Relevant bibliographies by topics / Deneuve

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Deneuve'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Deneuve"

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Lépingle, Gaël. "Deneuve : Marianne en retrait." Vertigo 29, no. 2 (2006): 45. http://dx.doi.org/10.3917/ver.029.0045.

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Bousseyroux, Nicole, and Didier Castanet. "Entretien avec mademoiselle Catherine Deneuve." L'en-je lacanien 2, no. 1 (2004): 207. http://dx.doi.org/10.3917/enje.002.0207.

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Le Gras, Gw�na�lle. "Soft and hard: Catherine Deneuve in 1970." Studies in French Cinema 5, no. 1 (February 2005): 27–35. http://dx.doi.org/10.1386/sfci.5.1.27/1.

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Le Gras, Gwénaëlle. "Catherine Deneuve, star et / ou auteur de « ses » films." Double jeu, no. 1 (November 1, 2003): 143–54. http://dx.doi.org/10.4000/doublejeu.2229.

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Oliveira, Ana Claudia de, and Jô Souza. "Inter-relações: “Jogo histórico” da Louis Vuitton." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 4, no. 10 (January 24, 2010): 34. http://dx.doi.org/10.26563/dobras.v4i10.180.

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Annie Leibovitz dirige a fotografia do filme publicitário da marca Louis Vuitton de 20101. Uma campanha temática que teve início em 2007, com Sean Connery, Catherine Deneuve e Mikhail Gorbachev nos anúncios. A partir de 17 de maio deste ano, às vésperas do mundial de futebol na África do Sul, Pelé, Maradona e Zidane são os três ídolos das massas aficionadas desse esporte que figuram na propaganda audiovisual e impressa em escala mundial (...)
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Caraciola, Carolina Boari. "Catherine Deneuve e Louis Vuitton. A Publicidade de Luxo Analisada Sob o Espectro da Semiótica Peirceana." Ícone 18, no. 2 (September 2, 2020): 100. http://dx.doi.org/10.34176/icone.v18i2.239039.

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O presente artigo analisará uma peça da campanha publicitária Journey, da marca de luxo Louis Vuitton, estrelada pela atriz francesa Catherine Deneuve, sob o prisma da semiótica de extração peirceana. A análise da publicidade, sob o espectro da teoria semiótica, permite explicitar o potencial comunicativo do anúncio a que se refere, uma vez que as estratégias semióticas utilizadas por uma marca são fatores essenciais à sua constituição como marca, sendo, portanto, de fundamental importância para a compreensão de sua natureza, perfil e efeitos emocionais e funcionais. Sendo assim, pode-se afirmar que a mensagem publicitária provoca efeitos de sentido no receptor e, com o auxílio da semiótica, é possível compreender como esse campo de sentidos ocorre.
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PORTO, Thaís Gonçalves Dias, and Natalia Corrêa Porto Fadel BARCELLOS. "DO CINEMA PARA A LITERATURA: a hibridização midiática através do diálogo entre o filme Dancer in the Dark, de Lars von Trier, e o romance Das nackte Auge, de Yoko Yawada." Trama 14, no. 31 (February 1, 2018): 26–37. http://dx.doi.org/10.48075/rt.v14i31.17686.

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Em Das nackte Auge, Yoko Tawada conta a história de uma jovem vietnamita que, devido a um engano, desembarca na cidade de Paris, onde, impossibilitada de se comunicar com o mundo exterior, encontra no cinema, mais especificadamente nas personagens interpretadas por Catherine Deneuve, um local de refúgio e identificação. As narrativas dos filmes vistos pela personagem contaminam de forma progressiva a narrativa do romance, culminando no último capítulo intitulado Dancer in the Dark, referência ao filme de Lars von Trier, cuja interferência cria uma terceira narrativa. Tal construção intermidiática, típica da literatura contemporânea, é apresentada no romance com o objetivo de suscitar questões acerca da identidade do sujeito do tempo presente e do seu olhar (desnudo) sobre o estranho, o estrangeiro.
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Hajek, Andrea. "Je ne suis pas Catherine Deneuve. Reflections on contemporary debates about sexual self-determination in Italy." Modern Italy 23, no. 2 (March 28, 2018): 139–43. http://dx.doi.org/10.1017/mit.2018.10.

