Books: 'Modèle de garde'

1

Nones, Raymond. Modular vegetable gardening: The three module home vegetable garden. Floral Park, N.Y: R. Nones, 2002.

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2

Funktionen des Betrachters: Modelle der Partizipation bei Joseph Beuys und Antoni Tàpies. München: Verlag Silke Schreiber, 1999.

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3

Raised-bed vegetable gardening made simple: The three-module home vegetable garden. Woodstock, Vt: Countryman Press, 2010.

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4

La femme futuriste: Mythes, modèles et représentations de la femme dans la théor. Nanterre: Université Paris X-Nanterre, 2006.

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5

Dartsch, Michael. Neues hören und sehen ... und vermitteln: Pädagogische Modelle und Reflexionen zur Neuen Musik. Regensburg: ConBrio, 2012.

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6

Contarini, Silvia. La femme futuriste: Mythes, modèles, et représentations de la femme dans la théorie et la litt́rature futuristes (1909-1919). Paris: Presses universitaires de Paris 10, 2006.

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7

Verducci, Jack. Building structures for your garden railway. Waukesha, WI: Kalmbach Books, 2010.

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8

Labrecque, Louise. Avec style: Secrets d'une garde-robe bien pensée. Montréal: Éditions La Presse, 2009.

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9

Verducci, Jack. How to design and build your garden railroad. Waukesha, WI: Kalmbach Books, 2006.

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10

Bachtin und der Prager Strukturalismus: Modelle poetischer Offenheit am Beispiel der tschechischen Avantgarde. Paderborn: Fink, 2006.

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11

Ein Labyr ist kein Labyr: Carlheinz Casparis Modell ästhetisch-ethischer Selbstbildung zwischen Cage, Constant und den Situationisten. Köln: König, 2009.

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12

Catanese, Rossella, ed. Futurist Cinema. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789089647528.

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Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria. And the Futurists quickly latched on to cinema as a device with great potential to manipulate our perceptions in order to create a new world. In the edited collection Futurist Cinema, Rossella Catanese explores that conjunction, bringing in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting in order to rethink it for a new era.

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13

Kane, Gordon. The particle garden: Our universe as understood by particle physicists. Reading, Mass: Addison-Wesley, 1995.

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14

Kane, G. L. The particle garden: Our universe as understood by particle physicists. [New York]: Basic Books, 1996.

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15

Kane, G. L. The particle garden: Our universe as understood by particle physicists. Reading, Mass: Addison-Wesley, 1995.

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16

Algozzini, Joe. Authoritative guide to Lionel's postwar operating cars. Winfield, IL: Project Roar Pub., 2005.

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17

All aboard!: A tour of the Holiday Train Show at The New York Botanical Garden. Bronx, N.Y: New York Botanical Garden, 2010.

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18

Picasso, Pablo. Picasso: Der Maler und seine Modelle : Galerie Beyeler. Basel: Galerie Beyeler, 1986.

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19

Colloque des "Cent gardes". (1st 1986 Marnes-la-Coquette, France). Retroviruses of human A.I.D.S. and related animal diseases: Collogue des "cent gardes", 29-30 octobre 1986, Marnes-la-Coquette/Paris, France. Marnes-la-Coquette: Pasteur vaccins, 1987.

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20

Picasso, Pablo. Picasso: Der Maler und seine Modelle = le peintre et ses modèles. Basel: Galerie Beyeler, 1986.

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21

1936-, Girard Marc, and Valette Louis, eds. Retroviruses of human A.I.D.S. and related animal diseases: 3e collogue des "cent gardes", 27-28-29 octobre 1988, Marnes-la-Coquette/Paris, France. Marnes-la-Coquette: Pasteur vaccins, 1989.

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22

Colloque des "Cent gardes" (5th 1990 Marne-la-Coquette, France). Retroviruses of human A.I.D.S. and related animal diseases: 5e Colloque des "Cent gardes", 29-30-31 octobre 1990, Marnes-la-Coquette/Paris, France. Lyon: Fondation Marcel Me rieux, 1991.

