syndrome, especially of the aorta. Materials and Methods: For this purpose the literature of the last 35 years was extensively reviewed. Conclusion: The origin of the aortic dysmorphism in the syndrome stems from a number of events that begin with the mutation of the gene fibrillin-1, causing fragmentation of the aortic elastic fibers. Excess cytokine TGF-β increases the amount of metalloproteinases and of vascular smooth muscle cell apoptosis, leading to matrix remodeling and increasing the susceptibility of the vessel to an aneurysm or dissecting process.
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Câmara, Benedita, Piet van Cruyningen, Xavier Cussó Segura, Sara Torregrosa Hetland, Miguel Cabo, Santiago M. López-García, Samuel Garrido, et al. "Book reviews - Crítica de libros - Crítica de livros (Historia Agraria, 77)." Historia Agraria Revista de agricultura e historia rural, no. 77 (February 19, 2019): 203–55. http://dx.doi.org/10.26882/histagrar.077r08b.

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Book reviews Dulce Freire and Pedro Lains (Eds.). An Agrarian History of Portugal, 1000-2000: Economic Development on the European Frontier. Leiden/Boston, Brill, 2017, 347 pp. Benedita Câmara Annie Antoine (Ed.). Agricultural Specialisation and Rural Patterns of Development. Turnhout, Brepols, 2016, 303 pp. Piet van Cruyningen Guido Alfani and Cormac Ó Gráda (Eds.). Famine in European History. Cambridge, Cambridge University Press, 2017, 325 pp. Xavier Cussó Segura Marc Badia-Miró, Vicente Pinilla and Henry Willebald (Eds.). Natural Resources and Economic Growth: Learning from History. Abingdon/New York, Routledge, 2015, 374 pp. Sara Torregrosa Hetland Niccolò Mignemi. Coopératives et mondes agricoles: France et Italie (1880-1950). Rennes, Presses Universitaires de Rennes, 2017, 337 pp. Miguel Cabo Domingo Gallego, Luis Germán y Vicente Pinilla (Eds.). Estudios sobre el desarrollo económico español. Dedicados al profesor Eloy Fernández Clemente. Zaragoza, Prensas de la Universidad de Zaragoza, 2016, 408 pp. Santiago M. López-García Ricard Garcia Orallo. La terra a subhasta. Crisi, endeutament i despossessió al món rural català de finals del segle xix. Barcelona, Publicacions de l’Abadia de Montserrat, 2015, 644 pp. Samuel Garrido Lluís Serrano Jiménez. Tancar la terra: Pràctiques de propietat i dinàmiques socials (Catalunya, 1850-1910). Girona, Documenta Universitaria/Associació d’Història Rural de les Comarques Gironines, 2016, 324 pp. Antonio Miguel Linares Luján Jordi Planas Maresma. Francesc Torras Sayol (1868-1936): Un propietari conservador al capdavant de l’acció cooperativa. Barcelona/Valls, Fundació Roca i Galès/Cossetània Edicions, 2016, 102 pp. Josep M. Pons-Altés Josep Joan Mateu González. Enginyers i regants: El Canal d’Aragó i Catalunya (1896-1940). Lleida, Universitat de Lleida/Patronat Josep Lladonosa, 2017, 256 pp. Carles Sanchis Ibor Gladys Karina Sánchez Juárez. Los pequeños cafeticultores de Chiapas: Organización y resistencia frente al mercado. Tuxtla Gutiérrez, CESMECA-UNICACH, 2015, 225 pp. Albert Folch David Sowell. Medicine on the Periphery: Public Health in Yucatán, Mexico, 1870-1960. Lanham, Lexington Books, 2015, 205 pp. Mikel Astrain Pablo Alonso González. El Antipatrimonio: Fetichismo y dominación en Maragatería. Madrid, Centro Superior de Investigaciones Científicas, 2017, 326 pp. Guadalupe Jiménez Esquinas Marcel Mazoyer y Laurence Roudart. Historia de las agriculturas del mundo: Del Neolítico a la crisis contemporánea . Oviedo, KRK, 2016, 1.073 pp. Cristóbal Gómez Benito
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La Torre Silva, Ricardo Javier. "Antonio Raimondi y el origen de la historia geográfica del Perú." Acta Herediana 56 (January 25, 2016): 63. http://dx.doi.org/10.20453/ah.v56i0.2717.

