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Journal articles on the topic 'Jean-Luc (1940-....)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Lorcin, Jean. "Jean-Luc de Ochandiano, Lyon, un chantier limousin. Les maçons migrants (1848- 1940, Lyon, Éditions Lieux Dits, 2008, 261 p." Histoire urbaine 33, no. 1 (2012): 162. http://dx.doi.org/10.3917/rhu.033.0162.

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2

Carmo, Leonardo. "O cinema do feitiço contra o feiticeiro." Revista Iberoamericana de Educación 32 (May 1, 2003): 71–94. http://dx.doi.org/10.35362/rie320925.

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Este artigo investiga as possibilidades da inserção do cinema na sala de aula sob dois enfoques: um filosófico, discutindo o cinema na educação, e outro pragmático, teorizando a prática educativa do cinema em sala de aula. Propõe construir um modelo de análise do filme a partir de conceitos elaborados pelo pensador alemão Walter Benjamin (1892-1940), como espaço imagético e como técnica interna da obra de arte. Dialoga com os teóricos Marc Ferro e Fredric Jameson e os diretores Glauber Rocha (1939-1981) e Jean-Luc Godard, para construir uma inteligibilidade do cinema aplicado à educação. Procu

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3

Boutin, Jean A., Jean-Michel Henlin, Solo Goldstein, Nathalie Kucharczyk, and Jean-Claude Ortuno. "Jean - Luc Fauchere (1941-2003)." Journal of Peptide Research 62, no. 4 (2003): 185. http://dx.doi.org/10.1034/j.1399-3011.2003.00083.x.

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4

Odin, Roger. "Jean Luc Lioult, À l’enseigne du réel. Penser le documentaire, Aix-en-Provence, Presses de l’Université de Provence, 2004, 175 p. Jean-Pierre Bertin-Maghit, Les documenteurs des années noires. Les documentaires de propagande, France 1940-1944, Paris, Nouveau Monde, 2004, 286 p. Accompagné d’un DVD." Cinémas: Revue d'études cinématographiques 15, no. 2-3 (2005): 199. http://dx.doi.org/10.7202/012327ar.

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5

Pliska, Vladimir. "In memoriam Jean-Luc Fauchère (1941–2003)." CHIMIA International Journal for Chemistry 57, no. 9 (2003): 573. http://dx.doi.org/10.2533/000942903777678911.

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6

Mathieu, Véronique. "Hommage à Jean-Luc Fiches (1947-2012)." Gallia 73, no. 1 (2016): 1. http://dx.doi.org/10.4000/gallia.418.

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7

Bridet, Guillaume. "1947 : Jean-Luc Raharimanana et Thierry Bedard contre l’oubli." Itinéraires, no. 2009-2 (July 1, 2009): 147–65. http://dx.doi.org/10.4000/itineraires.313.

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8

Dall'Asta, Monica. "Looking for Myriam." Feminist Media Histories 2, no. 3 (2016): 29–53. http://dx.doi.org/10.1525/fmh.2016.2.3.29.

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Despite the recent multiplication of studies in found footage cinema, the fog surrounding the figure of Myriam Borsoutsky remains thick. This article elaborates the rare extant information about her work to retrace an important chapter in the history of found footage cinema in France, in which women have played a major role. In an attempt to delineate a specifically female genealogy in the history of French compilation film, Myriam's work is studied alongside that of Nicole Vedrès, and situated in the cultural context of a net of relationships that includes other women, for instance Denise Tua

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9

Michel, Jean-Paul. "Le 'là' de l'être-là et la 'présence-à-soi' du poème-comme-poème." Irish Journal of French Studies 18, no. 1 (2018): 51–62. http://dx.doi.org/10.7173/164913318825258356.

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Jean-Paul Michel est né en 1948, en Corrèze. Après le reflux de la vague de Mai 68, il revient à la poésie, après une diète de huit années. Ses premiers poèmes publiés sont salués par Roland Barthes, Michel Foucault, Jude Stéfan, Jacques Réda, Louis-René des Forêts, Philippe Lacoue-Labarthe, Jean-Luc Nancy. Ses poèmes ont été rassemblés aux éditions Flammarion: Le plus réel est ce hasard, et ce feu (1997); 'Défends-toi, Beauté violente!' (2007); Je ne voudrais rien qui mente, dans un livre (2010). Un volume d'Écrits sur la poésie a paru aux mêmes éditions en 2016. Un colloque a été consacré à

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10

Pimentel, Davi Andrade. "Maurice Blanchot: política e escrita." Aletria: Revista de Estudos de Literatura 24, no. 3 (2014): 25–37. http://dx.doi.org/10.17851/2317-2096.24.3.25-37.

