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Published: 25 May 2022

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1

Glicenstein, Jérôme. L'art contemporain entre les lignes: Textes et sous-textes de médiation. Paris: Presses universitaires de France, 2013.

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2

Boucher, Hélène. Entre les lignes: Textes et activités pour développer des compétences en français au secondaire. Montréal: Chenelière-éducation, 2007.

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3

Mohr, Joseph. Silent night: A Christmas book with lights and music. New York, NY: Aladdin Books, 1989.

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4

Bridget. The revelations of Saint Birgitta. Millwood, N.Y: Kraus Reprint, 1987.

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5

Bridget. Sunte Birgitten openbaringe. Salzburg, Austria: Institut für Anglistik und Amerikanistik, Universität Salzburg, 1989.

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6

Bridget. Quattuor oraciones. Stockholm: Almqvist & Wiksell, 1991.

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7

Bridget. Saint Bride and her book: Birgitta of Sweden's Revelations. Woodbridge, Suffolk: D.S. Brewer, 2000.

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8

Bridget. Saint Bride and her book: Birgitta of Sweden's Revelations. Newburyport, Mass: Focus Texts, 1992.

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9

Bridget. Revelaciones.: Liber celestis imperatoris ad reges. Stockholm: Almquist & Wiksell International, 2002.

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10

Baron, Naomi S. Always On: Language in an Online and Mobile World. Oxford: Oxford University Press, USA, 2008.

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11

Germain, Bertrand, ed. Lignes directes: Premier dossier. Ottawa, Ont: Centre franco-ontarien de ressources pédagogiques, 1992.

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12

Capponi, Matteo. Parole et geste dans la tragédie grecque. À la lumière des trois « Électre ». Éditions Alphil-Presses universitaires suisses, 2020. http://dx.doi.org/10.33055/alphil.03145.

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Imaginez-vous à Athènes, vers 414 avant J.-C. Dans le théâtre de Dionysos sous l’Acropole. Gradins en bois, sol de terre battue, et pour seul décor un bâtiment rudimentaire, doté d’une grande porte. Au programme, Électre de Sophocle. La porte s’ouvre, Électre apparaît. C’est la fille de Clytemnestre et d’Agamemnon. Clytemnestre a assassiné Agamemnon à son retour de Troie, après dix ans de guerre. Elle règne aux côtés de son amant, Égisthe. Électre vient hurler sa peine devant le palais de Mycènes, face aux 12 000 spectateurs athéniens. Elle prend à témoin le jour qui se lève, rappelle le meurtre affreux de son père, invoque les déesses de la vengeance. Sophocle la représente ainsi, accablée par le deuil. Grâce à une tradition longue de 2 400 ans, nous connaissons les mots d’Électre prononcés ce jour-là : ceux de l’héroïne, ceux du poète, ceux de l’acteur derrière le masque. Nous avons le texte qui nous permet d’imaginer les gestes. Et de là les effets de scène, l’émotion des spectateurs, le spectacle vivant. Le présent ouvrage part à la recherche de ces gestes perdus. Entre les lignes des trois « Électre » d’Eschyle, de Sophocle et d’Euripide, il décèle des gestes de différentes natures : jeu et danse du comédien ; actes de parole d’Électre qui prie, se lamente, jure, maudit ; figures stylistiques par lesquelles le poète donne corps au texte… C’est une lecture qui mobilise aussi bien l’oreille que le regard. Qui montre comment la parole, selon les Anciens, acquiert son efficacité sur scène. En d’autres termes : comment elle devient geste.
13

Young, Douglas, and Leslie Wheeler. Northern Lights. HarperCollins Publishers, 1989.

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14

Ewing, Carolyn. Jingle bells: A holiday book with lights and music. Collins, 1990.

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15

Ligier Richier, L'Artiste Et Son Uvre; Avec 51 Planches Hors Texte Et 44 Illustrations Dans Le Texte (French Edition). HardPress Publishing, 2013.

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16

Fournier Kiss, Corinne, and Patrick Suter, eds. Poétique des frontières. MetisPresses, 2021. http://dx.doi.org/10.37866/0563-94-4.

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Participant à l’organisation et à la mise en forme du monde, les frontières apparaissent également comme des lignes de forces dans de nombreuses œuvres littéraires. Périphériques ou centrales, statiques ou dynamiques, explicites ou implicites, pleines ou creuses, précaires ou tenaces, elles signalent des points de rupture ou des zones d’attraction dans les textes. Donnant lieu aux expériences les plus variées, elles engagent des formes et des esthétiques très différenciées. À partir de cet objet commun, et en convoquant les débats récents sur la littérature mondiale, cet ouvrage invite à un voyage à travers les littératures de langue française. Il rejoint ainsi les préoccupations de la recherche contemporaine visant à décloisonner les différentes histoires littéraires nationales
17

O'Malley, Kathleen. Deck the Halls (Lights and Music of Christmas). Publications International, 1993.