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El naturalista milanés Antonio Raimondi (1826-1890) publicó en 1862 en los Anales Universitarios del Perú de la Universidad de San Marcos un trabajo que fue el inicio de los estudios sobre la historia de la geografía del Perú y que después dio lugar a los tomos segundo y tercero de su magna e inconclusa obra El Perú.
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Cruces Roldán, Cristina. "Antonio Machado y Álvarez «Demófilo»." Cultura, Lenguaje y Representación 24 (October 13, 2020): 7–24. http://dx.doi.org/10.6035/clr.2020.24.1.

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El texto analiza el recorrido intelectual y la aportación al flamenco deAntonio Machado y Álvarez «Demófilo» (1846-1893), el folclorista másrelevante de la escuela sevillana y autor de la Colección de cantes flamencos(1881). Sitúa al autor en la encrucijada histórica entre el despertar de las cienciasnaturales, el positivismo y el evolucionismo, y lo inscribe en el siglo delnacionalismo político, el costumbrismo y el realismo.El proyecto de institucionalización que Demófilo llevó a cabo de los estudios defolclore y literatura popular en España y su síntesis de investigaciones sobreflamenco evidencian la modernidad y la aspiración científica de su aportaciónprincipal: la construcción de un modelo sistematizador del corpus flamenco detradición oral, plenamente comprometido con un ideario humanista, identitarioy de progreso.
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Larcher, Pierre. "L’éditon Menil de la Muʿallaqa de ʿAntara (1816) : note de bibliophilie orientaliste." Arabica 64, no. 1 (March 17, 2017): 79–86. http://dx.doi.org/10.1163/15700585-12341436.

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This short notice presents the editio princeps (first edition) of ʿAntara’s Muʿallaqa, due to Vincent Elie Menil (1790-1825), a pupil of Joannes Willmet (1750-1835), and published in Leiden in 1816. It also presents the review written by Antoine-Isaac Silvestre de Sacy (1758-1838) in the Journal des savans in March 1817. As a matter of fact, the edition and the review are bound together in the copy owned by the author of this notice. Cette note présente l’editio princeps de la Muʿallaqa de ʿAntara, due à Vincent Elie Menil (1790-1825), élève de Joannes Willmet (1750-1835) et publiée à Leyde en 1816, ainsi que le compte rendu qu’en a fait Antoine-Isaac Silvestre de Sacy dans le Journal des savans en mars 1817. Ce compte rendu est relié avec l’ouvrage dans l’exemplaire qu’en possède l’auteur de cette note. This article is in French.
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Pavićević, Jovana. "Artoovo pozorište surovosti i njegovo nasleđe." Issues in Ethnology and Anthropology 11, no. 4 (January 2, 2017): 1153. http://dx.doi.org/10.21301/eap.v11i4.11.

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Antonin Artaud (1896–1948) is considered to be one of the most influential theatre practitioners in the 20th century although his theory has been deemed too abstruse. The aim of this paper is to offer a systematic account of Antonin Artaud’s concepts for his Theatre of Cruelty and the ways it influenced subsequent theatre practitioners, namely Peter Brook, Jerzy Grotowski and Eugenio Barba.
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Dissertations / Theses on the topic "Antoine, 1896"

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Rochefort, Sophie. "La signification du marquage des canadianismes par l'italique dans la première édition de Menaud, Maître-draveur, de Félix-Antoine Savard." Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/26385/26385.pdf.

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Fricaudet, Xavier. "Blanc et Demilly : une unique signature (1891-1985), (1892-1964) /." Lyon : X. Fricaudet, 2003. http://catalogue.bnf.fr/ark:/12148/cb39289168p.

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Tank, Niza de Castro 1931. "A obra vocal de camara de Antonio Carlos Gomes." [s.n.], 1989. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284305.

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Orientador: Etienne Ghislain Samain
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-13T22:19:54Z (GMT). No. of bitstreams: 1 Tank_NizadeCastro_D.pdf: 9092474 bytes, checksum: 8d5ddf2c9f78f603bed52c4156de2612 (MD5) Previous issue date: 1989
Resumo: Não informado
Abstract: Not informed.
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Doutor em Música
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Zacaïr, Philippe. "Antonio Maceo Grajales (1845-1896) : biographie guerrière et politique." Paris 3, 1999. http://www.theses.fr/1999PA030134.