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Este artigo analisa o aprimoramento da escrita crítica de Maurice Blanchot a partir de seus textos políticos da década de 1930, textos que muitos pesquisadores avaliam como fascistas ou antissemitas. Ao longo de meu estudo, apresento certas contradições que impossibilitam classificar os escritos blanchotianos de 1930 sob a égide de qualquer doutrina. No processo crescente da escrita de Blanchot, o político, ou a política, nunca deixou de estar presente, seja para defender uma ideia de França utópica, seja para defender uma ideia de literatura, lembrando que no decorrer dos anos as posições pol

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11

Wirrmann, Benoît. "EICHENLAUB (Jean-Luc) et KEMPF (Christian), Vues d’Alsace, fonds photographique Braun 1880-1930." Revue d’Alsace, no. 139 (October 1, 2013): 502–3. http://dx.doi.org/10.4000/alsace.1862.

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12

Almeida, Gabriela Machado Ramos. "Por uma arqueologia crítica das imagens em Aby Warburg, André Malraux e Jean-Luc Godard." Significação: Revista de Cultura Audiovisual 44, no. 46 (2016): 29. http://dx.doi.org/10.11606/issn.2316-7114.sig.2016.115616.

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Este trabalho apresenta uma releitura da proposta de arqueologia crítica da história da arte formulada por Georges Didi-Huberman, para refletir sobre três distintas experiências de investigação de imagens conduzidas ao longo do século XX: o Atlas de Imagens Mnenosyne de Aby Warburg (1924-1929); o Museu Imaginário de André Malraux (1947-1953) e a série História(s) do Cinema de Jean-Luc Godard (1988-1998). O objetivo é compreender de que modo os procedimentos desenvolvidos por cada um deles, a partir de um certo entendimento das noções de tempo e montagem nas imagens, dialogam com a proposição d

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13

Lefebvre, Marie-Thérèse. "Marius Barbeau." Les Cahiers des dix, no. 59 (March 7, 2011): 89–125. http://dx.doi.org/10.7202/045755ar.

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Durant sa carrière au Musée national (1911-1942), Marius Barbeau joua un rôle de mentor auprès des compositeurs et interprètes classiques aﬁn de diffuser dans le milieu savant le répertoire folklorique qu’il avait enregistré et transcrit. S’inspirant des modèles proposés par le médiéviste Jean Beck et les interprétations d’Yvette Guilbert, il proposa des formules de concert visant à rejoindre l’élite intellectuelle et s’inséra dans le milieu des compositeurs classiques de son époque. À partir de 1939, l’engouement créé par le phénomène de La Bonne Chanson de l’abbé Charles-Émile Gadbois modiﬁe

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14

Matheron, Aurélie. "“Sainte! Libre! Souveraine!:” Jean-Luc Raharimanana’s Ecocidal Writing of the Land in Nour, 1947." Contemporary French and Francophone Studies 25, no. 3 (2021): 370–78. http://dx.doi.org/10.1080/17409292.2021.1928913.

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15

Compan, Magali. "Poétique de la souffrance dans Rêves sous le linceul et Nour, 1947 de Jean-Luc Raharimanana." Nouvelles Études Francophones 29, no. 1 (2014): 57–69. http://dx.doi.org/10.1353/nef.2014.0056.

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16

Pichette, Jean-Pierre. "La Mise en scène littéraire du conte populaire en Ontario français. Le cas de Marie-Rose Turcot." Cahiers Charlevoix 3 (April 12, 2017): 11–86. http://dx.doi.org/10.7202/1039393ar.

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Jean-Pierre Pichette s’attache à la transposition du conte populaire en littérature, qui a été pratiquée en Ontario, comme ailleurs en Amérique française, depuis la fin du xixe siècle. Il ouvre le dossier de l’écrivain d’Ottawa, Marie-Rose Turcot (1887-1977), la première femme à y avoir consacré tout un livre, Au pays des géants et des fées, recueil formé des sept contes oraux qu’elle avait recueillis en 1930 et 1931. Les relations d’amitié qu’elle cultiva avec les pionniers de l’ethnologie franco-canadienne – le folkloriste Luc Lacourcière et l’anthropologue Marius Barbeau – l’ont amenée à un

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17

Rabinowitz, Paula. "It’s Still There." boundary 2 47, no. 1 (2020): 115–43. http://dx.doi.org/10.1215/01903659-7999532.