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18

1939-, Wheeler Leslie, and Young Douglas 1913-, eds. Northern lights: Including follow on activities. London: Unwin Hyman, 1989.

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19

(Editor), Elyse D. Frishman, and Leonard Baskin (Illustrator), eds. Haneirot Halalu: These Lights Are Holy : A Home Celebration of Chanukah. Central Conference of American Rabbis, 1989.

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20

Story, Joanna. Lands and Lights in Early Medieval Rome. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198777601.003.0025.

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This chapter analyses the text and epigraphy of two monumental inscriptions in Rome; both are important sources of information on landholding in early medieval Italy, and both shed light on the development of the Patrimony of St Peter and the evolving power of the popes as de facto rulers of Rome and its environs in the seventh and eighth centuries. Pope Gregory the Great (d. 604) commissioned the earlier of the two inscriptions for the basilica of St Paul, where it still survives (MEC I, XII.1). The inscription preserves the full text of a letter from Gregory to Felix, rector of the Appian patrimony (Ep. XIV.14). It ordered Felix to transfer the large estate (massa) of Aquae Salviae, with all its farms (fundi) as well as other nearby properties, from the patrimony into the direct control of the basilica of St Paul in order to fund the provision of its lighting; it was one of the last letters that Gregory wrote. The patron of the second inscription was Gregory’s eighth-century namesake and successor, Pope Gregory II (715–31), indignus servus (MEC I, XIV.1). This one is fixed in the portico of the basilica of St Peter, where it stands alongside another eighth-century inscription, namely, the epitaph of Pope Hadrian I that was commissioned by Charlemagne after Hadrian’s death in 795. Gregory II’s inscription also records a donation in Patrimonio Appiae, this time to provide oil for the lights of St Peter’s. This chapter investigates the form, content, and historical context of the production and display of these two inscriptions, analysing parallels and differences between them. It considers what they reveal about estate organization and the development of the territorial power of the papacy in this formative period, as well as the role of Gregory the Great as an exemplar for the early eighth-century popes.
21

Bose, Mandakranta. Śrī/Lakṣmī. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198767022.003.0005.

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Goddess Lakṣmī, also called Śrī in early texts, is a goddess not only worshiped by Hindus as the source of wealth, domestic stability, and Viṣṇu’s beloved consort, but also venerated as an exemplar of virtuous womanhood, especially within the domestic sphere. Known in the earliest Hindu sacred texts as a provider deity and upholder of royal authority, Śrī/Lakṣmī is understood in Hindu theology as a manifestation of the primordial energy called śakti and thus a form of Devī, the Great Goddess. Her public worship rites are performed in autumn, most colorfully at Dīpāvalī (Diwali) or the festival of lights in many parts of India. She is worshiped more regularly on a weekly or even daily basis in many Hindu homes mainly by women.
22

[ha -Nerot halalu] =: Haneirot halalu = These lights are holy : a home celebration of Chanuka. New York, NY: CCAR Press, 1989.

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23

Francais 3: Recueil de textes - 1re partie. Montréal, Qué: Lidec, 1988.

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24

Georges, Pelletier, ed. Francais 3: Recueil de textes - 2e partie. Montréal, Qué: Lidec, 1988.

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25

ill, Race Donna, and Seminario Jose R. ill, eds. Jolly old St. Nicholas: A holiday book with lights and music. New York: Macmillan Pub. Co., 1992.

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26

Hoffman, John, and Philip Lamantia. Tau & Journey to the End (City Lights Pocket Poets Series). City Lights Books, 2008.

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27

Goldberg, David. Procedures in Cosmetic Dermatology Series: Lasers and Lights: Volume 2: Text with DVD (Procedures in Cosmetic Dermatology). Saunders, 2005.

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28

Hinds, Hilary. Sarah Jones and the Appearance of the Quaker Light. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198814221.003.0002.

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This chapter focuses on a three-page pamphlet by Sarah Jones, This is Lights Appearance in the Truth (1650), often discussed as a proto-Quaker statement written before the movement cohered and achieved critical mass in 1652–3. It reviews the available evidence regarding the pamphlet’s date of publication and the identity of its author, to conclude that these are almost entirely undecidable. In the absence of such authorizing details, the chapter proposes an alternative method of discussing the importance of this pamphlet to early Quaker history and theology, rooted in an attentive textual and contextual close reading of the pamphlet. It argues that this history is as discernible in the structure and idiom of the text itself without need for recourse to the author-figure or publication history.
29

Hanaway-Oakley, Cleo. Fin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0006.