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23

Colloque des "Cent gardes" (7th 1992 Marnes-la-Coquette, France). Retroviruses of human A.I.D.S. and related animal diseases: 7e Colloque des "Cent Gardes," 26-27-28 octobre 1992, Marnes-la-Coquette/Paris, France. Lyon: Fondation Marcel Meŕieux, 1993.

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24

Colloque des "Cent gardes" (8th 1993 Marnes-la-Coquette, France). Retroviruses of human A.I.D.S. and related animal diseases: 8e Colloque des "Cent Gardes," 25-26-27 octobre 1993, Marnes-la-Coquette/Paris, France. Lyon: Fondation Marcel Meŕieux, 1994.

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25

Canada Mortgage and Housing Corporation. A flexible regulatory tool : model garden suite bylaw : Building and Planning Department, Cowansville, Quebec : case study =: Un outil de réglementation flexible : modèle de règlement sur les pavillons-jardins : Service de construction et d'urbanisme, ville de Cowansville, Cowansville (Québec) : [étude de cas]. Ottawa, Ont: Canada Mortgage and Housing Corporation = Société canadienne d'hypothèques et de logement, 1997.

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26

Colloque, des "Cent gardes" (2nd 1987 Marnes-la-Coquette France). Retroviruses of human A.I.D.S. and related animal diseases: 2e collogue des "cent gardes", 28-30 octobre 1987, Marnes-la-Coquette/Paris, France. Marnes-la-Coquette: Pasteur vaccins, 1988.

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27

Against fashion: Clothing as art, 1850-1930. Cambridge, Mass: MIT Press, 2004.

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28

1974-, Gontier Laure, ed. Ma to-do list dressing. Paris: Marabout, 2012.

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29

Hayward, Pat, and Marc Horovitz. Gorgeous Garden Railways. Kalmbach, 2006.

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30

Jones, Peter. Practical Garden Railways. Crowood, 2006.

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31

Criss, Amy H., and Marc W. Howard. Models of Episodic Memory. Edited by Jerome R. Busemeyer, Zheng Wang, James T. Townsend, and Ami Eidels. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199957996.013.8.

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Episodic memory refers to memory for specific episodes from one’s life, such as working in the garden yesterday afternoon while enjoying the warm sun and chirping birds. In the laboratory, the study of episodic memory has been dominated by two tasks: single item recognition and recall. In single item recognition, participants are simply presented a cue and asked if they remember it appearing during the event in question (e.g., a specific flower from the garden) and in free recall they are asked to generate all aspects of the event. Models of episodic memory have focused on describing detailed patterns of performance in these and other laboratory tasks believed to be sensitive to episodic memory. This chapter reviews models with a focus on models of recognition with a specific emphasis on REM (Shiffrin & Steyvers, 1997) and models of recall with a focus on TCM (Howard & Kahana, 2002). We conclude that the current state of affairs, with no unified model of multiple memory tasks, is unsatisfactory and offer suggestions for addressing this gap.

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32

Garden Railway Manual A Stepbystep Guide To Narrowgauge Garden Railway Projects. Haynes Publishing, 2011.

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33

Get started in garden railroading. Waukesha, WI: Kalmbach Pub., 2006.

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34

Vernallis, Carol. Avant-Gardists and the Lure of Pop Music. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0014.

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This chapter provides methods and models for thinking about avant-garde and experimental films and videos that incorporate popular music. It sketches the history of intersections between avant-gardists and popular music. It also provides close readings of works by Kenneth Anger, Bruce Connor, Joseph Cornell, Derek Jarman, Tony Oursler, Pipilotti Rist, Andy Warhol and others. It claims that institutional, formal and cultural constraints not only limit the frequency with which avant-gardists participate with pop musicians and pop music, they also colour the audiovisual relations within the works themselves. Avant-garde films and videos with pop soundtracks emphasise particular kinds of audiovisual relation—relations that differ from sound-image connections in narrative films, YouTube clips, commercials and music videos. It is demonstrated that this experimental subgenre embodies a unique sort of sound-image relation and suggests, finally, that these videos can expand our knowledge of audiovisual relations more broadly.

