Relevant bibliographies by topics / Jean Luc

Contents

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

Academic literature on the topic 'Jean Luc'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Jean Luc"

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Vasconcelos, Maurício Salles. "Câncer-Paisagem." Aletria: Revista de Estudos de Literatura 10 (December 31, 2003): 107–14. http://dx.doi.org/10.17851/2317-2096.10.0.107-114.

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Resumo: A imobilização do olhar panorâmico, em Week-End, de Jean-Luc Godard, é analisada neste artigo, sob o foco filosófico de Au fond des images, de Jean-Luc Nancy.Palavras-chave: Godard; Nancy; imagem.Abstract: The immobilization of the panoramical view, m Week-End, de Jean-Luc Godard, is analyzed in this article, under the philosophical approach of Jean­ Luc Nancy's Au fond des images.Keywords: Godard; Nancy; image.
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Vasconcelos, Maurício Salles. "Câncer-Paisagem." Aletria: Revista de Estudos de Literatura 11 (December 31, 2003): 107. http://dx.doi.org/10.17851/2317-2096.11.0.107-114.

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Resumo: A imobilização do olhar panorâmico, em Week-End, de Jean-Luc Godard, é analisada neste artigo, sob o foco filosófico de Au fond des images, de Jean-Luc Nancy.Palavras-chave: Godard; Nancy; imagem.Abstract: The immobilization of the panoramical view, m Week-End, de Jean-Luc Godard, is analyzed in this article, under the philosophical approach of Jean­ Luc Nancy's Au fond des images.Keywords: Godard; Nancy; image.
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Deguy, Michel. "Jean-Luc." Po&sie N° 181-182, no. 3 (October 14, 2022): 339. http://dx.doi.org/10.3917/poesi.181.0339.

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Delage, Christian. "Godard Jean-Luc, Histoires(s) du cinéma,; Jean-Luc Godard par Jean-Luc Godard." Vingtième Siècle. Revue d'histoire 64, no. 4 (October 1, 1999): 145–48. http://dx.doi.org/10.3917/ving.p1999.64n1.0145.

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Souchet, Jean-Luc. "Jean-Luc Souchet." Recherche en soins infirmiers N° 2-3, no. 2 (November 1, 1985): 17–26. http://dx.doi.org/10.3917/rsi.002.0017.

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Pouillot, Henri. "Jean-Luc Einaudi." Cahiers d’histoire. Revue d’histoire critique, no. 126 (January 1, 2015): 163–66. http://dx.doi.org/10.4000/chrhc.4200.

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Bernier, Gaston. "Jean-Luc Fortin." Documentation et bibliothèques 60, no. 4 (2014): 206. http://dx.doi.org/10.7202/1026490ar.

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Soares, Luiz Felipe. "Jean-Luc(s)." Revista Crítica Cultural 4, no. 1 (June 1, 2009): 127. http://dx.doi.org/10.19177/rcc.v4e12009127-150.

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Trata-se de uma aproximação entre os ensaios Être singulier pluriel, de Nancy, e Histoire(s) du cinéma, de Godard, no sentido de fazer ver a história, em Godard, não apenas, benjaminianamente, como imagem, ou tensão dinâmica entre tempos, mas também como algo necessariamente singular plural, tanto quanto o próprio ser, que é necessariamente ser-com. Com Nancy, Godard aparece contra um certo Godard (pelo menos aquele Godard debordiano), propondo uma história que desativa noções ontológicas tradicionais ao apresentar, não o suposto “Ser”, delirante, como centro da representação, que se torna impossível, mas a própria relação, o próprio ser-com, necessariamente con-fundido nas entre-imagens de seu ensaio.
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Martin, Serge, Jean-Luc Parant, and Kristell Loquet. "Jean-Luc Parant." Le français aujourd'hui 143, no. 4 (2003): 117. http://dx.doi.org/10.3917/lfa.143.0117.

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Le Guay, Damien, and Élie During. "Jean-Luc Marion." Critique 846, no. 11 (2017): 891. http://dx.doi.org/10.3917/criti.846.0891.

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Dissertations / Theses on the topic "Jean Luc"

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Vinolo, Stéphane. "Jean-Luc Marion : apologie de l'inexistence." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAK007.

