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Gingras, Chantale. "Victor Barbeau : un réseau d'influences littéraires /." Montréal [Québec] : l'Héxagone, 2001. http://catalogue.bnf.fr/ark:/12148/cb38854478w.
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Nurse, Andrew. "Tradition and modernity : the cultural work of Marius Barbeau." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq22486.pdf.
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Gingras, Chantale. "La correspondance de Victor Barbeau, création et consolidation d'une figure d'autorité." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0028/MQ41912.pdf.
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Martin, Roxanne. "François Barbeau et son approche du costume : récit de carrière (1955-2016)." Doctoral thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/66749.
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François Barbeau est reconnu comme l’un des plus grands concepteurs de costumes du Québec. Sa réputation n’est plus à faire, mais la nécessité d’avoir une vue d’ensemble de sa carrière restait à faire et elle est peut-être encore plus importante aujourd’hui que le costumier est décédé. La thèse propose de faire un récit de sa carrière qui serait le témoin de la longévité et de l’ampleur du travail de Barbeau, mais aussi de sa qualité d’artiste, inégalée dans le domaine au Québec. Il s’agira donc de décrire les différentes étapes qui composent son approche du costume en faisant le récit des moments qui ont ponctué sa carrière et qui ont entraîné un ajout ou un changement dans l’élaboration de sa façon de faire, et ce, à l’aide du témoignage du principal intéressé. La thèse aura également pour but de consigner le travail effectué par le concepteur de costumes par le recensement complet des productions auxquelles il a participé. La carrière de Barbeau a débuté alors que le théâtre québécois professionnel en était à ses balbutiements et le concepteur a été activement impliqué dans certaines des productions les plus marquantes de l’histoire des arts de la scène au Québec, comme Les belles-soeurs, La Sagouine, Casse-noisette et Dralion. En l’absence de formation en scénographie, Barbeau a entamé une formation en dessin commercial pour ensuite bifurquer vers une école de haute couture afin d’apprendre la confection des vêtements. Les troupes de théâtre amateur l’ont engagé alors qu’il n’avait pas encore terminé sa formation. Déplorant le fait de n’avoir pas eu la chance d’étudier dans une école de scénographie, le concepteur a cherché, sans le trouver, un guide qui l’initierait au métier de costumier. Dès ses débuts en 1955, Barbeau a appris son métier, a façonné son approche du costume, a établi sa réputation et a élaboré son style qui allait devenir sa signature à travers ses expériences et les rencontres qu’il a faites. Curieux de nature et désireux d’en apprendre toujours davantage, il a défini sa façon de faire au fur et à mesure de sa pratique. Son métier de costumier lui a permis d’explorer plusieurs disciplines artistiques comme le théâtre, le ballet, le cirque, le cinéma et plusieurs métiers en lien avec la scène, comme le jeu, la conception de décors et la mise en scène ou en lien avec le cinéma, comme la direction artistique, sans oublier l’enseignement. Cette exploration des différents médiums a établi un cycle où des connaissances acquises dans une discipline ont nourri son approche d’une autre et où l’expérience d’un des métiers a fait comprendre la réalité de l’autre. Ce cycle a ainsi façonné l’artiste qu’il est devenu. Par conséquent, la visée de la thèse a pour ambition de relater, selon une perspective diachronique, le récit de ces étapes, des moments marquants de sa carrière qui, tels un fil d’Ariane, se sont succédé, l’un menant à l’autre, dans l’élaboration de son approche du costume.<br>François Barbeau is recognized as one of the greatest costume designers in Quebec. His reputation no longer needs an introduction, but the overview of his career remained to be done and it is perhaps even more important today that the costumer has died. This thesis proposes to make a narrative of his career that would be a witness to the longevity and breadth of Barbeau's work, but also his quality as an artist, unequaled in the field in Quebec. It is therefore a matter of describing the different steps that make up his approach to the costume by telling the story of the moments that have punctuated his career and that have led to an addition or a change in the development of his way of doing things, thanks to the testimony of the primary subject. The purpose of this thesis will be to document the work done by the costume designer through the complete census of the productions in which he participated. Barbeau's career began when the professional Quebec theater was in its infancy and the designer was actively involved in some of the most significant productions in the history of the performing arts in Quebec, such as Les belles-soeurs, La Sagouine, Casse-noisette and Dralion. In the absence of academic training in scenography, Barbeau began a course in commercial design and then branch off to haute couture school to learn dressmaking. The amateur theater groups hired him when he had not yet finished his training. Without the possibility to study in a school of scenography, the designer sought, without finding, a guide who would initiate him to the job of costume designer. From his beginnings in 1955, Barbeau learned his craft, shaped his approach to costume, established his reputation and developed his style that would become his signature through his experiences and the encounters he made. Curious by nature and eager to learn more, he has defined his craft progressively through his practice. His career as a costume designer allowed him to explore several artistic disciplines such as theater, ballet, circus, cinema and several trades related to the stage, such as acting, set design and stage directing, or related to the film industry, as the artistic direction, in addition to teaching. This exploration of different mediums has established a cycle in which knowledge acquired in one discipline has nourished its approach to another and where the experience of one of the trades has allowed to understand the reality of the other. This cycle has shaped the artist he has become. Consequently, the aim of this thesis will constitute, according to a diachronic perspective, the narrative of these stages, the highlights of his career which, like a breadcrumb trail, have followed each other, one leading to the other, in developing his approach to the costume.
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Dyck, Sandra. "These things are our totems : Marius Barbeau and the indigenization of Canadian art and culture in the 1920s /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1995. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ26893.pdf.
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Dyck, Sandra. "These things are our totems Marius Barbeau and the indigenization of Canadian art and culture in the 1920s /." Ottawa : Library and Archives Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ26893.pdf.
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Gauthier, Ninon. "Marcel Barbeau : échos et métamorphoses : catalogue raisonné des peintures (1944-1971) et catalogue raisonné des sculptures (1944-2000)." Paris 4, 2004. http://www.theses.fr/2003PA040057.
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Ce catalogue décrit, illustre, " historise " et commente chaque oeuvre dans le contexte de la production de l'artiste et de celle de ses contemporains. Les notices, l'introduction, les notices complémentaires et la chronologie situent l'oeuvre en regard de ses sources et du voisinage de ses contemporains. Le chapitre sur la fortune critique et l'annexe "sources" apportant un complément d'information sur sa réception. Cette thèse montre la contribution de Marcel Barbeau à l'Automatisme, un mouvement expressionniste abstrait québécois, pionnier de l'abstraction au Canada au milieu des années quarante. Artiste en constante mutation, Barbeau fut aussi associé à̧ des tendances très diverses de même qu'à des productions poétiques phoniques, musicales et chorégraphiques. L'étude rend compte de ces relations passagères en montrant la prégnance des origines expressionnistes de l'artiste et de ses références surréalistes, dada et extra disciplinaires sur son oeuvre, pour en dégager l'originalité<br>This comprehensive catalogue describes, illustrate, historicizes and comment each work, showing its relationship with the artist's own production and those of his contemporaries. The main commentary, the introduction, the complementary notes and the chronology situate the artist's oeuvre with regards to its sources abs relationship to contemporary works. The chapter on the critiques as well as the annexes. Sources bring complementary information regarding their reception. This thesis shows Barbeau's contribution to Automatism, a Quebec abstract expressionist movement. Barbeau was a pioneer of abstraction in Canada in the mid-forties. With this ever-changing style, Barbeau produced a crossbred work, related to very diversified movements as well as to productions in phonic poetry, music and dance. This study takes into account these transient encounters, showing the permanency of surrealistic, Dadaist and transdisciplinary references within his work
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Laliberté, Michel. "Comparaison du "Think fast", du Barbeau Pinard et de l'écoute dichotique dans la mesure de la latéralisation hémisphérique." Thèse, Université du Québec à Trois-Rivières, 1989. http://depot-e.uqtr.ca/5624/1/000583345.pdf.
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DeChamplain, Virginie, and Virginie DeChamplain. "Les falaises ; : suivi de L'héritage de la filiation féminine brisée dans La femme qui fuit, d'Anaïs Barbeau-Lavalette; réparer le passé par le présent." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/37665.