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35

1968-, Johnson Kent J., ed. Garden railroading: Getting started in the hobby. Waukesha, WI: Kalmbach Books, 2002.

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36

Petersen, Christina. “The Most Assassinated Woman in the World”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037689.003.0005.

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This chapter examines the evocation of Pearl White's star persona by avant-garde theorists and filmmakers ranging from Sergei Eisenstein to surrealist Robert Desnos. The avant-garde's reactions to White fall largely along movement lines. At once the embodiment of a low-culture narrative mode and a spectacular star object who transcended any particular plot line, White's pejorative status as “the most assassinated woman in the world” may have been more revealing than Jean Epstein originally intended. Whereas Epstein decried White's constant near-death experiences and numerous last-minute escapes as unrealistic pulp fiction, surrealists celebrated her as a “marvelous” apparition. This chapter compares the reactions of adherents of surrealism and impressionism to White and considers how Desnos and the surrealists attempted to transpose the “love and poetry” of her films into their own filmmaking practice. It suggests that White's legacy aside from international stardom exerted an influence upon the avant-garde movement, and that her influence had revolutionary potential for challenging the status quo.

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37

Norris, Nancy. Miniature Garden Guidebook: For Beautiful Rock Gardens, Container Plantings, Bonsai, Garden Railways. Kalmbach Publishing Company, 2011.

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38

Baker, Tabitha. Julie’s Garden and the Impartial Spectator: An Examination of Smithian Themes in Rousseau’s La Nouvelle Héloïse. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422857.003.0008.

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This chapter explores the similarities between Smith and Rousseau’s moral philosophy through a discussion of the Smithean aspects of Rousseau’s 1761 novel La Nouvelle Héloïse. Focussing the analysis on the motif of the eighteenth-century English landscape garden, this chapter reveals the extent to which Rousseau’s novel reflects Smith’s principles of arriving at moral behaviour and true virtue. The author argues that it is within the space of Julie’s garden that Rousseau and Smith’s theories are reconciled in order to produce a blended social model in which Smith provides responses to Rousseau’s failed utopia. An examination of La Nouvelle Héloïse alongside Smith’s Theory of Moral Sentiments demonstrates that the symbol of the landscape garden in Rousseau’s novel is an experimental setting in which Rousseau and Smith’s theories are merged, and it is through Rousseau’s fiction that the complicated relationship between the two thinkers’ thought can be most evidently sourced.

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39

Thomas, Susan. Experimental Alternatives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0003.

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In 1969 the director of Cuba’s film institute, Alfredo Guevara, founded a musical collective whose official purpose was to provide film music for Cuba’s vibrant and experimental new socialist cinema. The resulting Grupo de Experimentación Sonora represented something of a “rescue mission” for artists who for reasons political, aesthetic, or of personality found themselves on the margins of increasingly conservative and restrictive state-run cultural institutions. Under the direction of composer Leo Brouwer, the Grupo incorporated musicians who became some of the Revolution’s most renowned artists. Brouwer declared that the primary mission of the Grupo was not to create film music but “to transform the repertoire of Cuban popular music to the best of our abilities.” The Grupo merged discourses of the artistic avant-garde with those of revolutionary praxis and in doing so, positioned their sonic experiments both aesthetically and politically. The Grupo has had a marked impact on later groups who also struggled on the margins of state institutions. Drawing overt references to the Grupo and appropriating similar avant-garde rhetoric, collectives such as Habana Abierta and Interactivo promoted a new musical and social “revolution from within,” one that advocated from the margins of official discourse for a radically new transnational model of Cuban citizenship and civic participation.

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40

Rasula, Jed. Acrobatic Modernism from the Avant-Garde to Prehistory. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198833949.001.0001.

