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Journal articles on the topic 'Heinich'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Olivesi, Stéphane. "Nathalie Heinich, Pourquoi Bourdieu." Questions de communication, no. 14 (December 1, 2008): 368–71. http://dx.doi.org/10.4000/questionsdecommunication.1594.

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2

Leboyer, Olivia. "Entretien avec Nathalie Heinich." Le Philosophoire 46, no. 2 (2016): 9. http://dx.doi.org/10.3917/phoir.046.0009.

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3

des Rivières, Marie-José. "Nathalie Heinich : États de femme." Recherches féministes 10, no. 1 (1997): 166. http://dx.doi.org/10.7202/057920ar.

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4

Nuytens, Williams. "Carte blanche à Nathalie Heinich." Staps 128, no. 2 (2020): 15. http://dx.doi.org/10.3917/sta.128.0015.

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5

Postel-Vinay, Olivier. "Nathalie Heinich : « Un dialogue de sourds »." Books N° 46, no. 9 (2013): 40–42. http://dx.doi.org/10.3917/books.046.0040.

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6

Kaufmann, Laurence, and Philippe Gonzalez. "Redeeming the Value(s) of the Social World." Cultural Sociology 14, no. 3 (2020): 246–70. http://dx.doi.org/10.1177/1749975520922175.

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This article discusses some of the central theses proposed by Nathalie Heinich in her book Des Valeurs ( Values). After focusing on the distinction between norms and values, and the inductive approach favoured by an axiological sociology, we will address how public values might emotionally engage actors, the specificity of moral values and of people as ‘objects of valuation’ and, finally, the ambiguities inherent in the ‘axiologically neutral’ reconstruction of an ‘axiological grammar’. Somewhat countering the ‘descriptive relativism’ that Nathalie Heinich advocates, we will argue, from a prag

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7

Fleury, Béatrice, and Jacques Walter. "Values: Which Theories, Which Methods?" Cultural Sociology 14, no. 3 (2020): 233–45. http://dx.doi.org/10.1177/1749975520922174.

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For the 31st issue of Questions de communication, Nathalie Heinich (EHESS, CNRS) extracted 10 proposals from her book published early in 2017, Des Valeurs. Une approche sociologique ( Values: A sociological approach). By characterising the diversity of attributions given to values in situations, she exposes the outlines for a scientific project which various researchers discuss in this special issue: Laurence Kaufmann and Philippe Gonzalez (University of Lausanne), Louis Quéré (EHESS, CNRS) and Danilo Martuccelli (Millennium Nucleus Centre Authority and Power Asymmetries - Université de Paris

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8

Torrès-Parent, Nathalie. "Nathalie Heinich, Le paradigme de l’art contemporain." Sciences de la société, no. 95 (December 1, 2015): 142. http://dx.doi.org/10.4000/sds.2698.

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9

Glevarec, Hervé. "Nathalie Heinich, Des valeurs. Une approche sociologique." Questions de communication, no. 32 (December 31, 2017): 497–502. http://dx.doi.org/10.4000/questionsdecommunication.11750.

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10

Laberge, Yves. "Nathalie Heinich, Ce que n’est pas l’identité." L'Homme, no. 231-232 (November 21, 2019): 314–15. http://dx.doi.org/10.4000/lhomme.35870.

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11

Journet, Nicolas. "Nathalie Heinich. Un regard singulier sur l'art." Sciences Humaines N°154, no. 11 (2004): 17. http://dx.doi.org/10.3917/sh.154.0017.

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12

Streibel, Michael J. "A response to Robert Heinich and Suzanne Damarin." ECTJ 36, no. 3 (1988): 153–60. http://dx.doi.org/10.1007/bf02765464.

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13

Veyne, Paul. "Entretien avec François Flahault, Nathalie Heinich, Jean-Marie Schaeffer." L Homme, no. 175-176 (October 15, 2005): 233–50. http://dx.doi.org/10.4000/lhomme.1927.

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14

Bréhin, Yannick. "Nathalie Heinich, L’Élite artiste. Excellence et singularité en régime démocratique." Marges, no. 05 (June 15, 2007): 122–24. http://dx.doi.org/10.4000/marges.687.

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15

Glicenstein, Jérôme. "Nathalie Heinich, L’Élite artiste. Excellence et singularité en régime démocratique." Marges, no. 05 (June 15, 2007): 125–26. http://dx.doi.org/10.4000/marges.689.

