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Books on the topic 'Chion'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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1

Murchú, Máirtín Ó. Ag dul ó chion? Coiscéim, 2002.

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2

Lettres de Chion d'Héraclée. Helios, 2004.

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3

Murchú, Máirtín Ó. Ag dul ó chion? Coiscéim, 2002.

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4

Karube Chion ŭi Paekche yŏn'gu. Sŏgyŏng Munhwasa, 2010.

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5

Chikasui chōsahō: Im-shin chion tansa. Kokon Shoin, 2013.

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6

Marchetti, Lionel. La musique concrète de Michel Chion: Suivi d'un entretien de Michel Chion avec Christian Zanési. Metamkine, 1998.

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7

1932-, Bayle François, and Zanesi Christian, eds. La musique concrète de Michel Chion: Essai. Metamkine, 1998.

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8

Ag dul ó chion?: Cás na Gaeilge, 1952-2002. Coisceim, 2002.

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9

Stella, Vretou, ed. Chioni. O keanida, 2007.

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10

Chinon. J. Legrand, 1995.

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11

Jeff, Sanders, and Sanders Nancy I, eds. Chino. Arcadia Pub., 2011.

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12

Trunck, Pascal. Chinon. Association pages de vie, 2002.

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13

Moineau, Guy. Chien. NBJ, 1985.

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14

Marder, Amy. Le guide Hachette du chien. Hachette Pratique, 2002.

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15

1957-, Defossé Alain, ed. Ma chienne Tulip. Salvy, 1993.

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16

Jean-Louis, Klein, ed. Le teckel. S.A.E.P., 1999.

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17

Dennis, Helen. 101 questions que votre chien aimerait vous poser: Tout ce qui tracasse votre chien, et la solution a ses proble mes. E d. France loisirs, 2003.

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18

1955-, Klein Jean-Louis, ed. Avoir un chien. Éd. SAEP, 2002.

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19

Barrio chino. Grupo Editorial Norma, 1999.

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20

Royston, Angela. Le Chien. Hachette Jeunesse, 1991.

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21

DeLillo, Don. Chien galeux. Actes sud, 1999.

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22

Barrio chino. Papiers, 1987.

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23

Kim, Tʻae-jin. Chiok tʻalchʻulgi. Chosŏn Nodongdang Chʻulpʻansa, 1987.

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24

Ken'ichi, Hirano, ed. Chimon kōhō. Kaibundō Shuppan, 2012.

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25

Smith, L. J. Cuộc chiến. NXB Thời đại, 2010.

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26

Chino shishi. Chino-shi, 1986.

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27

Un chien. Les éditions de la courte échelle, 2013.

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28

Leclerc, Buffon Georges Louis. Le chien. Arlea, 1994.

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29

Mon chien. Éditions Michel Quintin, 2001.

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30

Horóscopo chino. Atlántida, 2008.

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31

Mankell, Henning. El chino. Tusquets Editores, 2010.

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32

Votre chiot. Trécarré, 1997.

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33

Say, Allen. El Chino. Houghton Mifflin Co., 1990.

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34

Benchetrit, Samuel. Chien: Roman. Bernard Grasset, 2015.

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35

1956-, Besse Christophe, ed. Mini dictionnaire bilingue français-chien, chien-français. Larousse, 2008.

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36

Lettres de Chion d'Héraclée. Helios, 2004.

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37

Le son et la voix: Entretien avec Michel Chion. L'Harmattan, 1998.

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38

Publishing, Chion. Keep Calm and Let the Chion Handle It: Lined Journal, 120 Pages, 6 X 9, Chion Dog Owner Gift Idea, Black Matte Finish. Independently Published, 2019.

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39

Hodkinson, Owen. Epistolography. Edited by Daniel S. Richter and William A. Johnson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199837472.013.30.