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Ne en 1845 a santiago de cuba, dans une famille de gens de couleur libres, antonio maceo grajales a profondement marque l'histoire de cuba dans la seconde moitie du 19eme siecle. Son role de premier plan dans les luttes politiques et guerrieres qui ont conduit l'ile de cuba a briser violemment le lien colonial qui l'unissait a l'espagne, a fait de maceo un heros largement celebre par tous les cubains. Aussi, l'historiographie cubaine regorge d'ouvrages biographiques consacres a un heros a qui elle a donnee une dimension largement mythique. Cette these n'est pas qu'une nouvelle biographie d'antonio maceo grajales. Elle part de l'idee que le heros cubain ne contribua pas seulement a rendre possible l'emergence de la nationalite cubaine, mais porta egalement un voeu politique original : l'antillanite. A travers quelques episodes marquants de sa trajectoire politique et militaire, nous chercherons a mieux connaitre ce produit et ce militant conscient de l'identite caribeenne.
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Virmond, Marcos da Cunha Lopes. "Construindo a Opera Condor : o pensamento composicional de Antonio Carlos Gomes." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285002.

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Orientador: Lenita Waldige Mendes Nogueira
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Condor, estreada em 1891 no Teatro alla Scala de Milão, foi a última ópera escrita por Antônio Carlos Gomes. O estudo dos documentos textuais indica que o processo composicional envolveu a elaboração de um rascunho para canto e piano, a orquestração, uma extensa revisão final e a inclusão de um balé um ano após a estréia. A análise do rascunho, documento inicial da criação, revela alternativas composicionais que foram descartadas pelo autor se comparadas com o resultado definitivo tomado da edição para canto e piano de 1891. Usando-se esses documentos textuais, acrescidos do manuscrito autógrafo e da cópia profissional, foi possível reconstituir várias dessas alternativas ao longo do primeiro ato, analisa-las e discutir as possíveis razões para a conduta do compositor. Analisou-se também os aspectos de exotismo e orientalismo inerentes ao libreto abordados musicalmente por Gomes. Como resultado, verifica-se que Gomes construiu Condor ao longo de quatro fases: elaboração do rascunho, orquestração, uma revisão e introdução do Balé. As modificações promovidas indicam necessidade de condensação do discurso musical, reorganização do discurso harmônico e otimização do discurso dramático em paralelo ao discurso musical. A abordagem musical do orientalismo em Condor é refinada e sutil, quase imperceptível, mas com suficiente densidade para criar uma cor local efetiva. Revela-se, assim um compositor cioso da qualidade de seu produto final e com expressiva competência técnica enquanto operista, atento ao ambiente cultural de sua época, criativo, inovador e com importante contribuição para a evolução do melodrama italiano em seu período de transição até o surgimento da giovane scuola
Abstract: Condor, premiered in 1891 at Teatro alla Scala in Milan, was the last opera by Antonio Carlos Gomes. The study of the textual documents reveal that the compositional process included the elaboration of a piano vocal sketch, the orchestration, an extensive revision and a later inclusion of a ballet one year after the premiere. Analysis of the sketch, the initial document for the creation, reveal compositional alternatives that were discharged by Gomes when compared to the printed piano vocal score issued in 1891. With these textual documents and the autograph manuscript and the hard copies, it was possible to reconstruct many of these alternatives along the firs act, to analyze them and to propose possible reasons for such compositional options. It was also analyzed the exotic and oriental aspects due to the libretto and its musical treatment by Gomes. As a result, it is seen that Gomes has elaborated Condor in four phases: a piano vocal sketch, the orchestration, a revisions and addition of a ballet. The modifications introduced are related to the need of condensation of the musical discourse, reorganization of the harmonic discourse and optimization of the dramatic discourse in parallel to the musical discourse. The musical approach to orientalism in Condor is subtle and careful, without obvieties, but with enough density to create an effective ambience. It is found in Gomes a composer concerned with the quality of his final product and with expressive technical skills as an opera composer, attentive to the cultural
Doutorado
Doutor em Música
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Duménil, Lorraine. "L'agir poétique chez Antonin Artaud et Henri Michaux." Paris 7, 2011. http://www.theses.fr/2011PA070098.