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Ce mémoire en recherche-création s’articule en deux parties, soit un roman et un essai. Le roman Les falaises relate le retour d’une jeune femme dans l’ancestrale maison familiale à la suite de la mort de sa mère, avec qui elle entretenait une relation d’amour/haine destructrice. Elle y découvre des carnets rédigés par sa grand-mère qu’elle n’a pas connue, qui racontent les aléas de la maternité et la soif d’un retour à ses racines islandaises. Soif que la protagoniste poursuit, en quête d’une rencontre avec sa mère et sa grand-mère, d’une réunion improbable entre les membres de sa lignée insaisissable. L’essai L’héritage de la filiation féminine brisée dans La femme qui fuit, d’Anaïs Barbeau-Lavalette ; réparer le passé par le présent répond aux questionnements sur la gestion de l’héritage soulevés par la lecture du roman La femme qui fuit (2015) d’Anaïs Barbeau-Lavalette et par l’écriture en cours de Les falaises. La femme qui fuit est analysé de façon à faire ressortir les changements de paradigmes entre les époques des différents membres de la lignée familiale féminine dépeints dans l’oeuvre (arrière-grand-mère, grandmère, mère et fille) et la façon dont ces paradigmes, ainsi que l’héritage reçu influencent le rapport entre maternité et création. Il est question de déterminer comment l’autrice, grâce aux avancées du féminisme – tant social que littéraire – peut doubler sa position d’héritière de celle de testatrice et transformer l’héritage troué d’absence, de silence et de souffrances qui se transmet au sein de sa filiation familiale.<br>Ce mémoire en recherche-création s’articule en deux parties, soit un roman et un essai. Le roman Les falaises relate le retour d’une jeune femme dans l’ancestrale maison familiale à la suite de la mort de sa mère, avec qui elle entretenait une relation d’amour/haine destructrice. Elle y découvre des carnets rédigés par sa grand-mère qu’elle n’a pas connue, qui racontent les aléas de la maternité et la soif d’un retour à ses racines islandaises. Soif que la protagoniste poursuit, en quête d’une rencontre avec sa mère et sa grand-mère, d’une réunion improbable entre les membres de sa lignée insaisissable. L’essai L’héritage de la filiation féminine brisée dans La femme qui fuit, d’Anaïs Barbeau-Lavalette ; réparer le passé par le présent répond aux questionnements sur la gestion de l’héritage soulevés par la lecture du roman La femme qui fuit (2015) d’Anaïs Barbeau-Lavalette et par l’écriture en cours de Les falaises. La femme qui fuit est analysé de façon à faire ressortir les changements de paradigmes entre les époques des différents membres de la lignée familiale féminine dépeints dans l’oeuvre (arrière-grand-mère, grandmère, mère et fille) et la façon dont ces paradigmes, ainsi que l’héritage reçu influencent le rapport entre maternité et création. Il est question de déterminer comment l’autrice, grâce aux avancées du féminisme – tant social que littéraire – peut doubler sa position d’héritière de celle de testatrice et transformer l’héritage troué d’absence, de silence et de souffrances qui se transmet au sein de sa filiation familiale.<br>This master’s thesis in research and creative writing is divided in two parts – a novel and an essay. Les falaises [ Cliffs ] recounts the return of a young woman to the ancestral family home, following the death of her mother, with whom she maintained a destructive love/hate relationship. She discovers journals written by a grandmother she never knew, which reveal her grandmother’s views of maternity and her longing for a return to her Icelandic roots. The protagonist follows that longing, going in search of an unlikely meeting among the members of her elusive lineage. The essay L’héritage de la filiation féminine brisée dans La femme qui fuit, d’Anaïs Barbeau-Lavalette ; réparer le passé par le présent [ The Legacy of Broken Feminine Lineage in Suzanne by Anaïs Barbeau-Lavalette; repairing the past with the present ] answers questions about the management of legacy raised by the reading of the novel La femme qui fuit by Anaïs Barbeau-Lavalette and the writing of Les falaises. La femme qui fuit is analyzed in order to highlight the paradigm shifts between eras of the different members of the female family lineage depicted in the work (great-grandmother, grandmother, mother and daughter) and the way in which these paradigms, as well as the received legacy, influence the relationship between motherhood and creation. The essay tries to establish how the author negotiates the broken legacy of absence, silence and suffering that is transmitted in her family’s lineage.<br>This master’s thesis in research and creative writing is divided in two parts – a novel and an essay. Les falaises [ Cliffs ] recounts the return of a young woman to the ancestral family home, following the death of her mother, with whom she maintained a destructive love/hate relationship. She discovers journals written by a grandmother she never knew, which reveal her grandmother’s views of maternity and her longing for a return to her Icelandic roots. The protagonist follows that longing, going in search of an unlikely meeting among the members of her elusive lineage. The essay L’héritage de la filiation féminine brisée dans La femme qui fuit, d’Anaïs Barbeau-Lavalette ; réparer le passé par le présent [ The Legacy of Broken Feminine Lineage in Suzanne by Anaïs Barbeau-Lavalette; repairing the past with the present ] answers questions about the management of legacy raised by the reading of the novel La femme qui fuit by Anaïs Barbeau-Lavalette and the writing of Les falaises. La femme qui fuit is analyzed in order to highlight the paradigm shifts between eras of the different members of the female family lineage depicted in the work (great-grandmother, grandmother, mother and daughter) and the way in which these paradigms, as well as the received legacy, influence the relationship between motherhood and creation. The essay tries to establish how the author negotiates the broken legacy of absence, silence and suffering that is transmitted in her family’s lineage.
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Decamp, Eleanor Sian. "Performing barbers, surgeons and barber-surgeons in early modern English literature." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:42cdcea1-56b8-4d3d-961f-d2a3e7fa0d13.
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This study addresses the problem critics have faced in identifying contemporary perceptions of the barber, surgeon and barber-surgeon in early modernity by examining the literature, predominantly the drama, from the period. The name ‘barber-surgeon’ is not given formally to any character in extant early modern plays; only within the dialogue or during stage business is a character labelled the barber-surgeon. Barbers and surgeons are simultaneously separate and doubled-up characters. The differences and cross-pollinations between their practices play out across the literature and tell us not just about their cultural, civic and occupational histories but also about how we interpret patterns in language, onomastics, dramaturgy, materiality, acoustics and semiology. Accordingly, the argument in this study is structured thematically and focuses on the elements of performance, moving from discussions of names to discussions of settings and props, disguises, stage directions and semiotics, and from sound effects and music, to voices and rhetorical turns. In doing so, it questions what it means in early modernity to have a developed literary identity, or be deprived of one. The barber-surgeon is a trope in early modern literature because he has a tangible social impact and an historical meaning derived from his barbery and surgery roots, and consequently a richly allusive idiom which exerted attraction for audiences. But the figure of the barber-surgeon can also be a trope in investigating how representation works. An aesthetic of doubleness, which this study finds to be diversely constructed, prevails in barbers’, surgeons’ and barber-surgeons’ literary conception, and the barber-surgeon in the popular imagination is created from opposing cultural stereotypes. The literature from the period demonstrates why a guild union of barbers and surgeons was never harmonious: they are opposing dramaturgical as well as medical figures. This study has a wide-ranging literary corpus, including early modern play texts, ballads, pamphlets, guild records, dictionaries, inventories, medical treatises and archaeological material, and contributes to the critical endeavours of the medical humanities, cultural materialists, theatre historians and linguists.
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Sheedy, Erin. "Performing the Canadian "Mosaic": Juliette Gauthier, Florence Glenn, and the CPR Festivals of Quebec City." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31826.
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The Quebec City festivals of 1927 and 1928 represent a unique instance of close collaboration between prominent figures in Canadian musical and cultural history, John Murray Gibbon and Marius Barbeau. Based on Anglocentric concerns for a unique Canadian identity and corresponding school of composition, the festivals served as points of contact between many artists and performers, including Juliette Gauthier and Florence Glenn. An analysis of specific performances at the CPR festivals and over the course of Glenn and Gauthier’s respective careers showcase how racialized attitudes towards Indigenous populations, and the static conceptualization of French-Canadian folk culture were navigated to perform “Canadian folksong.”