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La phénoménologie de la donation se présente sous la forme d´un projet d´ouverture radicale du champ de la phénoménalité. Après avoir montré que la modernité a enfermé les phénomènes dans des conditions de possibilité dictées par un Sujet, et que la phénoménologie allemande a poursuivi ce geste en indexant les phénomènes sur l´horizon de l´objectité ou de l´étantité, Marion propose de reconduire le geste de la réduction phénoménologique à la seule donation. Ce faisant, il réintroduit en phénoménologie des phénomènes paradoxaux – phénomènes saturés – qui font violence, par excès, aux capacités réceptrices du Sujet. Marion introduit donc en phénoménologie une nouvelle modalité de l´invisibilité (et donc de la visibilité) que nous appelons « inexistence » (en opposition tout autant avec le non-être qu’avec la non-existence), dont la structure est paradoxalement fondée sur celle de l´écrit, puisqu´il s´agit ni plus ni moins, pour elle, que de présenter de façon positive une absence selon la logique de la signification. Ce faisant, et de par cette structure discursive de la visibilité, toute la phénoménologie de Marion peut être lue comme une véritable apologie de l´inexistence
The phenomenology of givenness is presented in the form of a project of radical opening of the field of phenomenality. After having shown that modernity has enclosed phenomena under conditions of possibility dictated by a Subject, and that German phenomenology has pursued this gesture by indexing phenomena in the horizon of objectivity or of beingness, Marion proposes to reestablish the gesture of phenomenological reduction to single donation. In so doing, he reintroduces into phenomenology some paradoxical phenomena —saturated phenomena— which violate, by excess, the receptive capacities of the Subject. Marion thus introduces into phenomenology a new modality of invisibility (and thus of visibility) which we call "inexistance" (equally opposed to non-being as to non-existence), whose structure is paradoxically founded on that of writting, since it is neither more nor less, for inexistence, than to present in a positive way an absence according to the logic of meaning. In so doing, and through this discursive structure of visibility, all Marion's phenomenology can be read as a true apology for existence
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RICUPITO, Concetta. "Jean-Luc Nancy. Rappresentazione, esposizione, nudità." Doctoral thesis, Università degli Studi di Palermo, 2014. http://hdl.handle.net/10447/91248.

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Francisco, Maria Patrícia. "Um outro cinema - cinema documentário e memória." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-29052009-152808/.

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A dissertação tem como proposta uma reflexão sobre o processo de realização de um documentário, a partir de minhas reflexões como realizadora. O trabalho tem como marco teórico e prático a memória na proposição de uma forma documental. Parto de conceitos literários sobre a memória subsidiada com referências fotográficas na invenção do conteúdo do documentário. Assim, entre filme e texto, tenho como propósito a apresentação de um pequeno panorama da história do cinema, focando alguns pontos referenciais que resultaram em mudanças para a linguagem do documentário contemporâneo. Na finalização do processo de um filme, estabeleço relações entre o ato de montar e uma possibilidade de montagem apontada por Jean-Luc Godard.
The dissertation has as proposal a reflection on the process of to do a film documentary, starting from my reflections as director. The text has as theoretical and practical mark the memory in the proposition in a form documental. I leave of literary concepts about the memory subsidized with photographic references in the creation of the content of the documentary. Like this, between film and text, I have as purpose the presentation of a small panorama of the history of the movies, showing some primordial points that resulted in changes for the language of the contemporary documentary. In the finalization of the process of a film, I establish relationships among the action of editing and an edition possibility seen by Jean-Luc Godard.
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Anderson, Matthew. "Martin Heidegger and Jean-Luc Nancy on Community." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28642.

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This project will be an examination of the concept of community as it relates to ethics in the works of Martin Heidegger and Jean-Luc Nancy. I will examine Heidegger's thought concerning community and ethics, then the reception of that thought in the secondary literature. I will then examine Nancy's thought concerning community and ethics and his thought's reception in the secondary literature. The critical portion of this project will be an evaluation of Nancy's critical relationship with Heidegger's thought. I will clarify and defend Nancy's arguments against Heidegger's thought. I will also support solution that Nancy proposes. Finally, I will attempt to resolve a criticism commonly launched against Nancy: that his thought fails to engage concrete politics precisely where is must. I will argue that Nancy's thought does indeed engage the concrete by encouraging the development of a praxis, comportment or lifestyle amongst its recipients. Nancy's thought engages us in a dialogue. This dialogue is something which can, and does, continue outside of our relationship with the texts we read, potentially affecting the way we relate to others in our everyday lives.
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Zobenbuller, A. "Le motif du palimpseste chez Jean-Luc Lagarce." Thesis, Nottingham Trent University, 2016. http://irep.ntu.ac.uk/id/eprint/29033/.