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Italian summaryQuesto articolo offre uno sguardo attuale sui discorsi pubblici intorno al tema della sessualità. Partendo dallo scandolo sessuale che ha travolto il produttore cintematografico Harvey Weinstein nel 2017, l’articolo mette al centro le polemiche sul femminismo contemporaneo e sull’idea di autodeterminazione e libertà sessuale, che lo scandalo accese nel contesto italiano.
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Linsley, Johanna. "Accumulated Experience." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 50–55. http://dx.doi.org/10.1162/pajj_a_00316.

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Martha Wilson, Mona/Marcel/Marge, P.P.O.W Gallery, New York, October 22–December 22, 2015. Rose English, A Premonition of the Act, Camden Arts Centre, London, December 12, 2015–March 6, 2016. Martha Wilson's playful and incisive self-portraiture practice, produced in a variety of guises, has been profoundly influential since the early 1970s and continues to be so today. Her recent solo exhibition at P.P.O.W Gallery, Mona/Marcel/Marge, was composed mostly of photographic works in which Wilson adopts a range of identities, from Vincent van Gogh to the mash-up that gives the show its title—Wilson as Mona Lisa, with the vertical blue hair of Marge Simpson and, when viewed from certain angles, a thin mustache à la Duchamp. Many of the works also deal with aging, particularly as a challenge to prescriptive standards of female beauty. Humor and lightness are characteristic of these challenges. For instance, Thin-skinned has Wilson in profile against a dark background, the image held in a baroque, gold frame, with Wilson shown peeling a layer of skin off her face. The formality of the portrait shades knowingly into kitsch while the word/image play with “thin skin” is gleeful, even breezy. Similarly, Makeover is a series of five photos in which Wilson's face gradually transforms, through the magic of Photoshop, into a young Catherine Deneuve. There is clearly a critique here about demands on women with regard to appearance, as well as a giddy playfulness that finds cracks in the surface of these demands.
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Dominique Garnier, Marie, Annie Benveniste, and Monique Sélim. "Les diagonales de #MeToo." psychologie clinique, no. 47 (2019): 196–217. http://dx.doi.org/10.1051/psyc/201947196.

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Ce dossier présente trois réactions féministes et non-« universalistes » à l’ampleur mondiale du mouvement #MeToo. En contexte francophone, des voix critiques se sont fait entendre au nom d’une « liberté » républicaine, voix rassemblées sous le label de la « rubrique Deneuve ». Si un certain nombre de prises de paroles ont pu légitimement avoir lieu contre ce qu’il est convenu d’appeler la « domination masculine », il n’est pas certain cependant que, comme l’analyse Laure Murat dans Une Révolution sexuelle ? (2018) se soit écrit dans cette prise de parole « le prologue d’un livre qui commence ». Il n’est pas davantage certain que l’après-Weinstein soit l’occasion, comme elle l’écrit avec optimisme, de « réparer le contrat social ». Comment un contrat social peut-il être établi dès lors qu’une partie du « social » s’articule à ce que Deleuze et Guattari ont analysé comme un ensemble de « groupes assujettis » (par opposition à des groupes-sujets, c’est-à-dire des ensembles non identitaires, par exemple non assujettis à une identité de genre) ? Et comment penser les interstices d’un nouveau féminisme sans continuer à croire au concept binarisant de « domination », que les analyses de Michel Foucault ont revisité de façon convaincante pour lui substituer un tout autre niveau d’analyses, à savoir celui d’une microphysique du pouvoir ? Comment repenser le corps social dessiné par un « après #MeToo » en lui inventant un contre-discours qui ne se laisse pas prendre au piège de notions et de catégories oppositionnelles simplistes ? Les trois lectures présentées ici émanent de champs disciplinaires différents. Dans une perspective féministe non binaire qui décrypte les différences majeures entre les mobilisations post-1968 et les luttes présentes, Marie-Dominique Garnier interroge la notion désormais centrale de consentement dans la pensée française, Annie Benveniste revient sur la médiatisation en France de #MeToo un an après, et Monique Selim dévoile les enchaînements sémantiques et conceptuels qui travaillent au succès de #MeToo.
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Dissertations / Theses on the topic "Deneuve"

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Le, Gras Gwénaëlle. "Catherine Deneuve, une « star » française entre classicisme et modernité." Caen, 2007. http://www.theses.fr/2007CAEN1487.