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Daniel Blaufuks’s video Als Ob/As If formally interrogates the history of Holocaust imagery using a close visual examination of the 1944 “Staged Nazi Film” shot in Thereseinstadt. Layering his footage from present-day Terezín with a number of earlier films and television shows shot at or about the Nazi concentration camp, he contemplates the role of the image, both still and moving, in the creation of memory and history of the Holocaust. His video and phototextual book connect to literary explorations of the Czech concentration camp—by Georges Perec, W. G. Sebald, and Jiří Weil—as well as cine

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18

Botz-Bornstein, Thorsten. "Philosophical Conceptions of Cultural Space in Russia and Japan: Comparing Nishida Kitarō and Semën Frank." Environment and Planning D: Society and Space 26, no. 5 (2008): 842–59. http://dx.doi.org/10.1068/d6407.

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Jean-Luc Nancy notes that the community, since it is no absolute subject (self, will, spirit), is by its nature not inscribed in any logic metaphysics. In spite of this, or indeed because of this, Western philosophy has persistently tried to interpret the community through precisely these metaphysical terms (Nancy, 1986, page 18, La Commonauté désoevrée, Christian Bourgeois, Paris). Some thoughts about Russian and Japanese notions of community and space will show that characteristics pointed out by Nancy and Kant are binding only for societies that function within a Western intellectual framew

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19

Foreman, Iain. "Uncanny Soundscapes: Towards an inoperative acoustic community." Organised Sound 16, no. 3 (2011): 264–71. http://dx.doi.org/10.1017/s1355771811000276.

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Drawing on field research carried out in the abandoned villages of the Ara Valley, this article seeks to readdress notions of acoustic community and communication in terms of a ‘haptic aurality’ in which listening, as a mode of touch, approximates a figure of spacing, fragmentation and withdrawal in contrast to more conventional communicational models of intimacy, presence and exchange. Arguing that soundscape compositions present an ‘acoustic ontology’, the article explores a form of belonging and being that is, following Jean-Luc Nancy, singular plural in which sound signals ‘unwork’ collect

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20

KITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 163, no. 4 (2008): 559–621. http://dx.doi.org/10.1163/22134379-90003696.

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Benedict Anderson; Under three flags; Anarchism and the anticolonial imagination (Greg Bankoff) Leakthina Chau-Pech Ollier, Tim Winter (eds); Expressions of Cambodia; The politics of tradition, identity and change (David Chandler) Ying Shing Anthony Chung; A descriptive grammar of Merei (Vanuatu) (Alexandre François) Yasuyuki Matsumoto; Financial fragility and instability in Indonesia (David C. Cole) Mason C. Hoadley; Public administration; Indonesian norms versus Western forms (Jan Kees van Donge) Samuel S. Dhoraisingam; Peranakan Indians of Singapore and Melaka (Joseph M. Fernando) Vatthana

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21

Brac, John. "Côté, Luc et Jean-Guy Daigle, Publicité de masse et masse publicitaire : le marché québécois des années 1920 aux années 1960 (Ottawa, Presses de l’Université d’Ottawa, 1999), xxii-361 p." Revue d'histoire de l'Amérique française 54, no. 4 (2001): 573. http://dx.doi.org/10.7202/005340ar.

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22

Marchesini, Manuela. "‘In Italy the dead rule’: Marco Bellocchio’s ‘Italian difference’ between Manzoni–Camerini and Bene–Godard." Forum Italicum: A Journal of Italian Studies 48, no. 3 (2014): 363–97. http://dx.doi.org/10.1177/0014585814540422.

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In his film The Wedding Director (2006), Marco Bellocchio expresses his view of the ‘Italian difference’ that demarcates this national tradition from others with the refrain ‘In Italy the dead rule.’ This adage is repeated throughout his film and provides the motivation behind it. For Bellocchio, the dead in question belong primarily, though not solely, to the Italian parochial heritage exemplified by Alessandro Manzoni’s The Betrothed (1840), and in particular by Mario Camerini’s film adaptation of the same novel (1941). In The Wedding Director, Bellocchio enacts yet another, albeit eclectic,

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23

Bakel, M. A., R. Borofsky, Andrew Beatty, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 146, no. 4 (1990): 476–529. http://dx.doi.org/10.1163/22134379-90003215.