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Résumé français: Cette thèse de doctorat explore le motif du palimpseste dans l’oeuvre de Jean-Luc Lagarce. Notre premier chapitre s’intéresse au palimpseste pris au sens de réécriture, afin non seulement de signaler cette pratique chez Lagarce, qui adapte de nombreux textes pour la scène de façon officielle ou plus libre, mais aussi pour analyser une pratique particulière de réécriture, l’auto-hypertextualité. À travers celle-ci, qui se concentre notamment autour du journal intime, nous montrons comment Lagarce exerce une « pratique de soi » au sens foucaldien vers la fin des années 1980, avec la découverte de sa séropositivité. Dans notre deuxième chapitre, nous nous intéressons à l’écriture elle-même afin de démontrer en quoi elle aussi relève du palimpseste. Héritier du Nouveau Roman et de ses émules, Lagarce propose une écriture où la temporalité est ambigüe, et où le présent est toujours problématique, voire impossible – comme nous le montrons en prenant l’exemple du film Journal 1. Ce sont ainsi trois caractéristiques de l’écriture du palimpseste qui apparaissent : le temps, le fragment et l’absence. Cette écriture se traduit sur scène par l’éclatement du texte en plusieurs voix et celui de la voix ellemême, notamment à travers l’épanorthose. Le résultat est une écriture verticale qui résiste au figement et appelle le lecteur à participer à la construction du sens. Le dernier chapitre est consacré aux rapports entre palimpseste et identité(s). Nous démontrons tout d’abord l’existence dans les textes lagarciens d’une identitépalimpseste de l’auteur, construite de façon indirecte : pris dans un élan plus autonarratif qu’autobiographique, Lagarce joue avec les traces et le brouillage. Nous étudions alors ce brouillage en nous penchant sur le spectre du sida, qui pose les bases d’un mythe personnel construit dans l’ironie et la combattivité face à la maladie. L’auteur se fait lazaréen, tout comme certains de ses personnages. Mort parmi les vivants, vivant parmi les morts, la figure de l’auteur reste encore aujourd’hui indissociable de son oeuvre. English Abstract: This thesis aims to explore the motif of the palimpsest in the work of Jean-Luc Lagarce. The first chapter focuses on the palimpsest as rewriting (in the sense developed by Genette). After showing how Lagarce rewrites the texts of other authors, in official or looser adaptations, the study analyses the specific cases where he rewrites his own texts. Revolving around the diary, these auto-hypertextual practices appear at the end of the 1980s after he discovered his HIV-positive status and can be considered as "practices of the self" as defined by Foucault. The second chapter focuses on the writing itself in order to highlight how it is also representative of the palimpsest. In the wake of the New Novel and its related movements, Lagarce offers a writing in which temporality is ambiguous and the present tense is problematic or even impossible – as will be shown through the example of the film Journal 1. Through the analysis of this example, three essential characteristics of the "writing of the palimpsest" will emerge: time, fragment and absence. On stage, this writing translates in the breaking up of the text between different voices and of the voice itself, notably though the use of epanorthosis. The result is a vertical writing that resists any static meaning and encourages the reader to participate in its construction. The last chapter is dedicated to the links between palimpsest and the selves. The first part seeks to unravel how a "palimpsestic identity" of the author is created in the lagarcian texts in an indirect way. Working more through "autonarration" than autobiography, Lagarce disseminates traces of his selves but only through a certain blurring. It is on this blurring that the second part focuses, and more specifically on what we call the « spectre of AIDS ». The disease, while never really mentioned, plays a very important part in the work of Lagarce and especially in the creation of a personal myth. The author, like some of his characters, becomes Lazarean, haunting his works before his death. Dead among the living and living among the dead, the figure of the author and his work still remain inseparable today.
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Thorn, Kathryn-Joyce. "Love in the philosophical theology of Jean-Luc Marion." Tallahassee, Fla. : Florida State University, 2010. http://purl.fcla.edu/fsu/lib/digcoll/undergraduate/honors-theses/2181915.

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Morrey, Douglas. "Jean-Luc Godard and the other history of cinema." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/1303/.