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Cette recherche a pour but d’étudier l'émergence de la star Catherine Deneuve, la richesse et la longévité de sa carrière, dans le contexte de la production cinématographique française. Nous analysons la complexité de son image, à travers ses films et tous les discours qui l’ont construite comme star. Avec une carrière de plus de 50 ans et une aura toujours aussi intense, Deneuve reste une figure emblématique du cinéma français, pour sa présence dans le cinéma populaire autant que dans le cinéma d’auteur. La genèse du mythe remonte aux années 60, des Parapluies de Cherbourg de Demy à Belle de Jour de Bunuel, en passant par Répulsion de Polanski. Ces films construisent une image paradoxale : jeune fille lisse et docile versus bourgeoise perverse et névrosée. Dès le départ, Deneuve renvoie à la fois aux fantasmes masculins et aux contradictions d’une féminité moderne. Toute sa complexité réside dans les dualités composant son image : à la fois ange et démon, bourgeoise et aventurière, virile et féminine, sensuelle et distante. Cette richesse lui apporte un consensus populaire et critique et suscite le désir de cinéastes différents. Après une période de choix filmiques plus hasardeux, Le Dernier Métro de Truffaut impose une image de maturité rayonnante, qui s’épanouira ensuite. Son image d’ambassadrice de l’élégance française mais aussi de femme indépendante, ses personnages filmiques, ses particularités physiques et son jeu d’actrice nourrissent l’image Deneuve. Et si elle s’applique à démentir le stéréotype de beauté froide auquel on l’a associée, elle sait également en jouer, stratégie qui lui permet de rester universelle tout en défendant sa singularité
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Finch, Frank Frederick. "« L'illusion de l'amour n'est pas l'amour trouvé » : Camp and queer desire in Jacques Demy's Les Parapluies de Cherbourg, Les Demoiselles de Rochefort, and Peau d'âne." Thesis, Virginia Tech, 2020. http://hdl.handle.net/10919/100782.

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Jacques Demy's Les Parapluies de Cherbourg (1964), Les Demoiselles de Rochefort (1967), and Peau d'âne (1970), though quite popular with the public at their time of release and continuing to leave an aesthetic stamp on contemporary cinema, have been received by some critics and viewers in general as pure contrivance with little edification. This thesis puts forward, however, that such interpretations of these Demy musicals as primarily saccharine, superficial, and light miss the elemental melancholy belied by the charming varnish. Here, the three are unified as a triptych that thematizes and aestheticizes lack and desire in ways that can speak directly to the queer viewer. This thesis first situates the films among criticism from the 1960s to the present, opening a discourse on the potential for diverse political and aesthetic readings of Demy's work that continues to the present queer reading. Through a method of narratological close reading, I unify the three films as a triptych, each a variation on themes of isolation, absence, and amorous lack. Jean-Pierre Berthomé's Jacques Demy et les raciness du rêve (1982) is a rich resource in presenting these three seemingly distinct films as a totality. Once justified for study as a triptych, my thesis presents a queer reading of the films' ostensibly heterosexual narrative structures. With the buttressing of the queer theory of Harold Beaver, Andrew Ross, and Michael Koresky, among others, this chapter demonstrates how the narratives of longing Demy crafts can speak to the queer viewer and transcend a heterosexual framework. Finally, my thesis moves beyond narrative to another continuity, the aesthetic of camp present throughout the triptych. Through an exploration of the interconnectivity of camp, gender performance, and seduction, drawing on scholars Susan Sontag, Judith Butler, and Jean Baudrillard, respectively, the aesthetic of Demy's triptych is situated in a queer sensibility. Catherine Deneuve, Demy's "princesse idéale," is read as the reification of this sensibility in her potent performance of gender at the confluence of masculine and feminine qualities, as well as the ideal tabula rasa onto which the queer viewer's desire and longing can be projected. Ultimately, the triptych's reconciliation of the visually confectionary and the narratively somber is celebrated, as it points to a victory over tragedy through affective agency.
Master of Arts
Jacques Demy's Les Parapluies de Cherbourg (1964), Les Demoiselles de Rochefort (1967), and Peau d'âne (1970), French musicals from a masterful director of the New Wave movement in cinema, have been generally received positively by the public, and especially by gay viewers. Yet, these Demy films have been met with a range of skepticism to derision by some critics and even by a number of Demy's contemporaries. The three films' narratives concern a nascent romance thwarted by the Algerian War and economic demands, potential amorous encounters prevented by missed connections and arbitrary social barriers, and a flight from incestuous demands and its consequences of isolation and ridicule, respectively. Though these narratives are fundamentally melancholic, they are aestheticized through kaleidoscopic colors, virtuosic dancing, and the beautiful music scores of Michel Legrand. This thesis reexamines these films as a triptych that, considered together, thematizes lack and desire in a way that can speak directly to the queer viewer. Areas of overlap between the filmic narratives and the queer experience in the West are excavated and explored to demonstrate how the films can carry intimate signification to sexual minorities, as well as other marginalized identities. Finally, the particular and continuous aesthetic of the three films is studied as a queer sensibility embodied by the star of all three, Catherine Deneuve. The ability of this triptych to transcend a singular heterosexual interpretation and to heighten its effects on the viewer through a tension of form and content is celebrated.
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Müller-Kelwing, Karin. "Dorothee Denecke." Böhlau Verlag, 2020. https://slub.qucosa.de/id/qucosa%3A75038.