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Kotlík, Petr. "Phylogéographie et systématique des barbeaux d'Europe centrale." Paris, Muséum national d'histoire naturelle, 2001. http://www.theses.fr/2001MNHN0038.
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Les poissons d'eau douce représentent un modèle intéressant pour les études phylogéographiques du fait de leur dépendance vis à vis des réseaux fluviaux. La présente étude utilise l'approche phylogéographique pour aborder la biogéographie historique et la systématique des espèces de barbeaux ouest-paléarctiques (genre Barbus sensu stricto) d'Europe Centrale. Deux premiers objectifs sont poursuivis. Le premier concerne la structure phylogéographique de l'ADN mitochondrial de deux espèces de barbeaux d'Europe Centrale, Barbus barbus (Linnaeus, 1758) qui est largement distribué à travers l'Europe , et B. Petenyi Heckel, 1852, qu'on trouve principalement dans les zones montagneuses du bassin du Danube. [. . . . ]. Le second objectif de cette étude était d'utiliser les résultats pour clarifier la taxonomie contestée des barbeaux d'Europe centrale. Les modifications suivantes sont proposées : (1) les populations de barbeaux fluvio-lacustres des Balkans et du nord de l'Anatolie sont reconnues, à cause de leur proximité génétique avec l'espèce d'Europe Centrale B. Barbus comme appartenant à la sous-espèce B. Barbus escherichi Steindachner, 1897 ; et (2) chacune des trois principales lignées évolutives formant B. Petenyi est reconnue comme espèce distincte, l'une conservant le nom de B. Petenyi Heckel, 1852, tandis que les deux autres sont nouvellement décrites comme B. Carpathicus et B. Balcanicus.
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Gutierrez, Casaverde Ana Isabel, Chávez Luis Enrique Ramírez, Vilogrón Shirley Kay Shibata, Gamarra Jhossellin Guiliana Valenzuela, and Raya José Andrés Vásquez. "Barber Truck." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653206.
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El objetivo del proyecto es implementar un Barber truck, a través del cual se satisfaga de manera distinta el creciente mercado de la belleza y cosmética masculina. Si bien, el rubro de la barbería es competitivo, los competidores prestan servicios que no difieren mucho entre sí. Por ello, el proyecto busca implementar una barbería rodante de nivel superior, donde la principal tarea será trabajar al detalle con cada cliente. El servicio de barbería móvil “Barber Truck Lima” está enfocado al público masculino entre los 18 y 39 años de los distritos de Independencia, Los Olivos y San Martín de Porres, en los sectores socioeconómicos A, B y C. Teniendo en cuenta la necesidad encontrada, el servicio de una barbería móvil pretende ser una ayuda para aquellos caballeros que cuidan su imagen personal y desean organizar mejor su tiempo en relación con el servicio de corte de cabello y barbería. Por ello, nos enfocamos en brindar un servicio ajustado a las necesidades del hombre moderno sin perder de vista los cuidados y atenciones que pueden encontrarse en las barberías tradicionales.<br>The objective of the project is to implement a Barber truck, in which it is hoped to satisfy in a different way the growing market for men's beauty and cosmetics. Although this market is growing in general, the competitors can be standardized in their presentation and services and do not differ much from each other. The project seeks the implementation of a higher level rolling barbershop, where the main task will be to work on every detail. The mobile barber service "Barber Truck Lima" is focused on the male public between 18 and 39 years old who live or frequent the districts of Independencia, Los Olivos and San Martín de Porres in socioeconomic sectors A, B and C. Taking into account the need to find the service of a mobile barber shop seeks to be an aid to those gentlemen who are constantly taking care of their personal image and who want to better organize their time in relation to the haircutting and barber service they access. Provide a service that meets the needs of modern man without losing sight of all the care and attention that can be found in traditional barbershops.<br>Trabajo de investigación
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Tsigenopoulos, Constantinos. "Phylogéographie du genre "Barbus" (Téléostéens, Cyprinidae) dans les régions péri-méditerranéennes. Reconstitution des grandes lignées de migration au moyen des marqueurs nucléaires et mitochondriaux." Montpellier 2, 1999. http://www.theses.fr/1999MON20085.
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Les relations phylogenetiques des especes mediterraneennes de barbeaux (genre barbus sensu stricto) ont ete etudiees a l'aide des marqueurs nucleaires (allozymes) et mitochondriaux (sequences du gene du cytochrome b). Les resultats demontrent que les grands barbeaux fluvio-lacustres appartiennent a une groupe monophyletique, tandis que les relations entre les petites especes rheophiles semblent etre correlees a leur distribution geographique. Le genre barbus s. Str. Comprend deux principales lignees : la premiere inclut des especes qu'on retrouve dans les regions nord-mediterraneennes et la deuxieme des especes qu'on rencontre en afrique du nord, en peninsule iberique et au moyen orient. Ces lignees se sont dispersees differemment sur le continent europeen, la deuxieme etant fortement influencee par les conditions saumatres ou dulcicoles de la mer mediterraneenne apres son assechement pendant la crise messinienne (il y a 5 a 5,5 millions d'annees). Une zone d'hybridation en italie (riviere pellice) entre les especes b. Plebejus et b. Caninus a egalement ete mise en evidence, ce qui constitue le quatrieme cas d'hybridation rapporte chez les barbeaux. Enfin les relations phylogenetiques entre especes attribuees au genre barbus ont ete redefinies. Il semble que le genre soit polyphyletique et comprenne plusieurs lignees qui correspondent souvent a des niveaux de ploidie distincts. Les deux lignees tetraploides (mediterranee et afrique du sud) ont une origine differente, et il ne parait pas y avoir une evolution simple du nombre de chromosomes depuis les diploides jusqu'aux hexaploides.
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Celdran-Johannessen, Hélène. "Prophètes, sorciers, rumeurs : la violence dans trois romans de Barbey d'Aurevilly /." Oslo : Faculty of arts, University of Oslo : Unipub, 2003. http://catalogue.bnf.fr/ark:/12148/cb39203859j.
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Chaumont-André, Marlyse. "La Description chez Barbey d'Aurevilly." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37611236c.
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Hendrycks, Eric. "Le sortilège espagnol : Barbey d'Aurevilly." Paris 8, 2004. http://www.theses.fr/2004PA082441.
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Le dialogue de Barbey avec l’Espagne ressemble à celui de deux amants. Fait de mille détails inexprimés, de sous-entendus, c’est un soupir, un spasme, un râle d’agonie. Tentons de crocheter le maléfice qui emprisonne Barbey à l’Espagne. Subir l’envoûtement de l’Espagne, c’est subir la charge du taureau. Qu’en est-il de la confrontation de Barbey avec la fougueuse Vellini ? Le sortilège s’organise autour de la corrida, et la trilogie Ouest peut être appréhendée comme un spectacle tauromachique. Il convient de cerner les modalités de l’hispanisme aurevillien. Ce que Barbey a obtenu, c’est une vibration, un halo de l’événement. L’usage du castillan n’est-il pas constitutif, et à quel degré, d’une Espagne barbeyenne ? Mais l’essentiel est la « restance », ce qui n’entre dans aucune classe connue. Le paradoxe du sortilège espagnol réside dans la coexistence de signes fascinants et un dispositif voué à les maîtriser. L’Espagne de Barbey n’est nulle part parce qu’on la respire partout<br>Dialogue between Barbey and Spain is like lovers’ one. Made with thousand unexpressed details, understood, it’s a sigh, a spasm, a groan of agony. Let us try to crochet the evil spell that padlock Barbey to Spain. To endure the Spanish bewitchment is to endure the assault of the bull. What about the confrontation between Barbey and the raging Vellini? The evil spell get organized around the bullfight, and the trilogy West may be perceived as a bullfighting performance. We can also determine the modalities of the aurevillian hispanism. What Barbey obtained is a vibration, an halo of the event. Is the use of the spanish language constituent, and at what degree, of an aurevillian Spain? But the main is the so-called “restance”, what does not fit in any familiar category. The paradox of the Spanish evil spell is situated in the coexistence of fascinating signs and a mechanism hallowed to overcome them. Barbey’s Spain is nowhere because we breathe it everywhere
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Chaumont-André, Marlyse. "La Description chez Barbey d'Aurevilly." Toulouse 2, 1988. http://www.theses.fr/1988TOU20030.