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Jean-Luc Godard's Histoire(s) du cinema (1988-1998) is a video work made up of visual and verbal quotations of hundreds of images and sounds from film history. But rather than simply telling (hi)stories of cinema, Godard makes a case for cinema as a tool for performing the work of history. This is partly because the film image, by virtue of always recording more of the real than was anticipated or intended, necessarily has history itself inscribed within its very fabric. It is also because montage, as the art of combining discrete elements in new ways in order to produce original forms, can be seen as a machine for realising historical thought. This thesis examines these ideas by discussing Godard's account of the role of cinema in the Second World War, and by analysing some of his recent work as examples of historical montage which attempt to criticise our current political climate through comparison with earlier eras. After a first chapter which sets out Godard's argument through an extensive commentary of Histoire(s) 1A and B, a second chapter discusses Godard's depiction of the invention of cinema and traces a complex argument about technology and historical responsibility around the key metaphorical figure of the train. Chapter 3 explores the ways in which Godard's historical approach to cinema allows him to maintain a critical discourse with regard to the geopolitical realities of late twentieth-century Europe (Germany, the Balkans), but also to the communications and business empires that have developed over the past few decades. A final chapter offers a detailed consideration of the nature of Godard's cinematic quotation and seeks to explicate the apocalyptic rhetoric of his late work. Aside from Histoire(s) du cinema, films discussed include Nouvelle Vague (1990), Allemagne neuf zero (1991), For Ever Mozart (1996) and Eloge de l'amour (2001).
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Coutinho, Carolina Detoni Marques Vieira. "Amor e dom na fenomenologia de Jean-Luc Marion." Universidade Federal de Juiz de Fora, 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/496.

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Este trabalho tem por objetivo abordar o pensamento do filósofo francês Jean-Luc Marion acerca do amor. A busca pela univocidade do conceito filosófico de amor e a relação do mesmo com o tema do dom articulam-se em sua fenomenologia bastante particular. O amor, não mais dividido entre, por exemplo, eros e ágape, é tema da redução erótica de Marion, desenvolvida, principalmente, em sua obra Le phénomène érotique. A pretendida univocidade radical do amor, nos interpostos limites da fenomenologia e da teologia, em Marion, relaciona-se diretamente com a ipseidade, a alteridade e o conhecimento que, de Platão a Santo Agostinho, inserem-se na lógica própria do amor.
La proposition de ce travail c’est approcher la pensée du philosophe français Jean-Luc Marion par rapport à l’amour. La quête vers l’univocité du concept philosophique de l’amour et la relation de celui-ci avec le sujet du don s’articulent dans sa phénoménologie très particulière. L’amour, non plus divisé entre, par example, eros et agapè, c’est le sujet de la reduction érotique chez Marion, developpée surtout dans son oeuvre Le phénomène érotique. L’intentionée univocité radicale de l’amour, dans les limites interposées de la phénoménologie et la théologie, chez Marion, s’articulent directement avec l’ipseité, l’alterité e la connaissance qui, de Platon à Saint Augustin, s’intègrent à la logique même de l’amour.
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Vinuesa, Muñoz Cristina. "Manifestations circulaires dans l'oeuvre théâtrale de Jean-Luc LAGARCE." Paris 7, 2010. http://www.theses.fr/2010PA070038.

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II a souvent été dit de l'œuvre de Jean-Luc Lagarce qu'il s'agissait d'un théâtre du ressassement, qui exprimait un mal à dire, avec une thématique récurrente autour du retour, de la famille et de la mort, articulés par une philosophie de l'arrangement. Il est vrai qu'il y a dans la ligne dramatique de son théâtre et dans ses figures, des échos, inter et intratextuels liés à ces thématiques. S'il y a, certes, une tentative d'arrangement c'est-à-dire de besoin de réconciliation, ce ne sera pas pour revenir en arrière mais pour ajuster un présent dans le présent adoptant pour ce faire, une réflexion circulaire. Ainsi, nous analyserons l'espace et le temps, la fable et les figures selon trois manifestations circulaires : la roue, l'onde sphérique divergente et le cylindre. Celles-ci montreront une œuvre lagarcienne qui ne progresse ni linéairement ni chronologiquement mais circulairement
It has often been said that Jean-Luc Lagarce's plays were based on brooding over, expressing an « ill at speech », with recurring themes around homecoming, family and death, and a philosophy of conciliation. Echoes of such themes can actually be found in his drama and its characters, within or between the Unes. But if attempts to appease express a need to reconcile, they are not connected to the past but to an adjusted present with circular reflection. We will thus analyse space and time, fable and characters according to three circular expressions: the wheel, diverging spherical wave and the cylinder, showing that Largace's works progress in circles, as opposed to linear or chronological movements
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Abbott, Díaz Fernando. "An-arché: la ciudad en la nervadura de la autodeconstrucción del cristianismo: sobre el concepto de ciudad en la obra de Jean-Luc Nancy." Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/150843.