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16

Lévy, Clara. "L’élite artiste. Excellence et singularité en régime démocratique, N. Heinich." Sociologie du travail 52, no. 1 (2010): 124–25. http://dx.doi.org/10.4000/sdt.13433.

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17

Durand-Gasselin, Jean-Marc. "Nathalie Heinich, Des valeurs. Une approche sociologique, Paris, Gallimard, 2017." Cités 75, no. 3 (2018): 171. http://dx.doi.org/10.3917/cite.075.0171.

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18

Ogien, Albert. "Nathalie Heinich, La Cadre-analyse d’Erving Goffman. Une aventure structuraliste." Questions de communication, no. 37 (November 15, 2020): 469–72. http://dx.doi.org/10.4000/questionsdecommunication.23126.

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19

Ungan, Umut. "Nathalie Heinich, Le Paradigme de l’art contemporain. Structures d’une révolution artistique." Marges, no. 19 (October 1, 2014): 148–49. http://dx.doi.org/10.4000/marges.950.

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20

Buscatto, Marie. "De la visibilité. Excellence et singularité en régime médiatique, N. Heinich." Sociologie du travail 55, no. 3 (2013): 413–15. http://dx.doi.org/10.4000/sdt.11353.

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21

Caïra, Olivier. "Le paradigme de l’art contemporain. Structures d’une révolution artistique, N. Heinich." Sociologie du travail 57, no. 2 (2015): 253–54. http://dx.doi.org/10.4000/sdt.1567.

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22

Bardin, Christophe. "Nathalie Heinich, Le paradigme de l’art contemporain. Structures d’une révolution artistique." Questions de communication, no. 25 (August 31, 2014): 374–75. http://dx.doi.org/10.4000/questionsdecommunication.9111.

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23

Roberge, Jonathan. "Nathalie Heinich, Guerre culturelle et art contemporain. Une comparaison franco-américaine." Canadian Journal of Sociology 36, no. 1 (2011): 114–17. http://dx.doi.org/10.29173/cjs10102.

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24

Pradana, Sandi, and Ashadi Ashadi. "Weblog as an Appropriate Online Medium in Teaching Writing." Script Journal: Journal of Linguistic and English Teaching 4, no. 2 (2019): 125. http://dx.doi.org/10.24903/sj.v4i2.331.

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This research aims to develop weblog as media in teaching writing of senior high school students.It is a research and development (R&D) study that follows ASSURE model proposed by Heinrich and developed by Smaldino, Heinich, Molenda, & Russell (2005:49). The procedure of developing media consisted of analyzing learner, stating objective, selecting media, utilizing media, requiring learner participation, evaluating and revising.The product was examined by the media expert. After conducting the first test, the second test was conducted by English teacher and students. The subjects of thi

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25

Mira, Vinícius José, and Fernando Cesar Sossai. "Estação da Memória de Joinville." Revista CPC 15, no. 29 (2020): 151–70. http://dx.doi.org/10.11606/issn.1980-4466.v15i29p151-170.

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Este artigo tem como objetivo discutir o processo de patrimonialização da antiga Estação Ferroviária de Joinville, Santa Catarina, sede da atual Estação da Memória de Joinville (1996–2010). Nesse contexto, refletimos sobre como os processos de patrimonialização da estação (municipal, estadual e federal)historicamente corporificaram ações governamentais voltadas à fabricação de um patrimônio cultural considerado estratégico para o estado de Santa Catarina. Em termos teórico-metodológicos, nossas reflexões amparam-se na análise documental dos processos de tombamento da referida estação, bem como

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26

Louis Coste, François. "« Porter leur voix. Un avocat sans effet de manche » de Laure Heinich." Les Cahiers de la Justice N° 2, no. 2 (2014): 319. http://dx.doi.org/10.3917/cdlj.1402.0319.

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27

Durand-Gasselin, Jean-Marc. "Nathalie Heinich, Une histoire de France. Récit, Bruxelles, Les Impressions Nouvelles, 2018." Cités N°79, no. 3 (2019): 165. http://dx.doi.org/10.3917/cite.079.0165.

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28

Haudot, Jonathan. "Nathalie Heinich, Jean-Marie Schaeffer, Art, création, fiction. Entre sociologie et philosophie." Questions de communication, no. 8 (December 1, 2005): 424–29. http://dx.doi.org/10.4000/questionsdecommunication.5717.