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A quelles conditions la poésie peut-elle constituer une disposition de l'action humaine ? Mus par une commune nécessité de remédier au malaise existentiel qui les étreint, Antonin Artaud et Henri Michaux attribuent à leur entreprise poétique une finalité proprement vitale : « guérir la vie », lutter contre ce qui les oppresse, changer de corps et d'esprit. Or un tel impératif engage une redéfinition radicale de la Poésie. Le geste d'Artaud et de Michaux a la particularité d'opérer sur un plan bien plus large que celui de l'écriture, dans la perspective d'un « champ élargi » de la Poésie qui investit une multiplicité de dispositifs : poèmes mais aussi dessins, peintures, pratiques performatives inspirées du théâtre, de la danse ou de la musique. Pour « guérir la vie », ce continuum artistique opère sous la forme d'une production inlassablement reconduite d'exorcismes, dans le même temps qu'il ouvre l'espace d'une construction de soi qui engage une ontologie de l'altération. Attentive à la performativité des différentes configurations artistiques, la présente étude fera de l'expérience poétique - entendue comme une pratique incarnée - le cœur de sa réflexion. Or, s'il est vrai qu'une expérience n'engage a priori que celui qui en est le sujet, elle ne trouvera toutefois à se réaliser pleinement que dans la mesure où elle sera reprise et traversée par d'autres, c'est-à-dire reçue et reconduite par un public : l'agir poétique est un espace d'action partagé
Under which conditions can Poetry constitute a provision of the human action? Driven by a shared need to heal the existential ailment which seized them, Antonin Artaud and Henri Michaux allot to their poetic endeavor a vital purpose. This purpose — "to cure life" - means to fight against oppression, to change body and spirit. But such a goal requires a radical redefinition of Poetry. Artaud and Michaux's gesture is particular in the way that it operates on a broader level, from the perspective of an « expanded field, » which comes through in many forms: poems - yes, but also drawings, paintings, performances, theater, dance and music. In order to « cure life », this artistic continuum requires perpetual exorcisms. But, at the same time, it calls for a construction of Self which is engaged in an ontology of alteration. Paying attention to the performativity of the various artistic configurations which play out in these works, the present study will mainly focuses itself on the notion of « poetic experience ». But however deeply personal this experience is, its meaning will come out when taken and reinterpreted by others. For « poetic acting » can only be conceived through the form of a shared space of action
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Six, Jean-François Ancel Alfred. "Un prêtre, Antoine Chevrier : fondateur du Prado, 1826-1879 /." Paris : Éd. du Seuil, 1986. http://catalogue.bnf.fr/ark:/12148/cb350633523.

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Silveira, Lage André. "Antonin Artaud : le corps et le langage." Paris 8, 2004. http://www.theses.fr/2004PA082410.

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La question de départ de cette thèse est l’étude du rapport entre le corps et le langage. L’œuvre d'Artaud produit une pensée du corps indissociable d’une pensée du langage, l’une et l’autre s’inscrivant dans une perspective radicalement critique. A partir des premiers écrits poétiques d’Artaud, je tente d’interroger le rapport entre la naissance d’une œuvre et le discours sur sa défaite, montrant en quoi l’œuvre d’Artaud rend indissociable création et ratage. La terrible conscience que l’écriture d’Artaud témoigne de ce qui la menace nous conduit à la considérer comme le lieu particulier d’un combat où une expérience de pensée épouse une expérience radicale du langage. Et les problèmes que l’œuvre d’Artaud ne cesse de relancer d’un texte à l’autre s’organisent autour de quelque chose dont le nom, le statut et la place restent toujours improbables, sinon toujours à venir. Dans un deuxième temps, j’oriente mon analyse vers les écrits d’Artaud consacrés au théâtre, en partant de l’idée que sa poétique du théâtre dépasse une théorie du théâtre, ouvrant le champ d’une réflexion sur le langage et sur l’art en général. Les notions d’intonation, de scansion, en travail dans sa poétique du théâtre, me semblent fondamentales pour comprendre l’articulation du corps au langage, mais aussi pour appréhender l’ensemble de sa pratique de l’écriture. Dans un troisième temps, j’interroge l’œuvre d’Artaud en tant que réflexion sur le statut du corps et son identité. Le corps de l’homme est le terrain et l’enjeu de l’œuvre d’Artaud : le corps de la langue autant que le corps anatomique est à refaire. Il y a un combat déclaré chez Artaud. A l’intérieur du langage. Et cet état de guerre constitue les conditions et les moyens du langage qui devient un langage-force, un langage-coup, un langage-cri, un langage qui, traversant et débordant les mots, manifeste l’aventure d’une vie par l’écriture, l’aventure rythmique d’un sujet dans sa quête effrénée d’un langage qui lui est propre.
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Majdalani, Charif. "Les glossolalies d'Artaud." Aix-Marseille 1, 1993. http://www.theses.fr/1993AIX10079.

