Academic literature on the topic 'Halévy'

A partir de 1862, un compositeur déjà célèbre et joue dans le monde entier, Jacques Offenbach commence à travailler en collaboration avec deux librettistes, Henri Meilhac et Ludovic Halévy. Ce travail exceptionnel a permis en quelques années l'avènement d'un genre vocal original et typiquement français : l'opéra-bouffe ; du brésilien, une simple pièce en un acte écrite en 1863, à "La Boulangère a des écus" en 1875, six chefs-d’œuvre ont vu le jour : "La Belle Hélène" (1864), "Barbe-bleue" (1866), "La Vie parisienne" (1866), "La Grande-duchesse de Gerolstein" (1867), "La Périchole" (1868), "Les Brigands" (1869). Notre démarche est tout d'abord chronologique ; la place de ces auteurs dans leur temps est évoquée, la genèse de ces pièces est établie avec précision, faisant apparaitre leur état avant l'édition en se basant notamment sur les livrets de censure. Nous montrons ensuite la richesse culturelle dissimulée dans les livrets : chaque pièce révèle une quantité gigantesque d'allusions théâtrales, littéraires, poétiques, voire philosophiques, comme si sa substance même était un tissu de citations allant du Grand siècle à l'époque contemporaine. La partie musicale réalise une synthèse de ces paramètres : comment mettre en musique un texte aussi riche ? Après avoir établi l'allure générale d'un opéra-bouffe, montrant ses formes instrumentales et vocales, nous nous attachons à mettre en lumière l'originalité de la prosodie ; la musique met en scène des mots qui ont déjà une valeur musicale : Offenbach est aussi librettiste, et ses librettistes, Halévy en particulier, connait la langue musicale. Le rire en musique est sans doute la facette la plus spectaculaire de ce travail.

This thesis analyzes Rabi­ Yehuda Halevy synagogue, which Victor Babani designed and Francisco Canovas built from 1941 to 1942 in the Colonia Roma Sur of Mexico City. I focus on its formal characteristics, as well as its socio-historical context. I examine late-nineteenth century to mid-twentieth century life for Sephardic Jews in Mexico: their cause for immigration, experience in their new homeland, and relations with other Jewish groups and non-Jews in the city. I explore the use of style and iconography in the synagogue in relation to the history and prior employment of these architectural features. Defining "style" in the Rabi­ Yehuda Halevy demands an understanding of the employment of a particular formal language in the design of minority groups' architecture. The process of finding a style to portray national identity in Mexico was parallel to the Mexican Sephardim's use of architecture to articulate their own identity in the city.

Nous avons essaye dans le cadre de cette these de degager les grandes caracteristiques de l'art poetique du muwassah a travers le diwan de judah halevi et de presenter l'espace thematique de cette poesie hispane-arabe. Ainsi, nous sommes parvenue a une constatation, comment notre poete a-t-il introduit l'art du muwassah dans sa poesie en employant ses differentes formes et ses techniques de compositions? en effet cette nouvelle poesie illustre profondement l'immense influence de la culture arabo-musulmane sur la litterature hebraico-espagnole en general et la poesie en particulier. La premiere partie de notre these a ete consacre a l'influence de la poesie traditionelle hebraique en particulier le piyyut palestinien sur la poesie sefarade, et l'influence de la poesie arabe surtout la poesie profane et l'introduction du metre arabe dans la poesie hebraique. Nous avons commence la deuxieme partie de notre these par une vue sur la vie judah-halevi et sa formation. Nous avons donne aussi un resume sur son oeuvre apologetique le kuzari. Dans cette partie nous nous sommes livree a l'etude de l'art poetique du muwassah a travers le diwan de judah-halevi au niveau du fond et de la forme. A la fin de cette partie nous avons etudie la strophe finale du muwassah : la harga qui joue un role primordiale dans la structure du muwassah<br>We have tried in this thesis to issue the most important characteristics of the poeticart of muwassah through the diwan of judah-halevi, and to present the thematic space of this spanisho-arab poetry. Thus, we have come to how our poet introduced thet art of muwassah in his poetry employing his different forms and technics of compositions. In fact, this new poetry illustrate profoundly the immense influence of the arabo-muslim culture upon the hebrewspanish-culture in general and the poetry in particular. The first part of our thesis was allowed to the influence of the hebrew tradional poetry-the piyyut palestinien. In particular. Upon the poetry seferade, the influence of the arab poetry, above all the profane poetry, and the introduction of the arab metre in the hebrew poetry. We have begun the second part of our thesis by a vew of the life of judahhalevi and his formation. We have also in this part allowed our study to the poetic art of muwassah through the diwan of judah-haevi in the level of bottom and form. At the end of this part we have studied the final strophe of muwassah - the harga-that plays a primordial role in the structure of muwassah