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L'objet de l'etude est la description chez barbey d'aurevilly telle qu'elle apparait a travers les romans et les nouvelles. La premiere partie etudie les differents types de description et constate son role essentiel dans l'atmosphere et le decor de l'oeuvre litteraire. Remarquables par leurs marquages, ces descriptions s'appuient chez l'auteur sur une repetitivite importante tant dans les structures que dans les themes. Completement integree a la narration, la description profite des modalites mises en place dans un recit parfaitement elabore et joue avec les differentes techniques employees par l'auteur: de la superposition des vois narratives qui prennent en charge tel ou tel materiel descriptif, aux lacunes de l'enonce, qui par defaut deviennent significatives. Le fantastique qui apparait dans l'oeuvre nait lui-meme de cette longue et minutieuse elaboration, si bien que le texte aurevillien, en fin de compte ne renvoie a rien d'autre qu'a lui-meme. Par un systeme d'echo, de renvoi, d'exces ou de manques, la description participe pleinement au recit, elle est parfois meme le recit et on constate ainsi que chez barbey d'aurevilly le programme anecdotique correspond au programme structural<br>The aim of this study of the work of barbey d'aurevilly is the art of description as it appears in his novels and short stories. The first part deals with the various types of description and establishes its vital role within the atmosphere and setting of the literary novel. Outstanding by their vividness, these descriptions rely largely on repetition both in the general framework as in the themes. Completely integrated into the narrative, the descriptions exploit certain forms used in a perfectly elaborated account and juggle with the various techniques used by the author: from the superimposition of the narrative voice which governs such and such descriptive material, to the scarcity of bald statements which by their absence are all the more significant. The fantastic which emerges from the work is born from this self-same meticulous development, so much so that the aurevillian text in fact refers to nothing save itself. By an echo system of back and forward referencing, of excess or absence, description participates fully in the narrative and is sometimes the narrative itself. We thus establish that in barbey d'aurevilly's work, detail is inherent to the structure
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Mevo, Kouassi Gilles. "Sustainability Strategies of Barber Salons." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6457.
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Many barber salons and other small businesses in the United States fail to succeed beyond the first 5 years. The factors responsible for the low survival rate of salons may include the limited training and education levels mandated by state certification requirements. The purpose of this multiple case study was to identify business strategies successful barber salon owners use to overcome the business management and staffing challenges associated with a small pool of skilled barbers and the high turnover in a low wage profession. The theory of transformational leadership served as the conceptual framework. The data collection included interviews of 3 successful barber salon owners who met the study participation eligibility criteria of licensed, registered, operating a salon business in the Indiana region for more than 5 years, and over the minimum age of 25 years. The 4 themes emerging from the interview data analysis were (a) barber salon operating structures, (b) salon leadership and managerial strategies, (c) licensed barber skill enhancement, and (d) salon operating strategies effectiveness and sustainability. The data analysis also involved the triangulation of the primary research against secondary data from the Small Business Administration and barber industry reports. The expertise and knowledge shared by the interviewees could serve the quest of barber salon businesses in the Indiana region to overcome the profitability and financial sustainability challenges of this industry. The study findings may potentially contribute to positive social change by improving the economic standing and welfare of barber salon owners and professionals in the community.
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Barber, Jennifer P. "Indian chick-lit : form and consumerism /." Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/barberj/jenniferbarber.pdf.
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A'Hearn, Thomas. "Reckoning Time in the Barber Shop:A Qualitative Study of a Barber Navigating Time, Temporality, and Rhythm." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386773352.
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Tyslik, Hannelore. "Dunkles Dichten in der rumänischen Moderne : Ion Barbu: Joc secund /." Heidelberg : Winter, 2005. http://www.loc.gov/catdir/toc/fy0605/2005530629.html.
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Johnson, Randy. "The choral music of Samuel Barber /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/11233.
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Bejjani, Gérard. "Lieux et milieux chez Barbey d'Aurevilly." Paris 3, 1992. http://www.theses.fr/1993PA030047.
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Le travail que nous proposons prend, comme element de lisibilite privilegie du texte aurevillien, le lieu romanesque. Il s'agit en fait non seulement de l'espace comme milieu ou l'action et les personnages peuvent evoluer, mais aussi de tout ce qui "remplit" l'espace, c'est-a-dire les meubles, les objets, et meme les corps des personnages. Ces elements de l'espace sont traites suivant quatre axes principaux : l'espace dans sa fonction de catalyseur du recit (les lieux-incipit); les autres fonctions de l'espace dans l'economie generale du recit; le corps en rapport avec le milieu ou il se toruve et les sous-espaces constitutifs du corps; enfin la technique des enchassements et les reflets spatiaux particulierement nette dans les diaboliques<br>The work that we suggest focuses on the novelistic scene as a privileged element of reading the aurevillien text. This consist in fact not only in considering the space simply as the place where action evolves and actors perform, but also includes everything that "fills" the space such as furniture, objects and even the bodies of the characters. All these elements of space are dealt with in four major chapters : space in its story catalyst function (lieu-incipit); other functions of space in the general organization of the text; the body in relation with the space it occupies and all the "under-spaces" created by the body itslf; and finaly the embedding techniques and reflections of space which are particularly obvious in les diaboliques
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Sato, Kimitake, Kevin M. Carroll, and Michael H. Stone. "Examination of Bar Velocity in Barbell Back Squat." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/4568.
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The aim of the study was to examine repetition to repetition changes of bar velocity and its variations from barbell back squat. Participants (N=19) performed back squat with a relative intensity of 78-80% of 1 RM. Bar velocity was captured using wireless device (PUSHtm) placed on their forearm. Data were collected from 3 sets of 10 repetitions. One-way repeated measures ANOVA was used to identify the velocity changes over 10 repetitions. Statistical significance was found (F(1,17)=45.06.~ 0 . 0 0 0 1 )T.h is indicates that the bar velocity decreased significantly over the 10 repetitions. At the same time, coefficient of variance also increased as the repetitions went higher, indicating that there were differences in individual responses of bar velocity changes. Further examination will be aimed to investigate the bar velocity changes from various strength level of individuals.
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Goodin, Jacob. "Comparison of External Kinetic and Kinematic Variables between High Barbell Back Squats and Low Barbell Back Squats across a Range of Loads." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2539.
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This study compared peak force, peak power, peak velocity, impulse, work, and vertical displacement between the high bar back squat (HBBS) and low bar back squat (LBBS). Six trained males performed each using 20, 30, 40, 50, 60, 70, 80, and 90% of their recent training 1 repetition maximum. Dual force plates recorded force-time curve characteristics of ground reaction forces and four potentiometers tracked vertical and horizontal barbell displacement. Repeated–measures analysis of variance revealed a significant main effect for load (p<0.01) across all variables, but no significant effects for condition or interaction. The HBBS generated higher peak force in loads 20%–80%, higher peak power in loads 20%–60% and 80%–90%, higher peak velocity at every load, and greater vertical displacement at every load. The LBBS generated a larger impulse at loads 30%-90% and the HBBS generated more work at loads 20%, 40%, and 60%–90%.
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Svensson, Felicia. "The loaded barbell squat: Muscle activation with the barbell in a free compared to a fixed vertical movement path in healthy athletes." Thesis, Umeå universitet, Avdelningen för fysioterapi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-175878.