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29

Tétu, Jean-François. "Nathalie Heinich, Sortir des camps. Sortir du silence. De l’indicible à l’imprescriptible." Questions de communication, no. 22 (December 1, 2012): 355–57. http://dx.doi.org/10.4000/questionsdecommunication.7018.

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30

Gerini, Christian. "Natahlie Heinich, La Sociologie à l’épreuve de l’art. Entretiens avec Julien Ténédos." Questions de communication, no. 29 (June 30, 2016): 419–21. http://dx.doi.org/10.4000/questionsdecommunication.10565.

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31

Brulon, Bruno. "Patrimônio Íntimo: a experiência do autêntico nas artes primeiras." Museologia & Interdisciplinaridade 4, no. 8 (2016): 31–49. http://dx.doi.org/10.26512/museologia.v4i8.16903.

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O patrimônio etnográfico, reapresentado aos olhos europeus como “artes primeiras”, para ser pensado como “arte”, deve ser “autentificado” por um conjunto de valores específicos. O artigo analisa, do ponto de vista da sociologia dos valores, a gramática axiológica, como proposta na obra de Nathalie Heinich, que leva objetos do patrimônio a serem percebidos como “artes primeiras” na Europa, e particularmente no caso do Musée du quai Branly, na França. Considerando uma revisão dos referenciais utilizados para pensar a autenticidade no campo da Museologia e do Patrimônio, o artigo propõe a perspec

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32

Alves, Elder P. Maia. "O mercado global de games: artificação e capitalismo cultural." Arquivos do CMD 4, no. 2 (2017): 73–95. http://dx.doi.org/10.26512/cmd.v4i2.9064.

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Sob que condições sociológicas específicas os videogames têm alterado o seu lugar na hierarquia artística? A pesquisadora Nathalie Heinich examina os processos de elevação do status artístico de determinadas linguagens, artefatos e práticas por meio do conceito de artificação. Este trabalho busca analisar o processo de artificação dos games, inscrevendo-o numa moldura sociológica mais ampliada, qual seja: o capitalismo cultural. Para tanto, explora dois fatores: o primeiro, de ordem artístico-cultural; o segundo, de caráter empresarial-tecnológico. Sustenta que a aproximação umbilical entre o

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33

Cousin, Saskia. "Nathalie Heinich, La Fabrique du patrimoine. De la cathédrale à la petite cuillère." Mondes du tourisme, no. 2 (December 1, 2010): 106–7. http://dx.doi.org/10.4000/tourisme.288.

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34

Bonnot, Thierry. "Nathalie Heinich, La Fabrique du patrimoine. « De la cathédrale à la petite cuillère »." Gradhiva, no. 12 (November 24, 2010): 228–30. http://dx.doi.org/10.4000/gradhiva.1975.

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35

Delmas, Corinne. "Nathalie Heinich & Jean-Marie Schaeffer, Art, création, fiction : entre sociologie et philosophie." L'Homme, no. 175-176 (October 15, 2005): 475–77. http://dx.doi.org/10.4000/lhomme.2037.

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36

Heinich, Nathalie. "Towards an Axiological Sociology." Cultural Sociology 14, no. 3 (2020): 308–21. http://dx.doi.org/10.1177/1749975520922187.

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Having proposed a 10-point summary of her book Des valeurs. Une approche sociologique ( Values: A Sociological Approach), Nathalie Heinich responds to the comments of Laurence Kaufmann and Philippe Gonzalez, Danilo Martuccelli, and Louis Quéré, as well as to Hervé Glevarec’s review published in the same issue of Questions de communication. Nine themes are successively addressed: issues of vocabulary, the relevance or irrelevance of certain problems (nature, religion), the issue of emotions, the ontological status of valuation, the epistemological status of an ‘axiological grammar’ and its expl

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37

Cezard, Delphine. "Nathalie Heinich et Roberta Shapiro (dir.),De l’artification. Enquêtes sur le passage à l’art." Sociologie de l'Art OPuS 22, no. 1 (2014): 251. http://dx.doi.org/10.3917/soart.022.0251.

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38

Gomes, Lilian Alves. "O efeito Aleijadinho: ensaio de antropologia da expertise." Religião & Sociedade 38, no. 3 (2018): 90–112. http://dx.doi.org/10.1590/0100-85872018v38n3cap04.

