Academic literature on the topic 'Philippe (1959-....)'
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Journal articles on the topic "Philippe (1959-....)"
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Berthelot, Marie. "Martin, Philippe et Henryot, Fabienne (dir.), Dom Augustin Calmet. Un itinéraire intellectuel." Annales de Bretagne et des pays de l'Ouest, no. 118-1 (April 10, 2011): 201–3. http://dx.doi.org/10.4000/abpo.1959.
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Baisheva, E. Z., A. I. Solomeshch, and I. N. Grigoryev. "Survey of streams plant communities in the Southern Urals." Vegetation of Russia, no. 6 (2004): 3–14. http://dx.doi.org/10.31111/vegrus/2004.06.3.
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As a result of classification of spring and brook vegetation in the Southern Urals, based upon 150 releves, 6 associations and 6 variants are totally distinguished, and one new association is described. The associations Cardamino amarae—Chrysosplenietum alternifolii Maas 1959 and Fontinali antipyreticae—Cardaminetum amarae ass. nov. hoc loco belong to the class Montio-Cardaminetea Br.-Bl. et R. Tx. 1943, whereas the class Platyhypnidio-Fontinalietea Philippi 1956 comprises the associations Fontinalietum antipyreticae Kaiser 1926, Brachythecio rivularis—Hygrohypnetum luridi Philippi 1965, Cratoneuretum filicini Poelt 1954 and Scapanietum undulatae Schwickerath 1944. The relations of listed associations to the European syntaxa are discussed.
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Carpe, William D. "Le Deuxième Concile du Vatican (1959–1965). Edited by Philippe Levillain. Collection de l'École Française de Rome 113. Rome: L'École Française de Rome, 1989. xx + 867." Church History 62, no. 1 (March 1993): 152–53. http://dx.doi.org/10.2307/3168456.
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Hausman, Daniel. "Philippe Mongin (1950–2020)." Economics and Philosophy 36, no. 3 (October 9, 2020): 331–33. http://dx.doi.org/10.1017/s0266267120000309.
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Fleurbaey, Marc. "Philippe Mongin 1950–2020." Social Choice and Welfare 55, no. 3 (September 2, 2020): 399–403. http://dx.doi.org/10.1007/s00355-020-01282-y.
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Reynaud, Jean-Michel. "Philippe Dechartre 1919–2014." Humanisme N° 303, no. 2 (May 1, 2014): 102–3. http://dx.doi.org/10.3917/huma.303.0102.
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Wixforth, Harald. "The Economic Consequences of the First World War." Contemporary European History 11, no. 3 (July 31, 2002): 477–88. http://dx.doi.org/10.1017/s0960777302003090.
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Arthur Turner, The Cost of War: British Policy on French War Debts, 1918–1932 (Brighton: Sussex Academic Press, 1998), 272pp., £45.00 (hb), ISBN 1-898723-37-0.Patricia Clavin, The Great Depression in Europe, 1929–1939 (Basingstoke: Macmillan/Palgrave 2000) 244pp., £13.99 (pb), ISBN 0-333-60681-7.Karl Mayer, Zwischen Krise und Krieg. Frankreich in der Außenpolitik der United States zwischen Wirtschaftskrise und Zweitem Weltkrieg (Stuttgart: Steiner, 1999), 275pp., DM 84.00, ISBN 3-515-07373-6.Christoph Buchheim and Redvers Garside, eds., After the Slump. Industry and Politics in 1930s Britain and Germany (New York and Frankfurt am Main: Peter Lang, 2000), 235pp., DM 69.00. ISBN 3-631-34912-2.Philipp Heyde, Das Ende der Reparationen. Deutschland, Frankreich und der Youngplan 1929–1932. Paderborn: Schöningh, 1998), 506 pp., DM 134.00 ISBN 3-506-77507-3.Monika Rosengarten, Die Internationale Handelskammer. Wirtschaftspolitische Empfehlungen in der Zeit der Weltwirtschaftskrise 1929–1939 (Berlin: Duncker & Humblot, 2001), 360 pp., DM 148.00, ISBN 3-428-10411-0.
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PIMENTA, ALEXANDRE DIAS, RICARDO SILVA ABSALÃO, and CINTIA MIYAJI. "A taxonomic review of the genera Boonea, Chrysallida, Parthenina, Ivara, Fargoa, Mumiola, Odostomella and Trabecula (Gastropoda, Pyramidellidae, Odostomiinae) from Brazil." Zootaxa 2049, no. 1 (March 23, 2009): 39–66. http://dx.doi.org/10.11646/zootaxa.2049.1.2.