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Introduction: Loaded barbell squat is one of the most popular exercises among athletes and can be performed in many different ways to achieve different goals. The difference in muscle activation between a free and afixed vertical movement path (using Smith machine) has not been examined to a particularly large extent. Aim: To investigate differences in muscle activation of the gluteal and thigh muscles when performing the loaded barbell squat in a free movement path compared to a fixed vertical movement path in healthy athletes under standardized conditions. Methods: Repeated measures within-subjects design were used. Five squats per condition was performed with a weight representing 100% of the participants bodyweight at a tempo of four seconds per repetition. Muscle activation was measured with the EMG-shorts MBody3. Both conditions tested on the same day and the participants was randomized to what condition to start with. Results: No difference was observed between the conditions for the mean value of muscle activation the whole squat. Mm. quadriceps and mm. hamstrings showed significantly higher muscle activation at the end of the eccentric and the beginning of the concentric phase of the squat when the squat is performed with the barbell in a free movement path. For m. gluteus maximus no difference was observed, neither in the whole squat nor in any parts of the squat. Conclusion: This study provides preliminary evidence that mm. quadriceps and mm. hamstrings muscle group show lower muscle activation in parts of the squat when performed in a Smith machine. No significant difference was observed considering the whole movement.<br>Introduktion: Knäböj med skivstång är en av de mest populära övningarna bland idrottare och kan utföras på många olika sätt för att uppnå olika mål. Skillnaden i muskelaktivering mellan fri och fixerad vertikal rörelsebana (med Smithmaskin) har inte undersökts i särskilt stor omfattning. Syfte: Att undersöka skillnader i muskelaktivering av sätes- och lårmuskler vid utförande av knäböj med skivstång i en fri jämfört med en fixerad vertikal rörelsebana hos friska idrottare under standardiserade förhållanden. Metod: Upprepade mätningar inom individer användes. Fem repetitioner knäböj per betingelse utfördes på en vikt som motsvarade 100% av deltagarnas egna kroppsvikt. Varje repetition genomfördes på fyra sekunder. Muskelaktivitet mättes med EMG-byxorna MBody3. Båda betingelserna testades under samma dag och deltagarna randomiserades till vilken förutsättning de skulle börja med. Resultat: Ingen skillnad observerades mellan betingelserna för medelvärdet av muskelaktiveringen under hela knäböjen. Mm. quadriceps och mm. hamstrings hade signifikant högre muskelaktivering i slutet av den excentriska och början av den koncentriska fasen av knäböjen då den utfördes i en fri rörelsebana. Ingen skillnad observerades, varken i hela eller delar av knäböjen, avseende m. gluteus maximus. Slutsats: Denna studie ger preliminära bevis på att muskelgrupperna mm. quadriceps och mm. hamstrings uppvisar lägre muskelaktivering i delar av knäböjen när den utförs i en Smithmaskin. Ingen signifikant skillnad observerades i muskelaktiveringen avseende hela rörelsen.
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Grosklos, Hollie Jo. "Form and analysis as elements of neo-romanticism in Summer music, op. 31, by Samuel Barber (1957) with three recitals of selected works by Bach, Mozart, Hindemith, Handel, Gaubert and others /." connect to online resource, 2001. http://www.library.unt.edu/theses/open/20013/grosklos%5Fhollie/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2001.<br>Accompanied by 4 recitals, recorded Mar. 27, 1995, Jan. 29, 1996, June 5, 2000, and Sept. 10, 2001. Includes bibliographical references (p. 100-101).
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Cocksey, David James. "Le dandysme litteÌraire de Barbey d'Aurevilly." Thesis, University of Sheffield, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422174.
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Schwartz, Rachel. "Edwin Atlee Barber collecting Pennsylvania, defining America /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 34 p, 2007. http://proquest.umi.com/pqdweb?did=1691249371&sid=7&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Chujo, Shohei. "Pulsions du roman : le cas Barbey d'Aurevilly." Paris 10, 1987. http://www.theses.fr/1987PA100198.
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Cette thèse aborde l'œuvre romanesque de Barbey d'Aurevilly (1808-1889) du point de vue du "désir". Le premier chapitre est consacré à l'analyse de la "corporalité" dans l'œuvre de Barbey. Nous analysons d'abord le "conflit des couleurs rouges et blanches" à partir de la découverte du signe corporel des héroïnes: la rougeur. Cette analyse des couleurs nous conduit à celle de la fonction des métaphores rouges et blanches. Ensuite, nous étudions la corporalité spécifique chez Barbey. Dans le deuxième chapitre, nous traitons la sexualité, surtout le satanisme, le fantasme du "cachetage" du sexe féminin, les mères négatives, l'inceste, le changement de sexes, etc. Le troisième chapitre porte sur la question dualiste de la matière et de la forme dans le roman aurevillien, c'est-à-dire celle du rapport entre les éléments romanesques et la structure narrative. De l'analyse du premier, nous induisons le fatalisme qui s'oppose à la foi catholique chez Barbey; de celle du dernier, l'agnosticisme comme appui idéologique de son art narratif. En cherchant ce qui l'amène à écrire malgré ses convictions fatalistes et agnostiques, nous découvrons chez lui un désir de vivre en suspens l'état intermédiaire hors de l'espace-temps déterministe et stérile<br>This thesis treats of the novels and stories of a French author, Barbey d'Aurevilly (1808-1889) from the point of view of "desire". The first chapter is devoted to the analysis of "corporality" in the works of Barbey. In the first place, we draw the "conflict of red and white colors" from the study of the signs which can be seen on the body of Barbey's heroines: flush. This analysis of the "conflict of colors" guides us to that of the function of red and white metaphors in his novels. Then we study the specific corporality in Barbey. The second chapter deals with sexuality, especially Satanism, phantasm of "sealing" of female sexual organs, negative mothers, incest, change of sexes, etc. In the third chapter, we treat the dualistic problem of the matter and form in Barbey’s novels, namely, that of the relation between fictional elements and structure of narration. From the analysis of the former we induce the fatalism, which is opposed to his Christianity, and from that of the later, the agnosticism as ideological support of his narration technique. In search of what leads him to continue writing in spite of his fatalistic and agnostic tendency, we discover in him a desire to live suspensively the intermediate conditions out of the sterile deterministic space-time
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Taouya-Joseph, Catherine. "Jules Barbey d'Aurevilly et les arts visuels." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040073.
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Jules Barbey d’Aurevilly et les arts visuels peut sembler un sujet de thèse paradoxal, tant il est convenu de considérer Jules Barbey d’Aurevilly comme incompétent dans le domaine artistique. Catholique, à la fois romancier, diariste, épistolier et critique d’art éphémère, il demeure l’un des auteurs les plus inclassables du XIXe siècle. Si le critique d’art est généralement contesté, nous proposons ici un jugement plus nuancé. Nous montrons combien l’esthétique de son écriture profane et catholique renvoie à des évocations qui sont de véritables transpositions d’œuvres d’art, où sculpture et peinture rivalisent. Quelques couleurs spécifiques sont en effet récurrentes au point de faire l’objet d’une évidente déclinaison liturgique. Au plan matériel, son goût pour la couleur est démontré par ses manuscrits. Barbey révèle au monde une écriture picturale, mais aussi une personnalité source d’inspiration et de représentation pour de nombreux artistes. Nous nous attachons également à la réception du personnage, afin de montrer comment le dandy spectaculaire, devient lui-même œuvre d’art pour ses contemporains et un sujet d’artefacts, dont les sculpteurs Zacharie Astruc et Auguste Rodin s’emparent en lui façonnant chacun un buste de bronze. Nous montrons enfin combien Barbey est une source d’inspiration pour divers artistes, allant des illustrateurs par images fixes, jusqu’aux adaptateurs, réalisateurs cinéastes et téléastes<br>Jules Barbey d’Aurevilly and the visual arts could be a paradoxical thesis because Jules Barbey d’Aurevilly is considered as incompetent in the artistic domain. Catholic, novelist, diarist, letter writer, and controversial art critic, he is regarded as one of the most unclassifiable authors of the XIXth century. He is one of the last romantics, but also one of the precursors of symbolism. His suggestive writing stimulates the reader’s imagination. If the art critic is controversial, yet the judgment must be qualified. His profane and religious esthetic way of writing suggests a real transposition of master works of arts, rivaling painting and sculpture. Some specific colours keep recurring so that they become the object of an obvious liturgical declension. Graphically, his taste for colour is demonstrated by his manuscripts. Barbey reveals to the world a pictorial way of writing, but also his personality is a source of inspiration and representation for numerous artists. In this thesis, the reader becomes attracted by the reception of his character, a Spectacular Dandy, who becomes a work of art himself for his contemporaries: the sculptors Zacharie Astruc and Auguste Rodin made bronze busts of him. Jules Barbey d’Aurevilly inspires the whole field of the visual arts, from illustrators of his published books, up to adapters, directors, film-makers and television directors
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Crespin, Laurent. "Sélection et dispersion dans la zone d'hybridation entre "Barbus barbus" et "Barbus meridionalis" (Ciprinidae) : capture/recapture et marqueurs allozymiques." Montpellier 2, 1996. http://www.theses.fr/1996MON20043.