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Resumo: Neste artigo, analiso as incertezas em torno das obras de Aleijadinho, com vistas a sublinhar como argumentos sobre expertise são acionados em elaborações acerca da atribuição de autoria. Inicialmente, apresento o artífice/artista e como o referencial da antropologia da admiração (Heinich 1991) é profícuo para entender os efeitos da mitificação de sua trajetória e a importância conferida às suas obras no campo da arte brasileira. Em seguida, mostro como tais obras e outras imagens são vinculadas a noções de autoria, de estilo e de originalidade. Destaco, por fim, que imagens de santos

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39

Guay, Hervé. "Le solo-machine : incursion dans le travail scénique de Carole Nadeau." L’Annuaire théâtral, no. 58 (December 13, 2016): 115–33. http://dx.doi.org/10.7202/1038323ar.

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Cet article aborde le rôle de la machine au sein du solo théâtral à l’aide de deux spectacles de Carole Nadeau créés à dix ans d’intervalle : MeMyLee Miller (2000) et Le mobile (2010). L’auteur s’attache à ce qui distingue ce type de solo d’un « monologue » axé sur la parole et sur la « pure » présence de l’acteur dans la mise en place de ce régime scénique. L’article étudie le dialogisme humain-machine dans ses particularités performatives en portant attention à la manière dont le jeu de l’acteur et l’espace scénique sont transformés par les technologies retenues. Il est ainsi question d’obse

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40

Thiel-Jańczuk, Katarzyna. "Entre l’art de l’invisibilité et l’art de la démesure : Marcel Proust caricaturé par Jean Cocteau." Quêtes littéraires, no. 10 (December 30, 2020): 185–96. http://dx.doi.org/10.31743/ql.11542.

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Partant d’un dessin de Marcel Proust par Jean Cocteau conçu en 1922 ainsi que d’un essai biographique de Claude Arnaud publié en 2013, l’auteur de l’article présente la relation entre les deux écrivains en référence à la problématique de leur « visibilité » (Nathalie Heinich). Dans ce contexte-là, le dessin de Cocteau, restant en accord avec le caractère démesuré de Marcel Proust, peut être aujourd’hui considéré comme une représentation caricaturale de l’auteur de la Recherche qui démythifie une image de Proust-écrivain invisible créée par la vulgate structuraliste. Aussi, dans le contexte méd

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41

Kemperink, Mary. "Modellen en de self-fashioning van de auteur." Nederlandse Letterkunde 19, no. 3 (2014): 277–99. http://dx.doi.org/10.5117/nedlet2014.3.kemp.

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Abstract Models and the Author’s Self-fashioning. Some Reflections and the Case of Mina KrusemanThis article explores the ways in which the concept of the ‘model’ can be used for research into the self-fashioning of literary authors. After reviewing the role of the concept in theoretical contributions dealing with the process of self-fashioning (Goffmann, Meizoz, Heinich), it raises some crucial methodological issues, such as (1) how can one discover the specific model an author has based his/her self-image upon? or (2) how can one account for the fact that an author belongs to different socia

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42

Glinoer, Anthony. "Le Journal des Goncourt en 1857 : le règne paradoxal de la Bohème1." Études françaises 43, no. 2 (2007): 59–72. http://dx.doi.org/10.7202/016473ar.

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Résume À l’inverse de leurs prédécesseurs, qui n’y voyaient qu’accident de l’histoire, les sociologues Pierre Bourdieu et Nathalie Heinich ont accordé une importance majeure à la Bohème littéraire et artistique dans le processus de constitution d’un champ littéraire autonome, pour l’un, et d’un régime de singularité, pour l’autre. Mais n’ont-ils pas accrédité, ce faisant, une représentation de la Bohème qui prévalait déjà dans les histoires littéraires les plus traditionnelles ? Sous la plume des frères Goncourt, en 1857, on découvre une Bohème à la fonction et à l’aspect tout différents : la

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43

Gleyze, Emmanuel. "Nathalie Heinich, Le Pont-Neuf de Christo. Ouvrage d’art, œuvre d’art ou comment se faire une opinion." Questions de communication, no. 37 (November 15, 2020): 398–401. http://dx.doi.org/10.4000/questionsdecommunication.22652.

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44

Couture, Francine. "Nathalie Heinich, Ce que l’art fait à la sociologie. Paris, Les Éditions de Minuit, 1998, 90 pp." RACAR : Revue d'art canadienne 26, no. 1-2 (1999): 98. http://dx.doi.org/10.7202/1071554ar.