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Informe de Seminario para optar al grado de Licenciado en Filosofía
El siguiente trabajo tiene como objetivo profundizar en el concepto de ciudad dentro de la obra de Jean-Luc Nancy bajo la hipótesis de que este concepto —que en sí abarca el problema de la comunidad, el nihilismo, el cuerpo o la política— debe articularse con en el proyecto nancyano de lo que el autor mismo ha denominado la autodeconstrucción del cristianismo, inscribiendo de este modo la teoría de la ciudad en el corpus (del desvanecimiento) de la teología. En vistas de esto, la metodología de trabajo se remitirá a un análisis de tipo monográfico, que enlazará conceptos y sus desarrollos correspondientes dentro de la obra de Nancy, manteniéndose únicamente dentro del plano de discusión filosófico —y no sociológico, arquitectónico o literario. El resultado esto arrojará que no tan sólo que existe una solidaridad y una complementariedad entre el concepto de ciudad y otros como el de sujeto, técnica o creación, sino que la ciudad —considerada como objeto de la política, las artes y distintos tipos de praxis— adquiere un espesor ontológico (y anárquico) que no sólo dibuja una nueva relación con ella, sino que, de modo inverso, el arte y la política son confrontados por la ciudad a partir de la retirada de lo divino, y de todo arché, que caracterizaría a la autodeconstrucción del cristianismo y a la ciudad como tal.
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Books on the topic "Jean Luc"

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Alain, Bergala, ed. Jean-Luc Godard par Jean-Luc Godard. Paris: Editions de l'Etoile, 1985.

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Jehan, Jean-Luc. Montable-démontable: Jean-Luc Jehan, Jean-Claude Loubières. Yvetot: Galerie Duchamp, 2000.

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editor, Gonzalez-Foerster Dominique 1965, and Leccia Ange 1952 editor, eds. Jean-Luc Vilmouth. Paris: Flammarion, 2017.

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editor, Rouart Julie, Moisdon Stéphanie author, Tatot Claude-Hubert author, and Centre national des arts plastiques (France), eds. Jean-Luc Verna. Paris: Flammarion, 2014.

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Delbard, Nathalie. Jean-Luc Moulène. Paris: Petra, 2009.

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Savignac, Pierre H. Jean-Luc Grondin. La Prairie [Québec]: Éditions Broquet, 1992.

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Farassino, Alberto. Jean-Luc Godard. Milano: Il castoro, 1996.

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Manz, Jean-Luc. Jean-Luc Manz. Lausanne, Suisse: J.L. Manz, 1988.

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British Film Institute. Education Department. and Channel Four Television Company, eds. Jean-Luc Godard. London: British Film Institute Education Department, 1985.

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Ramuz, Charles Ferdinand. Jean-Luc persécuté. [Lausanne]: Editions L'Age d'homme, 1988.

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Book chapters on the topic "Jean Luc"

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Emmelhainz, Irmgard. "Jean-Luc Godard." In A Companion to Jean-Luc Godard, 527–45. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118586815.ch33.

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Richter, Steffen. "Jean-Luc Benoziglio." In Trauerarbeit der Moderne, 25–98. Wiesbaden: Deutscher Universitätsverlag, 2003. http://dx.doi.org/10.1007/978-3-322-81290-2_2.

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DeLay, Steven. "Jean-Luc Marion." In Phenomenology in France, 73–98. 1 [edition]. | New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315272115-5.

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Kostopoulou, Loukia. "Jean-Luc Godard." In Intermediality in European Avant-garde Cinema, 47–67. New York: Routledge, 2023. http://dx.doi.org/10.4324/b23340-3.

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"Jean-Luc Vallade." In Building Professionals Facing the Energy Efficiency Challenge, 267–75. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119476627.app13.

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Levinas, Derrida. "Jean-Luc Nancy." In Ethics and Politics after Poststructuralism, 99–124. Edinburgh University Press, 2013. http://dx.doi.org/10.3366/edinburgh/9780748685134.003.0005.

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"Jean-Luc Marion." In Bildtheorien aus Frankreich, 289–96. Wilhelm Fink Verlag, 2011. http://dx.doi.org/10.30965/9783846750131_026.

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"Jean-Luc Nancy." In Bildtheorien aus Frankreich, 323–34. Wilhelm Fink Verlag, 2011. http://dx.doi.org/10.30965/9783846750131_029.