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This is a book about artistic modernism contending with the historical transfigurations of modernity. As a conscientious engagement with modernity’s restructuring of the lifeworld, the modernist avant-garde raised the stakes of this engagement to programmatic explicitness. But even beyond the vanguard, the global phenomenon of jazz combined somatic assault with sensory tutelage. Jazz, like the new technologies of modernity, recalibrated sensory ratios. The criterion of the new as self-making also extended to names: pseudonyms and heteronyms. The protocols of modernism solicited a pragmatic arousal of bodily sensation as artistic resource, validating an acrobatic sensibility ranging from slapstick and laughter to the pathos of bereavement. Expressivity trumped representation. The artwork was a diagram of perception, not a mimetic rendering. For artists, the historical pressures of altered perception provoked new models, and Ezra Pound’s slogan “Make It New” became the generic rallying cry of renovation. The paradigmatic stance of the avant-garde was established by Futurism, but the discovery of prehistoric art added another provocation to artists. Paleolithic caves validated the spirit of all-over composition, unframed and dynamic. Geometric abstraction, Constructivism and Purism, and Surrealism were all in quest of a new mythology. “Making it new” yielded a new pathos in the sensation of radical discrepancy between futurist striving and remotest antiquity. The Paleolithic cave and the USSR emitted comparable siren calls on behalf of the remote past and the desired future. As such, the present was suffused with the pathos of being neither, but subject to both.

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41

Getting Started in Garden Railroading: Build the Railroad of Your Dreams... in Your Own Backyard. kp books, 2001.

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42

Building Small Steam Locomotives A Practical Guide To Making Engines For Garden Gauges. Crowood Press (UK), 2008.

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43

Algozzini, Joseph P., and Emanuel F. Piazza. Authoritative Guide to Lionel's Postwar Operating Cars (Lionel Postwar Encyclopedia Series) (The Lionel Postwar Encyclopedia). Project Roar Publishing, 2005.

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44

Brandstetter, Gabriele. Showing Dance. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.49.

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The lecture performance is a format in contemporary dance, established since the 1990s in various pieces by choreographers and performers from different fields. This chapter draws on the history, aesthetics, and theory of the lecture performance from modern dance and the avant-garde to postmodern dance, and discusses examples of contemporary lecture performance, including Xavier Le Roy, Jérôme Bel, Lindy Annis, Martin Nachbar, among others. Starting from current definitions of “performance,” the chapter focuses on questions of the “solo”—the model of showing/demonstrating that is part of the performative and epistemic presentation of the lecture performance—and questions of gesture and movement, and shows the different formats choreographers have developed for the lecture performance. It also traces the question of media and the intersection of art forms, and shows how audiovisual media are integrated in the process of lecturing/performing.

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45

Zilczer, Judith. American Rhapsody. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.5.

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The opening decades of the twentieth century saw painters renounce mimetic representation for the formal rigors and spiritual transcendence of visual art divorced from reproduction of the visible world. That they chose to do so in no small measure resulted from a profound shift in aesthetic values: music became the paradigm for visual art. While the concept of visual music gained international currency, this seductive aesthetic model had particular resonance in the United States. Between 1910 and 1930, leaders of the American avant-garde, such as Arthur Dove, Marsden Hartley, Georgia O’Keeffe, and Max Weber, experimented with musical ideas to forge a new abstract art. A comparative case study of the music pictures of these painters and the inter-media installations of contemporary artist Jennifer Steinkamp will illuminate the transformation of the modernist ideal of visual music in the postmodern era.

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46

McNaughton, James. “The same old mouldy words”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198822547.003.0002.

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Chapter 1 develops Beckett’s “Politics of Aftermath.” In letters, Beckett expresses mistrust of “the usual” political positions, a mistrust rooted less in disengagement than in how political language loses its capacity to properly evaluate. Beckett learned these lessons crisply in the Irish Free State, and he applies them to political claims made for modernism and the avant-garde. More, he brings his frustration with exhausted conceptual models into his fiction. With new readings of More Pricks than Kicks, this chapter shows how Beckett’s collection fictionalizes sensational aspects of Irish political history, in particular state executions and big-house fires, the better to critique the Free State’s inability to examine its foundational violence and to warn against fascism emerging across Europe. Beckett’s personal attention to slogan and cliché and, in his creative writing, to the erasure of historical reference and the evacuation of political meanings, are specific analytical responses to encrusted political interpretations.