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45

Maté, Diego. "Juego, arte: tensiones en los pasajes del videojuego al museo." La Trama de la Comunicación 23, no. 1 (2019): 107–21. http://dx.doi.org/10.35305/lt.v23i1.686.

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Son cada vez más comunes las relaciones y los cruces entre el videojuego y el campo de las artes, ya sea en muestras dedicadas a la historia del medio, en obras que despliegan propuestas lúdicas, o en los art game, clasificación difusa pero eficaz que engloba una franja de la producción independiente.Todo empezó a finales de los 80 con una muestra, Hot Circuits: A Video Arcade, realizada en el Museum of the Moving Image. De allí en más, se inicia un desplazamiento de gran escala: la producción del videojuego, acotada desde siempre al campo del entretenimiento, se vincula con el campo de las ar

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46

Rodríguez Caldas, María del Mar. "El arte sí tiene sexo." AusArt 7, no. 2 (2019): 63–78. http://dx.doi.org/10.1387/ausart.21145.

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Partiendo de teorizaciones de Bourdieu y Heinich y empleando estudios de casos, ponemos el acento en la importancia de los reconocimientos simbólicos para el desempeño del trabajo artístico. Exponemos porqué siendo de gran trascendencia los actos de crédito intercambiados entre artistas, pueden presentar un marcado sesgo androcéntrico sin que por ello reciban una sanción negativa o, incluso, sean percibidos como tales. Con las recientes figuras del comisarix-autor y del artista-comisarix, junto con una creciente reflexividad hacia las convenciones expositivas, se ha abierto espacio para la par

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47

Guilhaumou, Jacques. "Nathalie Heinich Sortir des camps, sortir du silence. De l’indicible à l’imprescriptible Paris, Les Impressions Nouvelles, 2011, 221 p." Annales. Histoire, Sciences Sociales 67, no. 3 (2012): 867–69. http://dx.doi.org/10.1017/s039526490000768x.

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48

Kharisma, Giri Indra, and Faizal Arvianto. "Pengembangan aplikasi android berbentuk education games berbasis budaya lokal untuk keterampilan membaca permulaan bagi siswa kelas 1 SD/MI." Premiere Educandum : Jurnal Pendidikan Dasar dan Pembelajaran 9, no. 2 (2019): 203. http://dx.doi.org/10.25273/pe.v9i2.5234.

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Pembelajaran membaca permulaan pada siswa kelas 1 SD/MI harus sesuai dengan dunia anak yang lekat dengan kegiatan bermain. Education games menjadi solusi yang tepat dalam menggabungkan kegiatan belajar dan bermain sehingga dapat melatih kemampuan berfikir, berbahasa, serta melatih motorik halus dan motorik kasar anak. Pemilihan jenis permainan yang nantinya digunakan dalam pembelajaran harus disesuaikan dengan perkembangan ilmu pengetahuan dan teknologi tanpa melupakan kelestarian budaya lokal. Penelitian ini bertujuan untuk mengembangkan produk berupa aplikasi android berbentuk education game

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49

Fernández-Menéndez, Raquel. "Los retratos de la autora: el caso de Ángela Figuera Aymerich." Rilce: Revista de Filología Hispánica 37, no. 1 (2020): 247–65. http://dx.doi.org/10.15581/008.37.1.247-65.

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La proliferación en los últimos años de los estudios autoriales, de la mano de especialistas como Nathalie Heinich, Dominique Maingueueau, José-Luis Diaz o Jérôme Meizoz, ha posibilitado un nuevo análisis de la iconografía del escritor que permite comprenderla como uno de los elementos fundamentales que el régimen mediático pone a disposición del autor para garantizar su visibilidad. Sin embargo, a pesar del aumento de trabajos en torno a esta iconografía, aún no se ha avanzado en estudiar las tensiones entre género y autoría a través de los retratos de las escritoras. En este artículo se recu

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50

Glevarec, Hervé. "Nathalie HEINICH, 2014, Le Paradigme de l’art contemporain. Structures d’une révolution artistique, Paris, Gallimard, « Bibliothèque des Sciences sociales », 384 p." Revue européenne des sciences sociales, no. 52-2 (November 27, 2014): 284–88. http://dx.doi.org/10.4000/ress.2926.

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