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Les zones d'hybridation sont des laboratoires naturels pour l'etude des phenomenes selectifs qui preservent l'integrite des especes biologiques. Deux cyprinides, le barbeau commun et le barbeau meridional ont donne naissance a la zone d'hybridation de la lergue (affluent de l'herault, france, chapitre i) que nous avons etudiee a la fois par une approche classique de genetique des populations (allozymes) et par la methode de capture/recapture en milieu naturel. Cette zone d'hybridation presente des clines allozymiques concordants mais non coincidents (chapitre ii). Les genotypes hybrides analyses sont recombines (tres peu de f1). Les differents echantillons etudies ne presentent pas d'ecart significatifs forts par rapport aux proportions d'hardy-weinberg. Le desequilibre de liaison mis en evidence est important. L'analyse genetique d'un retrocroisement male b. Barbus x femelle f1 (male b. Meridionalis x femelle b. Barbus) a demontre l'existence d'une distorsion de segregation en faveur des alleles de barbus meridionalis a la f1 et d'un phenomene d'affinite meiotique (chapitre iii). La liaison entre les marqueurs genetiques (allozymes) et les marqueurs morphologiques (diverses mesures) est forte. L'analyse de la survie in natura a permis de montrer que les hybrides subissaient une faible contreselection (chapitre iv). La dispersion ecologique et la dispersion efficace semblent fortes (chapitre v). Nous proposons un scenario de fonctionnement de la zone d'hybridation base sur l'ensemble de ces considerations (chapitre vi)
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Lang, H. M., R. Lund, T. K. Ficklin, and Caleb D. Bazyler. "The Effect of Two Jerk Techniques on Barbell Kinematics." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3829.
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The split jerk and power jerk are two commonly used lifts among strength and conditioning coaches, as well as lifts included in the sport of Olympic weightlifting. However, it is unknown which of these jerk techniques exhibit more advantageous barbell kinematics. PURPOSE: To compare the barbell kinematics between a power jerk and a split jerk at a constant load. METHODS: Twelve men were recruited for this study (height = 1.8 ± 0.1 m; mass = 85.3 ± 10.2 kg; age = 23.4 ± 2.4 years). All subjects had been completing the jerk for a minimum of six months, and reported their split jerk 1 repetition maximum (1-RM: 105.3 ± 19.1 kg). Subjects completed 3 repetitions of each jerk technique, at 85% of their split jerk 1-RM. The data were collected using 6 3D video cameras, with a sampling rate of 200Hz and were analyzed using Vicon software. A multivariate paired t-test was used to determine the effect of jerk technique on all kinematic variables. Paired samples t-tests were used as post hoc analyses when necessary. An alpha level of (p<0.05) was used for all inferential statistics. RESULTS: No significant differences were found between the two techniques for starting barbell position, lowest barbell position and maximum concentric velocity. Peak barbell height, range and displacement were all found to be significantly greater in the power jerk when compared to the split jerk (p<0.05). CONCLUSIONS: Results suggest that more work is done on the barbell, and greater range of motion, occur during the power jerk. The results suggest that more work may be done on the body during the split jerk due to the technique of dropping quickly under the bar for the catch. Less work done on the barbell could result in higher absolute loads, making the split jerk the superior technique for populations such as weightlifting athletes.
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Cunanan, Aaron J. "Barbell Trajectory and Kinematics during Two International Weightlifting Championships." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3635.
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Several methods have been used in the scientific literature to study the weightlifting pull. Broadly, these methods are used to measure kinematic or kinetic variables exhibited by the lifter, the barbell, or the lifter-barbell system. However, there is an apparent disconnect between weightlifting research and coaching practice that may reduce the perceived benefits of technique analysis among coaches and present some challenges for coaches who seek to incorporate technique analysis into their coaching practice. Differences and trends in the technique of competitive weightlifting performances are apparent from the available literature. However, there are also gaps in the literature due to infrequent analyses that are limited to narrow subgroups of the weightlifting population. Therefore, the purposes of this dissertation were to 1) update to the scientific knowledge of weightlifting technique and performance, 2) improve coaches’ ability to conduct and interpret technique analysis, and 3) enhance transferability of weightlifting in training to improve sport performance.
A review of methods used to evaluate the weightlifting pull provides some practical guidance for coaches on the application and interpretation of weightlifting technique analysis. Video analysis is recommended as the most practicable method for coaches to implement technique analysis themselves. Methods used to study 319 lifts by women and men from two major international competitions demonstrate the feasibility and usefulness of video analysis as an inexpensive, time-efficient, and user-friendly method for coaches to conduct reliable technique analysis. The results of this dissertation suggest that a variety of techniques can be used to achieve international weightlifting success and provide some evidence of changes in weightlifting technique since at least the mid-1980’s. These results also indicate that a stereotypical technique profile among elite international weightlifters does not exist, which further support the notion that strength is a primary determinant of weightlifting ability.
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Barbas, Helena [Verfasser]. "Riesz-Transformationen auf Heisenberg-Typ-Gruppen / Helena Barbas." Kiel : Universitätsbibliothek Kiel, 2008. http://d-nb.info/1019670703/34.
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Marleau, Tania. "Le grotesque dans Les diaboliques de Barbey d'Aurevilly /." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33301.
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The grotesque is an unsettled notion which is difficult to define. Over the years, there have been several attempts to formulate a satisfactory definition. Today, a few definitions prevail, namely that proposed by Hugo, Bakhtine and Kayser. In my opinion, the latter is the most appropriate for the analysis of the grotesque in Barbey d'Aurevilly's Diaboliques .<br>Indeed, Wolfgang Kayser's theory of the grotesque is based on the idea of a world that has suddenly become "estranged". Barbey's "diabolical" characters are peculiar beings, both passionate and inscrutable, who by their actions and attitudes manage to overwhelm most characters of their universe. By their very mystery, the diaboliques remain deeply present in others' minds, thereby changing their existence forever. In Barbey's stories, there are no mythical beasts, no monstrous grotesque per se. However, when examined from Kayser's perspective, light is shed on the grotesque aspect of their characters.
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Chujo, Shomei. "Pulsions du roman le cas Barbey d' Aurevilly /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37603970r.
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Stahre, Ulrika. "Beundrad barbar : amasonen i västeuropeisk bildkultur 1789-1918 /." Göteborg : Acta Universitatis Gothoburgensis, 2004. http://catalogue.bnf.fr/ark:/12148/cb39941217h.
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Claude-Phalippou, Laurence. "La parole dans l'oeuvre romanesque de Barbey D'Aurevilly." Paris 3, 2008. http://www.theses.fr/2008PA030076.