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Apres un chapitre inaugural consacre a un expose de la notion de glossalalie dans l'histoire religieuse occidentale, dans les religions chamaniques et en psychiatrie, nous introduisons l'etude des glossolalies d'artaud par une lecture globale de l'oeuvre de ce poete a partir des theses psychanalytiques de melanie klein. Nous tentons de montrer que l'oeuvre d'artaud est toute entiere comme le recit d'un vazste "combat schizoide" livre contre la realite et le couple "peremere" consideres comme "mauvais objets" au sens kleinien du terme et surtout que les glossolalies incluses dans cette oeuvre constituent une des modalites de ce combat, le "mauvais objet" etant ici incarne par la langue maternelle - en l'occurence le francais. Apres avoir demontre que les sons dans lesquels sont generalement investies les pulsions agressives anales, uretrales et phalliques constituent les armes essentielles d'artaud dans ce reglement de compte linguistique, nous procedons a une analyse detaillee des diverses strategies et modes d'agressivites mis en oeuvre dans chaque sequence glossolalique. L'etude de la poetique des glossolalies d'artaud (leur rythme, leur musicalite) forme la derniere partie de ce travail
The first chapter of this thesis is bended to an account of the notion of glossolalia in the history of occidental christianity, in the chamanic religions and in psychiatry. We begin the study of the glossolalias of antonin artaud by a global study of artaud's works based on psycho-analytic thesis of melanie klein. We try to prove that artaud's texts relate a "xhizoid fight" against reality and against the couple "fother-mother" (pere-mere) considered like "bad objects" according to the kleinian meaning of the word. The glossolalias included in those texts seemed then to be a part of this fight, mother tong playing the part of "bad object". After demonstrating that artaud's principal arms in this fight are the sounds in which aggressive anal, urethral and phallic impulses are invested, we detail the various aggressive strategies used in each sequence. The last part of the thesis is composed of a poetics study of the glossolalias (in other words their rythm and their musicality)
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Brangé, Mireille. "La séduction du cinéma : de la pratique du septième art et de ses implications sur les idées theâtrales de Pirandello, Artaud et Brecht." Rouen, 2006. http://www.theses.fr/2006ROUEL541.

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Hommes de théâtre majeurs au XXe siècle, Pirandello, Artaud et Brecht, cinéphiles, pratiquèrent le cinéma en scénaristes et critiques. Ils songèrent aussi à passer derrière la caméra et à jouer leurs scénarios. Leurs travaux originaux et leurs adaptations sont emblématiques de la passion de nombre d'écrivains dans l'entre-deux guerres, mais aussi des bouleversements que cet art de masse industriel et mondialisé fit subir aux hommes de lettres, à leur situation dans le champ littéraire, à leur statut de créateurs, à leur écriture. Leurs idées cinématographiques furent à la fois liées à leur époque et puissamment originales. Si le parlant et le poids de l'industrie contribuèrent à les éloigner de leurs espoirs, les trois auteurs ne se replièrent qu'apparemment sur le théâtre. Même s'ils feignaient d'ignorer le cinéma, il était présent dans leurs approches théâtrales, dans leurs mises en scènes et leurs ambitions communes de révolutionner le drame traditionnel
Pirandello, artaud and Brecht played a major role in theatre in the 20th century ; they also liked cinema as film enthusiasts and practiced it as scriptwriters and reviewers. They also sought to go behind the camera and play their scripts. Their original work and their adaptations symbolise the passion that a lot of writers experienced between WWI and WWII, but also the upheaval that this industrial art for the masses brought about for men of letters, for their situation in the literary world, for their status of creators, and for their style of writing. Thier cinematographic ideas both rooted in their time and were extremely original. If talking films and the weight of the industry contributed in dismissing their cinematographic hopes, the three writers chose theatre only apparently. For even if they pretended to ignore cinema, it was nonetheless present in their approaches to theatre , in their ways of directing and in their common ambitions to revolutionize the traditional drama
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Books on the topic "Antoine, 1896"

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Gagniers, Jean Des. Monseigneur de Charlevoix: Félix-Antoine Savard, 1896-1982. Saint-Laurent, Qué: Fides, 1996.