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Moitrieux, Gérard. "Hercules salutaris, Hercule au sanctuaire de Deneuvre." Nancy 2, 1988. http://www.theses.fr/1988NAN21009.

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Deneuvre était une bourgade dont les activités étaient liées à l'artisanat (céramique, bois, pierre) et à la présence de sanctuaires. Le sanctuaire de source dédié à Hercule était centré autour de trois bassins. Les premières structures datées d'Antonin, étaient en bois ; puis elles ont été remplacées par des éléments en pierre sous Marc-Aurèle. Deux bassins avaient une colonnade portant une toiture. Les vasques étaient de tailles réduites, ce qui se trouve rarement en Gaule ; Les fidèles les utilisaient pour des ablutions afin de se purifier. Hercule est honoré comme dieu principal lié à une source ; Les raisons de son choix dans ce rôle sont sans doute liées à la présence de l'armée. Hercule est souvent présent près des sources, mais il en est exceptionnellement l'entité fondamentale : il a ici un rôle bienfaiteur, salutaire et sans doute guérisseur. La source est figurée par une déesse anonyme. Le coeur du sanctuaire est entouré d'un cercle de stèles et autels du dieu, ex-voto offerts en remerciements. Les reliefs permettent une analyse en un lieu clos, de l'évolution de la sculpture et des modèles du dieu. Ces derniers sont au nombre de trois. Hercule dit au repos, Hercule portant sa massue sur le bras, Hercule la tenant derrière la tête ; Ce dernier type est inédit. L'analyse précise des techniques de taille qui semblent influencées par le travail du bronze, rapportées aux données numismatiques et céramiques, permet de dater cette statuaire. Cet ensemble permet d'étudier la sculpture gallo-romaine et celle d'Hercule en particulier dont le site a fourni près de cent reliefs. Le sanctuaire a été détruit sous le règne de Valentinien ou de Gratien, vraisemblablement par les chrétiens qui l'ont incendié, et ont martelé et renversé les images du dieu. Actuellement la fouille complète du sanctuaire n'est pas achevée
Deneuvre was a small market town whose activities were bound by a tradition of arts and crafts (ceramics, wood, stone) and the presence of sanctuaries. The sanctuary of the Spring dedicated to Hercules was erected around three basins. The first structures dating from the Antonin period, were made of wood ; they were then repaced by stone structures during the period of Marcus Aurelius. Two of the basins had a roofed colonnade. The bowls were rather small, something rarely found in Gaul ; The faithful used them when performing their ablutions in order to purify themselves. Hercules is honored as the principal god inked to a mineral spring. The reasons for choosing him in this role are no doubt connected to the army presence there. Hercules is often present near mineral springs, but it is exceptional that in this case he is the fundamental entity ; Here his role is that of benefactor, savior and without a doubt healer. The Spring is represented by an anonymous goddess. The core of the sanctuary is surrounded by a circle of stelas and altars of the god, offered in thanks ex-voto. The reliefs make possible, in an enclosed area, an analysis of the evolution of the sculpture and representations of the god. There are three of these : Hercules at rest, Hercules carrying his club on his arm, Hercules holding it behind his head ; The latter is unknown. The precise analysis of the carving techniques, which seem influenced by bronze work, compared to numismatic and ceramic givens, make dating this statuary possible. This grouping makes studying Gallo-roman sculpture possible, particulary images of Hercules whose site has provided nearly one hundred reliefs. The sanctuary was destroyed either under the reign of Valentien or that Gratien, apparently by the Christians who burned it and struck down the images of the god. To date the sanctuary is not complete
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Yucesoy, Koksal. "Deneme Titile." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12612970/index.pdf.