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La parole est au cœur de l’œuvre romanesque de Barbey d’Aurevilly : omniprésente, elle en façonne puissamment à la fois l’esthétique, la poétique et l’imaginaire. Dans sa fiction, l’essentiel passe en effet par le truchement du dire. Le travail du style en témoigne, comme les narrations qui trouvent dans la communication orale aussi bien leur principe déclencheur que le soubassement inconscient qui leur confère toute leur portée. Mais il y a plus : une ontologie singulière se dessine, dans laquelle l’identité des personnages se structure à partir de leur relation à la parole, de leur voix et de leur langue. La densité des récits s’accroît encore quand, des confidences aux causeries, la réussite des échanges verbaux tient moins à ce qu’il est convenu d’en attendre qu’aux enjeux relationnels et inconscients qu’ils mettent au jour. Il en est de même lorsque le dialogue avorte : la surdité, la folie, le silence, la mort ne constituent des échecs qu’en apparence, car ils s’avèrent être le relais efficace de toute une économie libidinale sous-jacente. Les paroles fabulatrices sont également soumises à des renversements de perspective qui élucident leurs ressorts, les mensonges se révélant désirables, les rumeurs inoffensives. Quant à la violence, au fantastique et à la fatalité qui informent l’univers de Barbey, l’analyse de leurs manifestations montre qu’elles sont, elles aussi, inséparables de la force du verbe. La parole aurevillienne se définit en fait par une caractéristique qui subsume toutes les autres : personne ne peut s’y soustraire – pas même le lecteur –, chacun en subissant l’emprise. C’est que parler ou se taire, tout aussi bien qu’écouter, a indéfectiblement partie liée, chez l’auteur des Diaboliques, avec ce dont il est le peintre toujours pénétrant et souvent scandaleux : le désir<br>Speech is in the centre of Barbey d’Aurevilly’s fiction: omnipresent, it strongly shapes altogether its aesthetics, poetics and imaginary world. In his fiction works, the gist is conveyed through speech. Evidence of this is to be found in the style, as well as in the narratives which find in oral communication both their triggering device and the unconscious basis that endows them with meaning and significance. But there is more to it : a singular ontology becomes apparent, in which the characters’ identities are formed from their relationship with speech, their voices and language. The density of narratives increases even more when, from confidences to chats, the success of verbal exchanges depends less on what is to be expected from them than to relational and unconscious stakes that they bring to light. It is the same when dialogue fails : deafness, madness, silence, death represent failures on the surface only, for they prove to be the efficient conveyor of a whole underlying libidinal economy. The fantasising speeches are also subjected to a reversal of perspective that elucidates their hidden motives, lies are shown to be desirable, rumours harmless. As for violence, fantasy and fate which inspire Barbey’s world, the analysis of their manifestation shows that they are, equally, inseparable from the strength of the words. Aurevilly’s speech is actually defined by a characteristic that subsumes all the others : no one can elude it – not even the reader – everyone is caught in its grip. This is because in the fiction of the author of the Diaboliques, speaking or silence, as well as listening, are unfailingly bound with what he knows how to depict so shrewdly and often scandalously : desire
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Kunieda, Takahiro. "Le mystère dans les romans de Barbey d'Aurevilly." Toulouse 2, 1999. http://www.theses.fr/1999TOU20093.
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Cette thèse se propose d'étudier la valeur fondamentale du mystère dans les romans de Barbey d'Aurevilly. Le mystère chez Barbey tient à l'expérience primordiale de la religion qui n'a rien à avoir avec la logique humaine. L'épiphanie du mystère consiste dans l'établissement de la relation symbolique entre le visible et l'invisible. Cette vérité religieuse est au-dessus de la raison humaine. Puisque toute tentative d'interprétation est impossible, les jugements moraux et esthétiques ne sont aussi qu'une interprétation insuffisante. La distinction du bien et du mal devient floue. Le mystère fondamental de la vie humaine se manifeste à travers le mal essentiel qui met à jour le factice de l'ordre du monde humain. A travers ce renversement de valeur, Barbey représente les personnages qui transgressent tous les critères de la vie humaine à travers la figure du sublime et du surhumain. Ces figures révèlent un accès vers l'invisible immanent à la nature humaine. Le mystère peut aussi engendrer dans ce monde réel une zone tout à fait floue démunie de distinction et d'évidence. Barbey oppose cette zone mystérieuse à la faculté de raison, l'idée dominante du XIXe siècle. Mais plus essentiellement, la notion de mystère fonde la création romanesque de Barbey. La transmission orale des expériences qui est aussi acte de partage est une des réponses au mystère qui dépasse notre faculté de compréhension. Ainsi Barbey conçoit l'activité essentielle de son narrateur autour de la transmission orale de la mémoire collective. L'écrivain devient lui aussi un initie mystique qui ressuscite l'expérience primordiale de l'homme.
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KO, BONG-MANN. "Barbey d'aurevilly : revolution et contre-revolution (1846-1852)." Université Marc Bloch (Strasbourg) (1971-2008), 1995. http://www.theses.fr/1995STR20002.
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Le dix-neuvieme siecle reste marque par la revolution. Barbey d'aurevilly n'est pas seulement romancier, mais aussi journaliste, homme impliqsue dans son temps : ecrire sur la revolution fait partie de son combat politique. Nous nous sommes propose trois buts principaux : 1) comprendre les reactions de barbey devant la revolution, son attitude reactionnaire. 2) tracer la grande ligne de ses idees politiques. Ce faisant, poursuivre la these de jacques petit sur barbey d'aurevilly critique et celle de philip john yarrow sur la pensee politique et religieuse de barbey d'aurevilly. 3) montrer comment l'evolution de la pensee politique et litteraire de barbey s'explique par l'experience historique de l'ecrivain, experience constituee des transformations successives de la societe francaise entre la monarchie de juillet et le second empire. Ce cadre d'explication nous parait indispensable si l'on ne veut pas separer, en barbey d'aurevilly, le grand ecrivain de l'homme qui aurait ete tente a ses heures par l'engagement politique<br>The french nineteenth century remained very much influenced by the revolution barbey d'aurevilly was not only a novelist, but also a journalist, a man involved in the turmoils of his time. His writings on the french revolution belong to his political struggle. The author's analysis aims at 1) understanding barbey's attitude towards the french revolution, as well as his reactionary stand. 2) outlining barbey's main political ideas as developed by jacques petit in barbey d'aurevilly critique and philip john yarrow in la pensee politique et religieuse de barbey d'aurevilly. 3) showing how the author's personal experience of his time accounts for his political and literary ideas during the monarchie de juillet and the second empire
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Spengane, Zandile Namhla Elizabeth. "Blood and virus detection on barber hair clippers." Master's thesis, Faculty of Health Sciences, 2019. http://hdl.handle.net/11427/30855.
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Background: Bleeding from the popular clean-shave ‘chiskop’ haircut was recently reported as prevalent in South Africa (SA), a country with 6.9 million HIV-infected people. Objectives. To investigate the prevalence of barber hair clipper contamination with blood and HIV and hepatitis B viruses. Methods: Fifty barbers from three townships in Cape Town, SA, were invited to participate. One clipper from each barber was collected immediately after it had been used for a cleanshave haircut. Each clipper was rinsed with phosphate-buffered saline and then submerged in viral medium. The polymerase chain reaction (PCR) was used to identify the bloodspecific RNA marker haemoglobin beta (HBB), hepatitis B virus (HBV) and HIV. Results: The clean-shave haircut was the most common haircut requested by clients (78%). Of the clippers collected, 42% were positive for HBB, confirming detection of blood, none were positive for HIV, and 4 (8%) were positive for HBV. Two clippers (clippers 16 and 20) were positive on qualitative HBV PCR. HBV DNA from clipper 16 clustered with genotype A sequences from SA, India, Brazil and Martinique, while clipper 20 clustered with SA genotype D sequences. The clipper 20 sequence was identical to a subtype D sequence (GenBank accession AY233291) from Gauteng, SA. Conclusion: This study confirms that there is significant contamination of barber hair clippers with blood and blood-borne viruses. Hepatitis B was detected with enough DNA copies to pose a risk of transmitting infection. Although HIV was not detected in this small study, the risk of transmission should be quantified. Further studies to investigate barber clipper sterilization practices and whether the clean-shave hairstyle is an independent risk factor for HIV, HBV and hepatitis C virus infections are warranted. Public education on individual clipper ownership (as is the case with a toothbrush) should be advocated for clean-shave and blade-fade haircuts.
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Schmitt, Maud. "Le récit apologétique laïc : Barbey d’Aurevilly, Bloy, Bernanos." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040149.