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Gagniers, Jean Des. Monseigneur de Charlevoix: Félix-Antoine Savard, 1896-1982. [Saint-Laurent, Québec]: Fides, 1996.

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Samson, Gilbert. Bienville, 1896-1996: Cent ans d'histoire. [Lévis, Québec]: Comité du centenaire de Bienville, 1995.

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Valérie, Pascaud, ed. Antoine Louis Roussin, 1819-1894. Saint-André, Réunion: Ocean éditions, 2009.

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Pinchon, Robert-Antoine. Robert Antoine Pinchon: 1886-1943. [France: s.n., 1990.

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Antoine Chevrier: Prêtre selon l'Evangile, 1826-1879. Paris: Le Centurion, 1986.

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Antonin Artaud's writing bodies. Oxford: Clarendon, 2005.

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Mario, Béland, Plamondon Antoine 1804-1895, and Musée national des beaux-arts du Québec., eds. Antoine Plamondon, 1804-1895: Milestones of an artistic journey. Québec: Musée national des beaux-arts du Québec, 2006.

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Lamonde, Yvan. Louis-Antoine Dessaulles, 1818-1895: Un seigneur libéral et anticérical. [Ville Saint Laurent, Canada]: Editions Fides, 1994.

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Lamonde, Yvan. Louis-Antoine Dessaulles, 1818-1895: Un seigneur libéral et anticlérical. Saint-Laurent, Qué: Fides, 1994.

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Book chapters on the topic "Antoine, 1896"

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Nau, F. "X. LA VERSION SYRIAQUE DE LA PREMIÈRE LETTRE DE SAINT ANTOINE." In Revue de l’Orient Chrétien (1896-1946), edited by René Graffin, 282–97. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463220778-024.

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Knapp, Bettina L. "Antonin Artaud (1896–1948)." In French Theatre 1918–1939, 63–83. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-17985-5_5.

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Footman, David. "1899." In Antonin Besse of Aden, 1–4. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-07731-1_1.

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Walker, Donald A. "Walras, Antoine Auguste (1801–1866)." In The New Palgrave Dictionary of Economics, 1–2. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_1715-1.

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Walker, Donald A. "Walras, Antoine Auguste (1801–1866)." In The New Palgrave Dictionary of Economics, 1–2. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/978-1-349-95121-5_1715-2.

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Hébert, R. F. "Cherbuliez, Antoine Elisée (1797–1869)." In The New Palgrave Dictionary of Economics, 1543. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_54.

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Hébert, R. F. "Cherbuliez, Antoine Elisée (1797–1869)." In The New Palgrave Dictionary of Economics, 1–2. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_54-1.

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Walker, Donald A. "Walras, Antoine Auguste (1801–1866)." In The New Palgrave Dictionary of Economics, 14441–42. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_1715.

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Heuss, Theodor. "Jena, 1866." In Anton Dohrn, 44–51. Berlin, Heidelberg: Springer Berlin Heidelberg, 1991. http://dx.doi.org/10.1007/978-3-642-76347-2_5.

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Salvadori, Massimo L. "Gramsci, Antonio (1891–1937)." In The New Palgrave Dictionary of Economics, 5407–8. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_868.

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Conference papers on the topic "Antoine, 1896"

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Rodríguez López-Abadía, Arturo. "La primera traducción catalana del Lazarillo de Tormes: un caso anómalo de fijación textual." In Simposio internacional El Lazarillo y sus continuadores: Facultad de Ciencias de la Educación, 10 y 11 de octubre de 2019, Universidade da Coruña: [Actas]. Servicio de Publicaciones. Universidade da Coruña, 2021. http://dx.doi.org/10.17979/spudc.9788497497657.53.