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Moitrieux, Gérard. "Hercvles salvtaris Hercule au sanctuaire de Deneuvre, Meurthe-et-Moselle /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37616597m.

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Denecke, Kerstin [Verfasser]. "Informationsextraktion aus medizinischen Texten / Kerstin Denecke." Aachen : Shaker, 2008. http://d-nb.info/1164342142/34.

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Canpolat, Müge. "Türkiye'de deneme ve eleştirinin gelişiminde Orhan Burian'ın yeri." Ankara : Bilkent Üniversitesi, Türk Edebiyatı Bölümü, 2003. http://books.google.com/books?id=tqXjAAAAMAAJ.

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Cassel, Jean-Christophe. "Survie, integration et expression fonctionnelle de greffes de cellules nerveuses dans l'hippocampe partiellement denerve du rat." Université Louis Pasteur (Strasbourg) (1971-2008), 1990. http://www.theses.fr/1990STR13034.

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Les effets de greffes nerveuses pratiquees dans l'hippocampe partiellement ou massivement prive de ses afferences rostrales ont ete determines chez des rates de la souche long evans sur les plans histologique, biochimique, pharmacologique (in vitro) et comportemental. Apres denervation partielle de l'hippocampe, des greffes septales (riches en neurones cholinergiques) implantees dans l'hippocampe survivent a long terme et fournissent un complement d'innervation cholinergique a l'hippocampe. Toutefois, du fait d'un developpement excessif, ces greffes deteriorent, a des degres divers, l'integrite histologique de la structure-hote et produisent des effets deleteres dans deux tests d'apprentissage spatial et un test de sensibilite epileptique. Apres denervation plus massive de l'hippocampe, des greffes intrahippocampiques de cellules hippocampiques ou septales survivent a long terme, mais seules les greffes septales fournissent une nouvelle innervation cholinergique a l'hippocampe. Si l'apparition et la direction d'effets comportementaux depend a la fois du type de tissu greffe (hippocampique, septal), de la duree du delai post-operatoire (1-3, 5-7, 10-12 mois) et du type de test utilise (activite locomotrice, apprentissage spatial, sensibilite epileptique), aucun effet comportemental durable n'est decele. Les determinations biochimiques (dosages d'acetylcholine et de choline acetyltransferase) et pharmacologiques (liberation stimulee de neurotransmetteurs par des tranches d'hippocampe) de la fonctionnalite des greffes, ont montre qu'a long terme les greffes septales presentent des caracteristiques fonctionnelles anormales. Nos donnees suggerent que la fonctionnalite de greffes intrahippocampiques pourrait dependre du type de lesion realisee et que l'implantation intrahippocampique d'une preparation riche en neurones cholinergiques ne se traduit pas forcement par des effets comportementaux benefiques e
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Deneke, Carlus Verfasser], and Reinhard [Akademischer Betreuer] [Lipowsky. "Theory of mRNA degradation / Carlus Deneke. Betreuer: Reinhard Lipowsky." Potsdam : Universitätsbibliothek der Universität Potsdam, 2012. http://d-nb.info/1027226108/34.