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Cette thèse se propose d’étudier comment, dans un contexte postrévolutionnaire de déchristianisation et de recul des pratiques religieuses, des écrivains catholiques, s’affranchissant de la tutelle de l’Église, s’octroient le magistère ecclésial et confient à la littérature – en tant qu’œuvre de fiction et d’imagination – la mission de renouveler le discours apologétique. Barbey d’Aurevilly, Bloy et Bernanos s’inscrivent ainsi dans le sillage de Chateaubriand, qui opéra le premier, avec le Génie du Christianisme, ce renversement fondateur. Les trois écrivains réinvestissent alors une forme rhétorique ancienne : celle de l’exemplum. La première partie de ce travail s’attache à en retracer les évolutions, en prêtant attention aux transformations qu’il subit au moment de sa christianisation, mais aussi à la continuité qui permet, de l’exemplum aristotélicien à l’histoire tragique, de mettre au jour sa structure constante. Les parties suivantes s’intéressent à la manière dont Barbey, Bloy et Bernanos construisent le récit pour obtenir la conversion du lecteur : la seconde partie s’intéresse aux procédures d’authentification de la fiction ; la troisième partie a pour objet la mise en place du dispositif figural permettant aux écrivains de relever le défi de l’indicible divin. La quatrième et dernière partie étudie les moyens mis en œuvre pour agir sur le lecteur, et modifier effectivement son attitude en le poussant à la pénitence<br>This thesis aims to study how, in a post-revolutionary context of dechristianization, some Catholic writers set free from the Church authority and enable literature itself (as a work of fiction and imagination) to renew the apologetic discourse. Barbey d’Aurevilly, Bloy and Bernanos continue the founding shift in perspective that Chateaubriand started with the Génie du christianisme. These three writers use an ancient rhetoric narrative form called the exemplum. The first part of this work focuses on the evolutions of this form, and more specifically on the metamorphosis caused by its Christianization; but it also highlights its constant structure, from its theorization by Aristotle, until its latest use by the authors of “histoires tragiques”. The next three parts of the thesis deal with the way Barbey, Bloy and Bernanos conceive their narrative in order to obtain the religious conversion of their reader. The second part shows how the writers authenticate fiction; the third part focuses on the way they react to the difficulty of naming the divine: the authors resort to the figuration of this inexpressible object. Finally, the fourth part studies the means these narratives use to produce an effect on their readers, and make them actually change their moral behavior
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Froehlich, Márcia. "TRAÇOS SURREALISTAS EM A TORRE DA BARBELA,.DE RUBEN A." Universidade Federal de Santa Maria, 2005. http://repositorio.ufsm.br/handle/1/9788.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The central aim of this work is to examine Surrealistic traces in the novel A Torre da Barbeia. In this work, the Portuguese writer Ruben A. mixes the stream of Portuguese
literary tradition conceming the reflection upon nation with Surrealistic influences. Therefore, the present analysis has the objective of investigating Surrealistic traces of the novel, specially the representation of the Supematural. This study is divided into three chapters. Chapter one presents a brief historical
description of Surrealism as an artistic device. Next, this chapter offers a review on the literary works by Ruben A. as well as some literary criticism about the author's production. It has been observed that Surrealistic influence is one of the most recurrent subjects as critics have highlighted, on the hand, representation of the Supematural is an almost
disregarded matter. Chapter two develops an analysis of the novel in order to identify Surrealistic aspects in its construction. The third chapter approaches the topic of the
depiction of the Supematural, according to different theories with regard to the Wonderful. The results point to the presence of both categories. It is through them that the verisimilar is breached and the primacy of the imagination over the prosaic, as defended by Breton and
his disciples, is conveyed. As a consequence, another reality on the leveI of the text is established.<br>O objeto deste estudo é o rd'mance A Torre da BarbeIa (1964), do escritor português Ruben A., que alia, à tradição literária portuguesa de reflexão sobre os destinos pátrios,
uma forte influência do Surrealismo. Por isso, a proposta de análise apresentada objetiva levantar traços surrealistas no romance e, dentre eles, examinar um aspecto marcante na
composição da obra, a representação do sobrenatural. O trabalho divide-se em três capítulos. O primeiro realiza um breve histórico sobre o movimento surrealista. Após,
apresenta-se o autor e sua produção para, então, efetuar-se a revisão da fortuna crítica da obra. Observou-se que, embora a influência surre alista seja citada recorrentemente pelos críticos, a representação do sobrenatural é aspecto pouco explorado pelos estudiosos. O segundo capítulo apresenta a análise do romance, buscando desmembrar-Ihe a estrutura e identificar determinados traços surrealistas em sua construção. Finalmente, o terceiro capítulo aborda o tópico da representação do sobrenatural através de uma revisão teórica das categorias do fantástico e do maravilhoso, seguida do exame de sua configuração no romance. Os resultados obtidos revelam que a obra apresenta ambas as categorias e que, através delas, rompe-se com o verossímil, realizando, conforme defendido por Breton e discípulos, o primado da imaginação sobre o prosaico e instaurando textualmente uma outra realidade, próxima do sonho. Tal procedimento, contudo, não conduz ao desvinculamento
da realidade nacional. Ao contrário, serve como suporte para um mergulho na "essência" da nacionalidade, num processo de desmitificação do passado ao pôr em cena as forças
inconscientes por trás das ações de portugueses de épocas históricas variadas.
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Moore, Jerica L., S. Kyle Travis, Michelle L. Lee, and Michael H. Stone. "Making Weight: Maintaining Body Mass for Weight Class Barbell Athletes." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/6297.
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Weightlifting and powerlifting are strength and power sports requiring athletes to participate in precompetition weigh-ins. Many athletes attempt to gain a competitive edge over smaller competitors by reducing body mass. Although these methods may seem advantageous, there are many negative outcomes that outweigh potential positive performance effects. Manipulating body mass can be performed effectively with minimal side effects; however, weightlifters and powerlifters participating in 2-hour weigh-ins should not cut weight at the expense of optimizing strength and power adaptations.
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Crafton, Jason Allen. "A Trumpeter's Guide to Samuel Barber's Capricorn Concerto." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30449/.
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Samuel Barber's Capricorn Concerto for flute, oboe and trumpet with strings is an important though seldom performed work. The concerto is teeming with performance choices that are indicative of both historical and contemporary influences. At present, there are limited resources available to performers regarding Capricorn. The first section of this study presents an historical and contextual examination of Capricorn both in terms of Barber's own compositional output and that of his influences and contemporaries. The second section includes a performance analysis of the work, while the third section includes an analysis of existing recordings. Implications for the performer are outlined in last section. The guide provides performers with pertinent background, analytical and performance information in order to facilitate informed, high-level performance.
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Georges-Métral, Alice de. "Les illusions de l'écriture ou La crise de la représentation dans l'oeuvre romanesque de Jules Barbey d'Aurevilly /." Paris : H. Champion, 2007. http://catalogue.bnf.fr/ark:/12148/cb41004430m.
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Chester, Derek T. "The Formative Years: an Exploration of the Early Training and Song Juvenilia of Samuel Barber." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271790/.
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In the art of song composition, American composer Samuel Barber was the perfect storm. Barber spent years studying under superb instruction and became adept as a pianist, singer, composer, and in literature and languages. The songs that Barber composed during those years of instruction, many of which have been posthumously published, are waypoints on his journey to compositional maturity. These early songs display his natural inclinations, his self-determination, his growth through trial and error, and the slow flowering of a musical vision, meticulously cultivated by the educational opportunities provided to him by his family and his many devoted mentors. Using existing well-known and recently uncovered biographical data, as well as both published and unpublished song juvenilia and mature songs, this dissertation examines the importance of Barber's earliest musical and academic training in relationship to his development as a song composer.
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Rossbach, Susanne. "Des Dandys Wort als Waffe : Dandyismus, narrative Vertextungsstrategien und Geschlechterdifferenz im Werk Jules Barbey d'Aurevillys /." Tübingen : M. Niemeyer, 2002. http://catalogue.bnf.fr/ark:/12148/cb38996771s.
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