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From the linguistic comparisons, and other textual considerations and confrontations between the first Catalan translation of the Lazarillo de Tormes and the different editions, both in Spanish and French, we conclude that the work produced by Antoni Bulbena y Tusell in the late 19th century was poor, and we discovered that his textual setting was not made from any edition in Spanish, but rather from a French edition from 1886.
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Faria, M., J.-A. Gustafsson, and A. Strom. "Abstract P2-06-21: Endogenous expression of ERβ variants contributes towards chemotherapy-resistance in the triple negative breast cancer cell line HCC-1806." In Abstracts: 2018 San Antonio Breast Cancer Symposium; December 4-8, 2018; San Antonio, Texas. American Association for Cancer Research, 2019. http://dx.doi.org/10.1158/1538-7445.sabcs18-p2-06-21.

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Bonnefoi, H., AS Zimmer, M. Piccart, L. Mauriac, M. Campone, M. Tubiana-Hulin, T. Petit, et al. "P53 functional assay in yeast: evaluation in 1856 patients in a large prospective clinical trial (EORTC 10994/BIG 00-01)." In CTRC-AACR San Antonio Breast Cancer Symposium: 2008 Abstracts. American Association for Cancer Research, 2009. http://dx.doi.org/10.1158/0008-5472.sabcs-1067.

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Dejana, E., F. Breviario, F. Bussolino, L. Mussoni, and A. Mantovani. "PLEIOTROPIC EFFECT OF INTERLEUKIN-1 ON ENDOTHELIAL CELLS." In XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1643984.

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Inflammatory processes are often associated with pathological alteration of the vessel wall and sometimes with local or disseminated thrombotic phenomena. Interleukin-1 (IL-1), a monokine produced by activated cells of the monocyte/macrophage lineage and responsible of most of the changes associated with the inflammatory acute phase response, appears to dramatically' modify several endothelial cell (EC) functions. Some groups including ours (for review 1) have shown that IL-1 stimulates prostacyclin (PGI2), platelet activating factor (PAF), plasminogen activator inhibitor (PAi), thromboplastin (PCA) synthesis by cultured human EC in vitro. In addition IL-1 can act directly on EC to increase neuthophil and other leukocyte adhesion on their surface (2). All these effects, in contrast to previously described inducers, require a long time of interaction (30 min to 4 hours) of IL-1 with EC to be apparent and then last for several hours (4 to 12 hours). The IL-1 effects are concentration dependent (minimal active concentration being about 1 unit/ml) and require protein and RNA synthesis. To better define the structural requirement for IL-1 induced modification of EC functions we compared the activity of different IL-1 molecular species. Our approach is based on the observation that IL-1 is indeed a family of polypeptides biochemically different(3). At least two dissimilar gene products have been cloned with very limited homology (denominated α and β). These molecules, though biochemically different, share common activities and possibly the same receptor in different cell types. On EC we investigated whether the αand β IL-1 forms have similar biological activities (4). All the IL-1 preparations used were active on thymocyte costimulatory assay and comparison was made on the basis of the concentrations of these agents equally active on this assay.Human recombinant IL- αandβ (hr IL-1 α and hr IL-1 β) were both active in stimulating PGI2, PCA, PAi production and in increasing neutrophil adhesion to EC. In contrast PAF synthesis was Stimulated by hr IL-1 α but not by hr IL-1 β. Murine recombinant IL-1 (mr IL-1 α highly homologous with hr IL-1 < α, at concentrations able to maximally activate thymocytes was inactive on PGI2, PCA and in increasing neutrophil adhesion to EC. In contrast, mr IL-1 α was equally effective on PAF production as hr IL-1 α. A short peptide fragment of hr IL-1β (fragment 167-171) was synthesized on the basis of its predicted exposure on the surface of the molecule (5). This peptide is also located in a region (150-186) of high homology between hr IL-1α and β sequences. While the peptide showed high thymocyte activation capacity it was inactive on EC activities. Overall these results indicate that the α and β forms of human IL-1 elicit largely but not completely overlapping patterns of response in EC. In addition they suggest that the structural requirement for activation by IL-1 is not identical for thymocytes and EC. These results might provide some clues to novel strategies for modulation of IL-1 vascular and immunological activities.1. Mantovani A. and E. Dejana (1987) Biochem. Pharm. 36:301.2. Bevilacqua M. et al. (1985) J. Clin. Invest. 76:20033. Dinarello C.A. (1985) J. Clin. Immunol. 5:287.4. Dejana E. et al. (1987) Blood 69:695.5. Antoni G. et al. (1987) J. Immunol, (in press).
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