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"Jean-Luc Nancy." In Das Politische der Dekonstruktion, 127–66. transcript Verlag, 2020. http://dx.doi.org/10.1515/9783839447901-005.

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"Jean-Luc Nancy." In Das Politische der Dekonstruktion, 127–66. transcript-Verlag, 2020. http://dx.doi.org/10.14361/9783839447901-005.

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Conference papers on the topic "Jean Luc"

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Bacharach, Jeanne. "Entretien avec Jean-Luc Parant (7 octobre 2016)." In Le livre en mouvement : poésie et arts visuels aux XXème et XXIème siècles. Fabula, 2018. http://dx.doi.org/10.58282/colloques.5179.

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Moinereau, Laurence. "L’alpha et l’oméga : Pierrot le fou de Jean-Luc Godard." In Le début et la fin. Roman, théâtre, B.D., cinéma. Fabula, 2008. http://dx.doi.org/10.58282/colloques.971.

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Sánchez Mayor, Paula. "El sentido de la democracia en la filosofía estética de Jean-Luc Nancy." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10536.

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Atendiendo a las premisas del IV Congreso Estética y Política se propone una comunicación en torno a los trabajos que el filósofo francés Jean-Luc Nancy ha dedicado a la noción de democracia desde una perspectiva estética propia de la filosofía de este autor. Tomando como principal referencia la obra traducida al castellano La verdad de la democracia, la propuesta se centrará en la presencia de la noción heideggeriana ser-con (mit sein) en la elaboración del pensamiento de Nancy. Desde una comprensión del sentido atravesada por el estar juntos Nancy propone una vuelta de tuerca a la noción de democracia, instalándola en un régimen de inmanencia de sentido, más allá de ser entendida como un hecho histórico y administrativo. En este contexto el con que se articula en un régimen democrático adquiere unas características particulares que atañen directamente al ser de los entes. Ya en este nivel ontológico el filósofo pone el acento en la idea originaria de relación, superando la comprensión tradicional que consistiría en partir de los elementos para, después, apreciarlos en aquello que los pone en contacto. Así pues, el contacto deviene en creación de sentido previa a los mismos elementos relacionados. He aquí donde se puede encontrar la particular perspectiva estética de Nancy, que aparece en el corazón mismo de la ontología de este filósofo. A este respecto es fundamental señalar la relevancia de los textos que tienen como tema principal el sentido del cuerpo, ya que es ahí donde se puede indagar sobre esa particular relación que es el contacto y que crea sentido. Alguno de estos textos son Corpus, Archivida, Nuus sommes y La pensé dérobée. Por último, aunque atravesando en todo momento la comunicación, se encuentran los trabajos que el filósofo francés dedica al problema de la comunidad y la globalización. Estos trabajos ofrecen una profunda reflexión sobre la situación actual de la política y la sociedad. Dada la presencia que tiene el cuerpo en el pensamiento de Nancy será interesante mostrar su relación con la cuestión del mundo, la mundialización y la globalización. Lo que dará como resultado un replanteamiento de la noción de sentido en un mundo globalizado y capitalista. Para terminar, atender a la advertencia que impone Nancy al señalar que “no significa que cualquiera pueda hace sentido sin importar cómo. Ésta es, precisamente la versión capitalista de lo sin razón, que establece la equivalencia general de todas las formas de sentido en una informidad infinita” (La creación del mundo o la mundialización, 50).
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Dearden, Andy, Angela Lauener, Frances Slack, Chris Roast, and Steve Cassidy. "Make it so! Jean-Luc Picard, Bart Simpson and the design of e-public services." In the ninth conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1147261.1147272.

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Bobrowska, Ewa. "THE COMPLEXITIES OF SENSE AND SPIRIT IN THE CONTEMPORARY PHILOSOPHY OF JEAN-FRANCOIS LYOTARD, JEAN-LUC NANCY AND THE 17-TH CENTURY METAPHYSICAL POETRY." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/21/s06.044.

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Terzis, Nikos P. "INNOVATION IN DEFIANCE OF HOLLYWOOD’S “INVISIBLE STYLE”: JEAN-LUC GODARD’S À BOUT DE SOUFLE (BREATHLESS, 1960)." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-105.

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Gaudiot, Jean-Luc. "Keynote talk by Dr. Jean-Luc Gaudiot: Fighting Amdahl's law in many-core and GPU parallel architectures with value prediction." In 2011 9th IEEE/ACS International Conference on Computer Systems and Applications (AICCSA). IEEE, 2011. http://dx.doi.org/10.1109/aiccsa.2011.6126642.