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This concluding chapter briefly turns to Joyce’s final work, Finnegans Wake (1939). Joyce’s cacophonous ‘book of the dark’, with its many references to cinema, forms the centre of a discussion of the emergence of sound film. The importance of touch in both silent and sound film is restated through reference to the film criticism of Bryher, Dorothy Richardson, and Gertrude Stein, and Chaplin’s City Lights (1931), a late silent film focusing on Chaplin’s relationship with a blind flower-seller. The complex interrelationship between sound and image in both film and Finnegans Wake is contemplated through gestalt theory and multi-perspectival ‘figure–ground images’. The chapter concludes by returning to Ulysses, to consider the never-produced Reisman–Zukofsky screenplay and the ways in which the film would, and would not, have affirmed a phenomenological reading of Joyce’s text.
30

Lewis, Marilyn A., Davide A. Secci, Christian Hengstermann, John H. Lewis, and Benjamin Williams. The Messiah Promised in the Holy Scripture Came a Long Time Ago. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198807025.003.0003.

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This chapter presents an English translation of George Rust’s two poems, contained in his Latin academic text entitled Act Verses: Scripture teaches the resurrection from the dead, and reason does not contradict this and The soul, separated from the body, does not sleep. In the first poem, Rust says ‘Whoever is guided by God and reason, the mind’s two eyes, sails safely like the one whose course follows the light of the twin stars, Castor and Pollux. We call upon these two lights as our two sacred witnesses that human souls, separated from their earthly burden, will not therefore be perpetually cast about naked once they have put off their body and material covering’. In the second poem, Rust claims that ‘The pure mind will exult on the summit of Olympus, free from sleep and joining the angelic choirs. The impure and guilty soul is tormented by its own Erinys, wide awake, being relentlessly beset by its own Furies’.
31

Goldberg, David. Procedures in Cosmetic Dermatology Series: Lasers and Lights: Volume 1: Text with DVD: Vascular, Pigmentation, Scars, Medical Applications (Procedures in Cosmetic Dermatology). Saunders, 2005.

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32

Patin, Stéphane, ed. Les enjeux du numérique en sciences sociales et humaines. Editions des archives contemporaines, 2020. http://dx.doi.org/10.17184/eac.9782813003867.

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Devenu « univers », « ère », « révolution » ou même « culture », le numérique est un phénomène technologique, social et culturel qui affecte les activités les plus ordinaires de notre vie quotidienne. Il modifie notre rapport à la temporalité −immédiateté, simultanéité, accélération− et à l’espace où nous sommes passés successivement d’une culture sédentaire, celle de la chaise et d’ un ordinateur du web 1.0 ; à une culture nomade, celle des dispositifs mobiles du web 2.0. Il change sinon bouleverse nos relations interpersonnelles, nos modes de penser, d’imaginer et de créer, de travailler, d’accéder au savoir ainsi que nos façons de produire et de diffuser les connaissances et les expériences du monde. En français et en espagnol, les onze contributions d’enseignants-chercheurs et de professionnels réunies dans cet ouvrage mettent en lumière comment, au XXIe siècle, le numérique touche aussi bien la _praxis_ que _l’épistémè_ des sciences humaines. Analyse discursive de SMS, de messages sur_ WhatsApp_, de _Tweets_, de commentaires en ligne, de textes juridiques et statutaires, didactisation des outils numériques en langues maternelles, traduction et adaptation de spots publicitaires, pratique numérique dans le tourisme culturel, numérisation de collections à la Bibliothèque nationale de France ou au Château de Versailles, diffusion de séries sur des plateformes numériques sont autant d’exemples qui témoignent d’ une humanité technologique façonnée par le numérique… Un numérique ouvrant la voie à un éventuel _homo numericus_ doté d’une multitude d’écrans et de claviers lui obéissant au doigt et à l’œil.
33

Bridget. Heliga Birgittas uppenbarelser bok 7 efter Cod. Ups. C61: Diplomatarisk utgåva med kommenterande inledning. 2000.

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34

(Editor), Carl-Gustaf Undhagen, and Birger Bergh (Editor), eds. Sancta Birgitta: Revelaciones (Kungl. Vitterhets Historie Och Antikvitets Akademien). Almquiest & Wiksell Intl, 2001.

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