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Books on the topic "Deneuve"

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Deneuve, l'affranchie: Biographie. [Paris]: Flammarion, 2007.

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Bardot, Deneuve, Fonda. New York: Simon and Schuster, 1986.

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Bardot, Deneuve, Fonda: Memorias. Barcelona: Planeta, 1987.

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Fache, Alexandre. Catherine Deneuve: Une biographie : document. [Paris]: Presses de la cité, 2004.

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Le corps de La Deneuve: Roman. Montréal]: Coups de tête, 2010.

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Bardot, Deneuve, Fonda: The memoirs of Roger Vadim. Oxford: ISIS large print, 1986.

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Vadim, Roger. The memoirs of Roger Vadim: Bardot, Deneuve & Fonda. London: Weidenfeld and Nicolson, 1986.

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Vadim, Roger. Bardot, Deneuve and Fonda: The memoirs of Roger Vadim. London: Guild Publishing, 1986.

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Le mythe Deneuve: Une "star" française entre classicisme et modernité. [Paris]: Nouveau monde, 2010.

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D'une étoile l'autre. [Paris]: Edition no. 1, 1986.

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Book chapters on the topic "Deneuve"

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"Deneuve, Catherine." In Encyclopedia of Contemporary French Culture, 172. Routledge, 2002. http://dx.doi.org/10.4324/9780203003305-28.

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Downing, Lisa. "Polanski’s Deneuve." In From perversion to purity. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526141439.00005.

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Weiner, Susan. "Demy and Deneuve." In From perversion to purity. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526141439.00007.

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Johnston, Cristina. "Deneuve in the 1990s." In From perversion to purity. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526141439.00012.

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Kannas, Alexia. "Catherine Deneuve in The Umbrellas of Cherbourg." In Close-Up, 195–204. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474417037.003.0018.

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Kannas, Alexia. "17 Catherine Deneuve in The Umbrellas of Cherbourg." In Close-Up, 195–204. Edinburgh University Press, 2018. http://dx.doi.org/10.1515/9781474417044-019.

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Gillain, Anne. "Mississippi Mermaid (1969)." In Totally Truffaut, 101–16. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536308.003.0010.

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This film marks Truffaut’s encounter with Catherine Deneuve and the beginning of a relationship that will be imprinted in most of the subsequent films. The different components of this idealized feminine figure are reviewed in this chapter as well as the coded inscription of sexuality in the narrative. Shot-by-shot analysis: The long dialogue by the fire where the hero played by Jean-Paul Belmondo declares his passionate love to the star.
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Gillain, Anne. "The Last Metro (1980)." In Totally Truffaut, 243–60. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536308.003.0021.

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This film is one of Truffaut’s greatest successes both critically and financially. It is the only work that reconstitutes the Paris of his childhood during the German Occupation. Starring Catherine Deneuve, it can be read as a hymn to creativity envisioned as a liturgical ceremonial. Hidden in a cave, the director of the theatre has close affinities with the hero of The Green Room. The film’s love triangle recapitulates relationships to be found in Truffaut’s previous work. Shot by shot analysis: The encounter in the cave of the three main characters at the end of the film
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Gillain, Anne. "Two English Girls (1971)." In Totally Truffaut, 139–50. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536308.003.0013.

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Shot a few months after Truffaut’s breakup with Catherine Deneuve and his hospitalisation for a nervous breakdown, the film is a beautiful meditation on the sufferings inflicted by passion. Adapted from an autobiographical book by Pierre-Henri Roché, the text in a voice-over propels forward the narrative. Truffaut illustrates the systemic nature of passion and its incidence on the organic. A total flop when it came out, the film is now considered one of Truffaut’s best works. Shot-by-shot analysis: The deflowering of one of the two sisters, Muriel, by the main character who is played by Jean-Paul Léaud.
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Gillain, Anne. "The Man Who Loved Women (1977)." In Totally Truffaut, 201–16. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536308.003.0018.