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This chapter examines the genre of epistolography, which flourished and proliferated in the variety of its forms and uses in the Empire. The epistolary genre in the Second Sophistic is first briefly situated within rhetorical theory and practice, then contextualized within both earlier Greek literature and developments in Latin letters. The variety of Greek literary uses of the letter form in the Second Sophistic is then illustrated with a series of subgenres and examples. Surveyed are collections of fictional and pseudonymous letters (including Aelian, Alciphron, Philostratus, Apollonius of Tyana), epistolary novels (Chion of Heraclea, Themistocles), shorter narratives in letter form, and letters embedded in longer narratives (including the Greek novels and Lucian’s Verae Historiae).
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40

Buhler, James. Narratology and the Soundtrack. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0006.

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Chapter 6 focuses on narrative theories of film. It opens with a discussion of film narratology in general. The second section then covers narratological theories of the soundtrack, especially music, which was one of the first subsystems of film to have its theory rewritten in explicitly narratological terms. It considers contributions by Claudia Gorbman, Michel Chion, Sarah Kozoloff, Giorgi Biancorosso, Robynn Stilwell, Jeff Smith, and Ben Winters and traces how the basic conceptual distinction of diegetic and nondiegetic music has evolved. The next section examines the important narratological concept of focalization as it applies to music in film, drawing on the work of Guido Heldt and concludes with a brief discussion of focalization in Casablanca.
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41

Buhler, James. Psychoanalysis, Apparatus Theory, and Subjectivity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0008.

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One of the aims of critical theories has been to reveal the systemic oppression that flows from the social structures of power, and critical theories have most typically turned to psychoanalysis to provide the theory for how these social structures work and reproduce themselves through the formation of their social subjects. Chapter 8 examines the influential film theory that derived from the intersection of semiotics, Marxism, and psychoanalysis called “apparatus theory.” This grand theory proved contentious but very influential, especially the concept of suture, which provided a model for film spectatorship and subjectivity. This chapter concludes with a section on neo-Lacanian theory and uses it to explicate the soundtrack theory of Michel Chion.
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42

Greek Fiction: Daphnis and Chloe by Longus, Callirhoe by Chariton, and Chion of Heraclea by Anon (Penguin Classics). Penguin Books Ltd, 2008.

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43

Johnston, Nessa. Sounding Decay in the Digital Age. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0012.

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Bill Morrison’s Decasia (2012) and Peter Delpeut’s Lyrical Nitrate (1991) are collage works made up of decayed silent-era film fragments. The films approach sound in contrasting ways: Lyrical Nitrate uses old 78 rpm recordings of operatic music as musical accompaniment to its decayed images, whereas Decasia uses a specially commissioned score and exists not only in DVD format but also as an elaborately staged performance piece. This chapter is an investigation of the role of the soundtrack within both films’ repurposing strategy, comparing and contrasting their sonic approaches, using a Chion-esque idea of “audio-vision” in an effort to understand their aesthetic workings. Despite the material heterogeneity of film sound and film image, the spectator takes in the experience as a synthesis. Yet beyond representational strategies the materiality of sounds and images in the pre- and postdigital ages is arguably the subject of exploration unifying this comparative analysis.
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44

Edition de la Grenouille Elisabeth. Carnet de Notes de Mon Labrador: Chien Chiot. Independently Published, 2020.

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45

Athēna, Zacharou-Loutrarē, Penna Vasō, and Mandala Tasoula, eds. Chios, historia kai technē: Ta mnēmeia tēs Chiou. Nomarchia Chiou, Syll. Philōn tou Archaiologikou Mouseiou Chiou, 1988.

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46

Edition de la Grenouille Elisabeth. Carnet de Notes de Mon Staffordshire Bull Terrier: Chien Chiot. Independently Published, 2020.

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47

Edition de la Grenouille Elisabeth. Carnet de Note de Mon Golden Retriver: Chien Ou Chiot. Independently Published, 2020.

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48

Edition de la Grenouille Elisabeth. Carnet de Notes Pour Mon Berger Australien: Chiot Ou Chien. Independently Published, 2020.

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49

Edition de la Grenouille Elisabeth. Carnet de Notes de Mon Jack Russel: Chien et Chiot. Independently Published, 2020.

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50

Chien-Chien! Scholastic Canada, Limited, 2017.

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