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- M.A. van Bakel, R. Borofsky, Making history; Pukapukan and anthropological constructions of knowledge. Cambridge: Cambridge University Press, 1987. 201 pp.; ill. - Andrew Beatty, J.A. Feldman et al., Nias, tribal treasures: Cosmic reflections in stone, wood and gold, Delft: Volkenkundig Museum Nusantara, 1990. - A.G. van Beek, Christian F. Feest, Technologie und ergologie in der Völkerkunde, Band 2, Berlin: Dietrich Reimer Verlag, Ethnologische Paperbacks, 1989. xiv, 290 pp., Alfred Janata (eds.) - N. Bootsma, Bernhard Dahm, José Rizal, Der nationalheld der Filipinos, Zürich: Munster-Schmidt

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24

Hanagan, Michael. "Book ReviewsThe Artisan and the European Town, 1500‐1900. Edited byGeoffrey Crossick.Historical Urban Studies. Edited by Richard Rodger and Jean‐Luc Pinol. Hants, England: Scolar Press, 1997. Pp. xiii+263. $76.95.Radical Artisans in England and France, 1830–1870. By Iorwerth Prothero. Cambridge: Cambridge University Press, 1997. Pp. xvi1424. $74.95." Journal of Modern History 71, no. 3 (1999): 661–64. http://dx.doi.org/10.1086/235293.

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25

Dreyfus, Michel. "L’histoire de la mutualité en cinq ouvrages. La Mutualité en Loire-Atlantique, dix générations de traditions et d’innovations solidaires, sous la direction de Jean-Luc Souchet et Denis Roux, Nantes, Mutuelles de Loire-Atlantique, 1996, 320 p. La Mutualité tourangelle, creuset de solidarité, Jean-Luc Souchet, Tours, Mutualité de l’Indre-et-Loire, 2000, 288 p. La Mutualité au sein des populations littorales en Charente-Inférieure (1850-1945), Patricia Toucas, Paris, Librairie de l’Inde, 1998, 408 p. Les sociétés de secours mutuels et leur union dans les Pyrénées-Orientales (XIX-XX siècle), Edwige Praca, Mutualité Pyrénées-Orientales, Trabucaire, 2000, 350 p. Histoire de la Mutualité dans l’Hérault, Edwige Praca, Toulouse, Privat, 2003, 128 p." Revue internationale de l'économie sociale: Recma, no. 291 (2004): 90. http://dx.doi.org/10.7202/1022125ar.

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26

Farina, Diego Lock. "Demanda: Literatura e Filosofia, de Jean-Luc Nancy." Revista Conexão Letras 13, no. 20 (2018). http://dx.doi.org/10.22456/2594-8962.89155.

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Publicada originalmente na coleção “La philosophie en effet”, da prestigiada editora Galilée, na França em 2015, com o título Demande. Philosophie, littérature, a coletânea de textos de Jean-Luc Nancy, inédita enquanto tal e organizada por Ginette Michaud, professora da Universidade de Montreal, chega ao Brasil devido à iniciativa em parceria entre a editora da UFSC e a editora Argos, da Unochapecó. Nancy (1940-), professor emérito da Universidade de Estrasburgo, é certamente um dos filósofos mais conceituados no universo acadêmico atual, ao lado de Alain Badiou, Hélène Cixous, Judith Butler,

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27

Quan, Nguyen Van. "Contribution to a New Approach of Legal Liability under the Aspect of the General Theory of Law." VNU Journal of Science: Legal Studies 34, no. 1 (2018). http://dx.doi.org/10.25073/2588-1167/vnuls.4138.

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Abstract: In Vietnamese legal science today, legal liability is approached in a negative way that is linked to the violation of law. This approach causes difficulties in acquiring specialized legal knowledge. This paper analyzes the limitations of the traditional approach and proposes a new approach to legal liability. Keywords: Legal responsibility; violation of law; willingness; legal act; legal fact. References 1. Hoàng Thị Kim Quế, Giáo trình lý luận nhà nước và pháp luật, Nxb. Đại học Quốc gia Hà Nội, 2015, tr.397.2. Nguyễn Văn Động, Giáo trình lý luận chung về nhà nước

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28

Dewsbury, John-David. "Still: 'No Man's Land' or Never Suspend the Question." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.134.

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“Say a body. Where none. No mind. Where none. That at least. A place. Where none. For the body. To be in. Move in. Out of. Back into. No out. No back. Only in. Stay in. On in. Still” (Beckett, Short Fiction 471). 1. Introduction – Wherefore to ‘still’?HIRST: As it is?SPOONER: As it is, yes please, absolutely as it is (Pinter, 1971-1981 77). These first lines of Harold Pinter’s play No Man’s Land are indeed the first lines: they were the first lines that came to Pinter, existing as the spark that drove the play into being. Pinter overhead the words ‘As it is’ whilst in a taxi cab and was struck

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