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González Fonseca, Diana Mitzi. "Las voces del espacio público, una cuestión acerca de la democracia." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10537.

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En la emergencia de pensar el espacio público y su relación con respecto a la democracia, surgen las siguientes cuestiones: ¿cómo superar las limitaciones de la identidad y hablar de un “nosotros”?, ¿es necesario invocar a la unidad para resolver el ideal de igualdad? Estas son dificultades inherentes a la fundamentación de la democracia y, por consiguiente, a las posibilidades que habilita. Las consecuencias de uno u otro modo de fundamentar la democracia afecta eso a lo que Fred Evans llama el cuerpo de multiples voces. Esta expresión sirve para aludir a lo público desde la heterogeneidad, además de introducir una dimensión estética a su fórmula política. Ahora, con el propósito de exponer el juego de las voces en el espacio público, propongo apelar a la democracia por venir y la absoluta hospitalidad de Jacques Derrida, por un lado, y el ser singular plural de Jean-Luc Nancy, por el otro. La democracia por venir muestra una tensión perpetua entre lo semejante y lo otro, en ella se celebra un ideal de democracia en persecución perpetua. En cambio, el ser singular plural indica la necesidad de la relación con el otro, de estar-con, que guardando las distancias, recuerda al Mitsein heideggeriano. Estas nociones sugieren una apertura necesaria del espacio público y, en último término, asignan un valor simultáneo a todas las voces.
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Legaz, Alfonso. "Wunderblock. De la representación sin poder: una cinematografía del documento dislocado." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10489.

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Wunderblock es una cinematografía videográfica documental creada por Alfonso Legaz, memoria y parte del trabajo en-común que realizan los artistas Andrea Garay y Alfonso Legaz desde 2015 en 20 espejos suceden, proyecto de arte de mecánica procesual-multidisciplinar instalado en el campo de la desocultación, que investiga en torno al acto de comunicación, la experiencia de comunidad y la exposición del individuo ante los otros. Produce y desarrolla de manera performativa sus objetos e instancias a partir del concepto de “exposición” (del individuo ante los otros), desarrollado por Jean-Luc Nancy en La comunidad desobrada (1986), concepto imprescindible para vincular lo particular con la ontología del ser-con, modo propio de ser de la existencia en la estética de Nancy. La actividad multidisciplinar que opera con fotografía, pintura, videografía no-ficción o testimonio oral, adopta esta “exposición” (de representación imposible) como sentido de la fuerza motriz y no como matriz de trabajo; implementa elementos tradicionales del pensamiento occidental —cuerpo, representación o mímesis— que, deconstruidos por Nancy en sus “figuras de lo común”, sirven a la hipótesis central del proyecto: el poder sancionador de técnicas documentales hoy —visuales, orales y escriturales— pretende aportar la “exposición” como documentación de una singularidad corporal “expuesta”, ocultando el ser y la verdad (Aletheia) e inhibiendo la experiencia de comunidad. Este texto colocará el foco en una forma representacional de la tradición cinematográfica documental, singularizada y problematizada en Wunderblock desde la “exposición”: la presentación documental del artista trabajando su obra en su espacio de trabajo. El caso real, una artista, una mujer que realiza un largo proceso pictórico. El objeto de crítica —fraude documental en la presentación visual del artista produciendo la obra— es consumido socialmente sin oposición. Explotada industrial e institucionalmente esta técnica de vaciado, naturalezas fílmica o digital y régimen escópico son afectados por un “régimen de creencia”, “una fe inexplicada”, señala Derrida, que co-participa de la ocultación del ser, omitiendo vida psíquica, silenciando la profunda oscuridad que acompaña nuestro cuerpo y existencia en forma de reducción behaviorista, afectando todos los campos de conocimiento y la posición política. Wunderblock construye dislocando (Rancière) la construcción del poder; piensa la necesidad de transformación del sentido político del cuerpo y del en-común hacia nuevas posiciones que posibiliten pensamiento crítico y acción social. Se describirá el dispositivo cinematográfico, contexto político-conceptual, tradición cinematográfica y el pensamiento puesto en valor.
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Trebežnik, Luka. "Christianity as a constant process of atheization." In International conference Religious Conversions and Atheization in 20th Century Central and Eastern Europe. Znanstveno-raziskovalno središče Koper, Annales ZRS, 2024. http://dx.doi.org/10.35469/978-961-7195-39-2_07.