The purpose of this study was to investigate three models of family therapy: Bowen Theory, Haley's Strategic Family Therapy, and the Satir Process Model. The question that was explored concerned what family therapy approaches achieve what types of engagement, dropout, completion, satisfaction with treatment, locus of control, and family functioning outcomes with what kinds of delinquent families. Further, what effect do traditional court services have on a similar sample of delinquent youths and their families.;A non-equivalent, quasi-experimental design with pre and posttest treated (n = 188) and comparison (n = 61) groups was employed. Independent variables included the treatment interventions (Bowen, Haley, Satir, and comparison group). The dependent variables included seven criterion variables of clinical engagement, clinical dropout, completion, satisfaction with treatment, locus of control, and family functioning.;The Bowen and Satir groups engaged significantly more families than the Haley group. The Satir group had fewer premature terminations than the Haley and Bowen treatment groups. There were no significant differences between the Haley and Bowen Dropout samples.;The Satir group completed with the highest number of families, followed by the comparison group, the Bowen completed sample, and the Haley treatment group.;The Rotter Internal-External Locus of Control resulted in a significant effect for Time. Thus, at the end of treatment, parents had lower mean scores, indicating a move toward being more internally directed.;The Family Adaptability and Cohesion Evaluation Scales resulted in some significant findings, specifically: Identified Clients' Cohesion subscale (Group effect); Mothers' Social Desirability (Group effect); Fathers' Social Desirability (Group effect); and Identified Clients' Social Desirability (Group and Time effect).;Testing indicated that families were more satisfied with the Satir Process Model than Bowen Theory.;In general, results indicated that all family members were more satisfied with the Satir Process Model therapists, than with the Bowen and Haley clinicians.;Families were dissatisfied with the some aspects of the treatment they received in particular: Bowen Theory: exclusion of the Identified Client from therapy; Strategic Family Therapy: unknown observers on the other side of mirror engendered a perception of vulnerability and lack of confidence in the therapist; Satir Process Model: the brevity of treatment within the confines of the research project. (Abstract shortened by UMI.).

La problematique fondamentale a laquelle notre travail tente de formuler une reponse, est le role ainsi que l'importance des sources arabo-musulmane dans la poesie juive par le bias du poete judah halevi (1075?-1141?). Cerner de facon complete et precise l'impact de la litterature juive et notamment chez jedah halevi est obligatoirement un travail de fond et non pas de forme. Mon point de repere est evidemment le recueil poetique de judah halevi qui est lie a une sorte de vivification et de renaissance de la poesie juive et de montrer que la langue hebraique est capable de contenir et de remodeler toutes les influences. Il faut dire que j'entends par poetique, l'experience et lmes tech niques utilisees par judah halevi qui se referent plus qu'avant a la plus ancienne technique de la poesie arabe classique et aussi bien aux procedes les plus modernes de la poesie de son epouse al-muwashshahat. Sur ce point, la premiere partie de cette etude offre une presentation de l'influence arabomusulmane sur la litterature juive en general. Le second partie est une lecture comparative entre une mosaique de poemes arabes et des oeuvres poetiques de judah halevi, cette lecture se base sur les axes suivants : l'influence de la poesie profane arabe sur soeur hebraique. Le degre de la participation de la poesie arabe dans la renaissance poetique juive. L'image symbolique, les tendances mystiques, l'aspect rethorique et metrique de la poesie de judah halevi<br>The fundamental problem for our work will attempt to forulate an answer is the role and the importance of the arabo muslim sources in the jewish poetry in the exemple given by the the hudah halevi (1075?1141). To define in a precise and comple way the inpact of arabo muslim literature on jewish literature and particularly in judah halevi's work it is necessarily a study of content and not only of form. Obviously, my point of reference is the jedah halevi's poetic collection which is moreover a sing of engagement and renewal of jewish poetry. I have to say here that by poetic i mean as well judah halevi's experience and methods which refers more than ever to the most ancient technic of arabic poetry as well as to the more modern procedures of poetry of this al muwashshahat period on that point, the first part of this study offers aglobal presentation of the arabo muslin inpact on jewish literature in general. The second part which is in reality one of the main parts of this study tries to surround a comparative reading between a mosaic of arabic poems and of judah halevi's poetic collection this reading is based on those axes : the influence of the profane poetry on its hebrew sister. The degree of involvement of arabic poetry on the rebirth of jewish poetry. The symbolic image, the mystic tendancies, the rhethorical and metrical aspect in his poetry

Cette thèse est divisée en quatre parties. La première traite de l'accueil de Roots et du film qu'on en tira aux U. S. A. . La deuxième est consacrée à la recherche des racines africaines, génératrices, selon Haley, d'une identité afro-américaine. Cette identité est attestée par le lien que l'écrivain établit entre ses textes et l'histoire afro-américaine. C'est l'objet de la troisième partie. Pour Haley l'afro-américain a des racines africaines et une expérience spécifique. En dépit de cette revendication des particularités ethniques l'auteur écrit que l'Afro-américain a une cosncience double, mais qu'il est avant tout un Américain. Cette dualité identitaire fait l'objet de la quatrième partie.

Studies exploring the first wave of digital performance foregrounded technology by cataloging experimentation and novel interactions between liveness, projections and code. As exercises in medium, these high tech spectacles demonstrate the aesthetic potential of digital media while introducing key media concepts. Jennifer Haley is a writer with one foot in theatre and one in code. She is uniquely positioned in two interdependent spheres, which makes her particularly suited to engineer a theatrical bridge into the virtual, because at the heart of the contemporary technological revolution is a new level of writing and media literacy. Theatre has been effectively accessing the virtual imagination for millennia, and new technologies create new intricacies for engaging the virtual within theatrical space. Each is a medium defined by action, which host other media, and provide in depth simulations. Haley’s plays push beyond the fascination and spectacle of technology to incorporate the mundane reality of the digital into the structure of her work. Haley writes plays specifically to resonate with the similarities she sees between theatre and virtual worlds. Utilizing techniques and tropes from other media and then framing the narrative from within a theatrical world Haley exploits the essence of an active, critical audience and opens a dialog between virtual worlds and the perceptions of the audience. She treats her media generated worlds as places. Other digital theatre plays may peer through a window into the virtual by dramatizing a conversation through media; Haley sends an expedition over the threshold into another world. A flesh version of an avatar breathing before the audience establishes a material existence unattainable in two dimensional screen media. Haley illuminates the constructed nature of mediatized communication, but she does it dramaturgically deemphasizing the technology and re-centering the human within the virtual drama. Her approach builds a metaphorical bridge between theatre and virtual digital realities. Through a close reading of Haley’s plays I will demonstrate how Haley takes the artistic next step for computer technology and theatre.