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Played by the same actor as in The Bride wore Black, this film depicts the routine of a womanizer who is undertaking to write his memoirs. Structured as a flashback, the narrative ties up past and present through an extensive use of the voice-over. It also draws analogies between the hero’s compulsion and his early relationship with his mother. An accurate description of the inner process that triggers fetishism, the narrative concentrates on its two vectors in the film: women’s legs and books. Shot-to-shot analysis: A chance encounter with a woman from the past and the portrayal of a relationship that eludes any pathological configuration. Leslie Caron plays the object of this past love in role evocative of Catherine Deneuve.
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Conference papers on the topic "Deneuve"

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McKibbin, L. S., Stephen N. Joffe, and John A. Parrish. "Collateral Axon Sprouting Into Denerved Tissue." In Cambridge Symposium-Fiber/LASE '86. SPIE, 1987. http://dx.doi.org/10.1117/12.937350.

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Eliş, Alper. "Zihin Nedir?” Sorusu Karşısında Bilişsel Bilimler İçinde Felsefenin İşlevi Üzerine Bir Deneme." In Türkiye Lisansüstü Çalışmalar Kongresi. İlmi Etüdler Derneği, 2016. http://dx.doi.org/10.12658/tlck.5.4.b017.

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Xu, Xiaolan, Leung Tsang, and Edward G. Josberger. "Denense media radiative transfer theory for passive remote sensing and application to SWE Retrieval." In 2010 11th Specialist Meeting on Microwave Radiometry and Remote Sensing of the Environment (MicroRad 2010). IEEE, 2010. http://dx.doi.org/10.1109/microrad.2010.5559578.

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Verichev, Stanislav, Jan Willem Van Bloois, and Robert Gerard van de Ketterij. "Design and Selection Process of Vertical Transport Systems SS: Ocean Mining; chairman Julien Denegre." In Offshore Technology Conference. Offshore Technology Conference, 2010. http://dx.doi.org/10.4043/20629-ms.

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Perry, Stephanie E., J. Alex Zumberge, and Kai Cheng. "IMPACTS AND LESSONS LEARNED FROM AN APPLIED CASE STUDY IN THE WILLISTON, UINTA AND DJ BASINS UTILIZING OPEN VERSUS CLOSED RETORT QUANTIFICATION." In 2021 SPWLA 62nd Annual Logging Symposium Online. Society of Petrophysicists and Well Log Analysts, 2021. http://dx.doi.org/10.30632/spwla-2021-0031.

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Subsurface characterization of fluid volumes is typically constrained and validated by core analytical fluid saturation measurement techniques (example Dean-Stark or Open Retort methodology). As production in resource plays has progressed over time, it has been noted that many of these methods have a large error when compared to production data. A large source of the error seems to be that water saturations in tight rocks have been consistently underestimated in the traditional laboratory measurement techniques. Operators need improved fluid saturation measurements to better constrain their log-based oil-in-place estimates and forward-looking production trends. The overall goal of this study is to test a new laboratory workflow for fluid saturation quantification. Recent advancements have led to an innovative methodology where a closed retort laboratory technique is applied to samples from lithological rock types in the Williston, Uinta and Denever-Julesburg (DJ) basins. This new technique is specifically designed to better quantify and validate water measurements throughout the tight rock analysis process, as well as improved oil recovery and built-in prediction. A comparison of standard crushed rock analysis employing Dean-Stark saturation methods is compared to the closed retort results and observations discussed. Results will also be compared against additional laboratory methods that validate the results such as geochemistry and nuclear magnetic resonance. Finally, open-hole wireline logs will be utilized to quantify the impact on total water saturation and the oil-in place estimates based on the improved accuracy of the closed retort technique.
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Canıbek, Cihan, Gökçen Bombar, and António Heleno Cardoso. "Simetrik Akarsu Kavşaklarında Farklı Mansap Derinliklerinin Su Yüzeyi Profiline Etkisi." In International Students Science Congress. Izmir International Guest Student Association, 2021. http://dx.doi.org/10.52460/issc.2021.018.