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In his Deconstruction of Christianity, the contemporary French philosopher Jean-Luc Nancy described Christianity as “the exit from religion and the expansion of the atheist world”. Inspired by this assertion, we will reassess the traces of atheism in Christianity and its secular supplements. We will examine the broad context of Christianity and some seemingly external factors such as the Enlightenment and the development of science. Several features of Christianity, such as the emphasis on spirituality, individual faith, and the deinstitutionalization of religious experience, have prepared the ground for the rise of atheism. First, Christianity, most clearly in the Protestant denominations, places great emphasis on the inner spiritual experience of the believer, the conscience as the inner presence of God. The subjective personal relationship with God and the indwelling of the Holy Spirit are central tenets of Christian theology. However, this emphasis on individual, private spirituality can inadvertently lead to a devaluation of external religious structures and communal rituals and even pave the way for atheistic isolation. Moreover, throughout its history, Christianity has repeatedly produced its own critics, movements that have challenged institutional authority and hierarchical structures within the church. From the Hussites to the Protestant Reformation to today's movements advocating spiritual autonomy, the goal has always been to decentralize religious authority, separate it from worldly powers (secularization) and empower individual believers. While this deinstitutionalization is certainly meant to promote a more authentic and personal faith that is closer to God's will, it can also create room for doubt and scepticism, which in turn can lead to atheism. Furthermore, Christianity has grappled more than other religions with the tension between faith and reason, two completely different areas of our relationship with reality and the world. This relationship has completely changed with advances in science and philosophy, as traditional religious doctrines and supernatural explanations are increasingly challenged and even rendered obsolete. The struggle to reconcile faith and reason has led some people to the practical solution of rejecting religious faith altogether in favour of a purely secular worldview. We should also mention that even the pervasive influence of Christianity on Western culture may have inadvertently facilitated its own decline. Because Christianity is deeply embedded in societal norms, people who have grown up in Christian cultures may take their faith for granted, not as something out of the ordinary, but as something normal, leading to complacency or indifference toward religious beliefs. Over time, this cultural familiarity with Christianity can erode the foundations of religious belief and eventually contribute to the rise of atheism. Given this internal dynamic, it is clear that Christianity itself has played a crucial role in its own atheization. This paper will highlight some of the key features of Christian atheism and one of its most notorious examples, socialist atheization.
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Reports on the topic "Jean Luc"

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Ivaldi, Gilles. The impact of the Russia-Ukraine War on radical right-wing populism in France. European Center for Populism Studies (ECPS), March 2023. http://dx.doi.org/10.55271/rp0019.

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This article examines the impact of the Russian invasion of Ukraine on the main actors of the populist radical right in France (i.e., Marine Le Pen’s Rassemblement National and Éric Zemmour’s Reconquête) as well as Jean-Luc Mélenchon’s La France insoumise on the populist radical left. It looks, in particular, at the effects of the Ukraine crisis on the French presidential election in April 2022. After the outbreak of the war, French populists (of the left and the right) came under fire for their pro-Russia positions and previous sympathy for Vladimir Putin. However, these parties revealed quite different responses in interpreting the Ukraine crisis. The analysis suggests that Marine Le Pen successfully evaded accusations of sympathy for Putin by toning down her nativism and emphasizing instead her social-populist agenda, which foregrounds egalitarian social protection and economic nationalism. This move allowed her to exploit war-related issues of energy and rising prices. Public opinion data suggest that such issues were paramount to voters in the 2022 election. Zemmour, on the other hand, largely ignored growing socioeconomic concerns while perpetuating a more ambiguous stance vis-à-vis Putin, which may have contributed to his failure to challenge Le Pen on the radical right. Overall, the article concludes that the impact of the Ukraine war in France has been heavily mediated by socioeconomic anxieties, fuelling support for populism at both ends of the political spectrum.
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Hébert, C., O. van Breemen, and P. Lacoste. Tectonic setting and U-Pb zircon age of the Poulin-de-Courval Mangerite, Saguenay-Lac Saint-Jean area, Grenville Province, Quebec. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1998. http://dx.doi.org/10.4095/210057.

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Hervet, M., O. van Breemen, and M. D. Higgins. U-Pb igneous crystallization ages of intrusive rocks near the southeastern margin of the Lac-St-Jean Anorthosite Complex, Grenville Province, Quebec. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1994. http://dx.doi.org/10.4095/195177.

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