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47

Smith, Angela. Colonial Modernists. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199609932.003.0016.

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This chapter looks at a range of colonial fiction up to 1950 by writers native to Australia, New Zealand, India, the Caribbean, and Canada, which in some way develops and inflects modernist aspiration and practice. The old paradigm, that European models of literary modernism were disseminated to outposts of the British Empire, possibly via such cultural missionaries as E. M. Forster or D. H. Lawrence, and then belatedly imitated, or that artists from the colonies travelled to the metropolitan centre to discover and be transformed by the avant-garde, is evidently undermined by a cursory glance at colonial writing at the end of the nineteenth century. The colonial modernist fiction to 1950 discussed in this chapter is inflected by intimate experience of imperial power, as in the case of Mulk Raj Anand and Claude McKay, and by awareness of an alternative aesthetic and morality in the work of Emily Carr and Katherine Susannah Prichard.

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48

Robertson, Lisa C. Home and Identity in Nineteenth-Century Literary London. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474457880.001.0001.

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This book uncovers a range of new models for modern living that emerged in response to social, economic and political changes in nineteenth-century London, and investigates the literature that gave expression to their novelty. It brings together visual and literary representations to identify a series of new designs for domestic space that change the way people lived together in the metropolis, including model dwellings, women’s residences, settlement housing and the garden city suburb. It focuses on the ways that language shapes the built environment and domestic architecture in particular, but also attends to the ways that domestic practice shapes discursive patterns and literary representation. It argues that these new designs for urban living responded to shifting perspectives about gender, class and sexuality; but equally, it demonstrates that these innovations in domestic design forged opportunities for refashioning both individual and collective identities. Home and Identity in Nineteenth-Century Literary London offers readers a new blueprint for understanding the ways in which literature imaginatively and materially produce the city’s built environment. In so doing, it also indicates what resources the nineteenth-century city — and the literature that responded to it — can offer for thinking through the most urgent problems of today’s urban environment environments.

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49

Gordon, Blanke. Part XII International Arbitration: Myths and Perspectives, 34 Arbitration in the UAE: Demystifying the Myths. Oxford University Press, 2016. http://dx.doi.org/10.1093/law/9780198783206.003.0035.

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This chapter discusses arbitration in the United Arab Emirates (UAE). There is a general perception in the international arbitration community that arbitration in the Middle East is an untested science and a risky, unpredictable business. However, arbitration has played a determinative role in the formation of the dispute resolution landscape of prominent Middle Eastern jurisdictions since pre-Islamic times and has left an indelible mark in the civil procedure codes of most of these jurisdictions. The UAE in particular has led by example in establishing a modern arbitration jurisdiction that, by and large, meets international standards and best practice. The chapter seeks to demystify the practice and procedure of arbitration as they prevail in the UAE and show that-contrary to common belief-arbitration there is modern and at times even genuinely avant-garde. The UAE serves as a role model on how arbitration in the Middle East has been developing into the preferred dispute resolution mechanism of international commercial disputes in the region and set the pace for other Middle Eastern jurisdictions to follow suit.

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50

Johnson, Kevin B. Fascinations for the Nation. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037689.003.0006.

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This chapter examines the delayed but still strong and lasting impression that Pearl White left on Czechoslovakia's critics, viewers, and avant-garde movement. Drawing on a series of articles in Czech periodicals from the late 1910s to the 1930s, it considers the issues presented by White and the American serial films regarding the international market, the need to come to terms with Hollywood's global reach, and the impact of glocalized Americana for local production. The chapter first looks at the sudden influx of American films in Czechoslovakia after World War I before discussing how America was perceived as a model of democracy and cultural modernity in the early years of the First Czechoslovak Republic. It then explores how White fueled the fantasies of the Czech populace as well as the ways that she was appropriated and re-imagined in the service of various discourses that spoke for the mental and physical well-being of the nation. It also analyzes White's Czech career within the context of larger issues related to spectatorship, film aesthetics, and the creation of star mythology.

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Books on the topic 'Modèle de garde'

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