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İki veya daha fazla akarsuyun birleşerek kavşak noktası oluşturmaları, açık kanal hidroliği alanında sık karşılaşılan bir durumdur. Kavşaklar, hidrolik açıdan önemli kontrol noktalarıdır. Kavşak içinde memba ve mansap derinliklerinin bilinmesi oluşacak yük kaybının hesaplanabilmesi açısından önem arz etmektedir. İzmir Kâtip Çelebi Üniversitesi Hidrolik Laboratuvarı’nda bulunan deney düzeneği üzerinde gerçekleştirilmiş bu çalışmada,yan kollardan gelen debi sabit tutularak mansap derinliği değiştirilerek yan kollar ve ana kanal boyunca akım derinlikleri ölçülmüştür. Simetrik 90° açıyla birleşen yan kolların genişliği 1 m, ana kanalın genişliği ise 2 m olup yan kollar ile ana kanalın taban kotları eşit olacak şekilde düzenlenmiştir. Akım derinlikleri, limnimetre vasıtasıyla ölçülmüş olup önce taban kotları ölçülmüş, daha sonra su yüzey kotları ölçülmüştür. Ölçümler, ana kanalda, her 50 cm’de bir, yan kollarda ise her 25 cm’de bir yapılmıştır. Çalışmada, ana kanalda Froude sayıları 1’den küçük olup akım, nehir rejiminde olmuştur. Bu çalışmada sağ kolun debisi 29,61 l/s, sol kolun debisi 20 l/s olup ana kanaldaki toplam debi 49,61 l/s’dir. Mansap kısmında bulunan kapak vasıtasıyla mansap akım derinliği ayarlanmıştır. Gerçekleştirilen deneylerde mansap akım derinliği sırasıyla 9,3 cm 12,60 cm ve 15,35 cm olacak şekilde ayarlanmıştır. Bu koşullarda kavşak birleşim noktasında derinlik sırasıyla, 9,8 cm, 12,8 cm ve 15,75 cm olmuştur. Her 3 deneyde de ana kanalda H2 profili gözlenmiş ve kavşak birleşim noktasındaki derinlik mansap derinliğinden daha fazla olmuştur. Yan kol ve ana kanal debileri arasındaki oran ile akım derinlikleri arasındaki ilişki literatür ışığında incelenmiştir. Deneylerde taban eğimi 0 ve y>ycr olup çalışmalar nehir rejiminde yapıldığından H2 profili gözlemlenmiştir. Su yüzey profillerinde eğimler birbirine paralellik göstermiştir. Mansaptaki derinliğinin artması, su seviyesi ortalamasını artırmıştır.
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Reports on the topic "Deneuve"

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Levent, Ahmet Faruk. Bilim ve Sanat Merkezlerinde Eğitim: Mevcut Durum ve Politika Önerileri. İLKE İlim Kültür Eğitim Vakfı, November 2020. http://dx.doi.org/10.26414/pn016.

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Türkiye’de üstün yetenekli öğrencilerin eğitimleriyle ilgili pek çok deneme yapılmış olup tam olarak yeterli bir sonuç alınamadığı için hâlen yapılmaya devam edilmektedir. Bu bağlamda üstün yetenekli öğrencilere yönelik yeni program ve kurumlar tasarlamak yanında mevcut ortamların daha etkili hale getirilebilmesi için politika önerilerine ihtiyaç vardır. Günümüzde Türkiye’de üstün yetenekli öğrencilerin eğitimi üç alanda gerçekleşmektedir. Bu alanlar şunlardır: Bilim ve Sanat Merkezi (BİLSEM), Araştırma, Geliştirme, Eğitim ve Uygulama Merkezi (ARGEM) ve Destek Eğitim Odası. Üstün yetenekli öğrenciler için ülkemizde uygulanmakta olan en kapsamlı eğitim modeli BİLSEM’dir. Bu çalışmada, BİLSEM’lerde yapılan üstün yeteneklilerin eğitimine yönelik mevcut durum ortaya konularak, bu merkezlerde verilen hizmetin kalitesinin artırılmasına yönelik politika önerileri sunulmaktadır.
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