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The genera Boonea Robertson, 1978, Chrysallida Carpenter, 1856, Fargoa Bartsch, 1909, Ivara Dall & Bartsch, 1903, Mumiola A. Adams, 1863, Odostomella Bucquoy, Dautzenberg & Dollfus, 1883, Parthenina Bucquoy, Dautzenberg & Dollfus, 1883 and Trabecula Dall & Bartsch, 1909 from Brazil are reviewed. Boonea jadisi (Olsson & McGinty, 1958), Boonea seminuda (C. B. Adams, 1839), Chrysallida gemmulosa C. B. Adams, 1850, Ivara terryi (Olsson & McGinty, 1958), Fargoa bushiana Bartsch, 1909, Mumiola gradatula (Mörch, 1876) and Odostomella carceralis Pimenta, Absalão & Alencar, 2000 are confirmed to occur in Brazil. We also present the first records of Parthenina varia (Odé, 1993), Odostomella fonteini (Jong & Coomans, 1988) and Trabecula krumpermanni (Jong & Coomans, 1988) from the region, all, new combinations. Two species, previously reported from the Brazilian coast, could not be confirmed: Boonea bisuturalis (Say, 1822) and Boonea impressa (Say, 1822). Odostomella cf. doliolum (Philippi, 1844) and Parthenina cf. interspatiosa (Linden & Eikenboom, 1992), originally described from the eastern Atlantic, are here recorded from Brazil, although their status remains dubious because of lack of information on their biology and due to lack of morphological and molecular data. One new species is described: Boonea scymnocelata, which can be distinguished from the similar species B. seminuda by its smaller size and immersed protoconch, with no visible nucleus.
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Zika, Charles, and Susan Broomhall. "Philippa (Pip) Maddern (1952–2014)." Australian Historical Studies 45, no. 3 (September 2, 2014): 450–51. http://dx.doi.org/10.1080/1031461x.2014.947673.
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Katayama, Y. "Yoshikawa, Y.: Japan-Philippine Relations, 1949-1956: War Reparations Question and Peace Settlement." Southeast Asia: History and Culture, no. 23 (1994): 118–21. http://dx.doi.org/10.5512/sea.1994.118.
Full textDissertations / Theses on the topic "Philippe (1959-....)"
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Frackowiak, Jean-François. "Le roman symbolique : étude des œuvres romanesques de Sylvie Germain, Henry Bauchau et Philippe le Guillou." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA114/document.
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La thèse s'attache à aborder, par le prisme de la notion de roman symbolique, un corpus de romans choisis parmi les œuvres de Sylvie Germain, Henry Bauchau et Philippe Le Guillou. La démarche de ces trois auteurs, investissant pleinement les ressources de la narration et du romanesque, permet de les situer dans une lignée littéraire qui rencontre le roman mythologique, initiatique, ou la démarche psychanalytique ; la notion de symbole se situe à la confluence de ces orientations, sans que l'on puisse résumer la démarche des trois romanciers à un seul de ces modèles. Le roman symbolique est ainsi situé dans le cadre des interrogations modernes et contemporaines, portant sur la représentation par l'écriture. Celle-ci apparaît comme symbolique dans le corpus, car la figuration se fait signification, et appel à l'interprétation : elle est aussi configuration et transfiguration. Une vision du monde ressort par conséquent de ces œuvres, renouvelant l'approche de questions, à dimension philosophique et spirituelle, qui sous-tendent tout système symbolique, celle de la situation de l'homme dans le monde, perçu comme une totalité avec laquelle on peut entrer en relation, et celle de la figuration de l'invisible, qu'il s'agisse d'une autre dimension de la réalité ou des profondeurs de l'intériorité. La thématique de la confrontation de l'homme à ce qui le dépasse ou lui échappe, ainsi présente dans les œuvres, a des conséquences sur la poétique du roman : c'est l'écriture elle-même qui manifeste un dépassement ou une inadéquation avec son objet, et se fait ainsi révélation d'une transcendance en creux, dont la présence paradoxale se réalise dans le langage romanesqueThrough the notion of symbolism in the novel, this thesis deals with a corpus of works written by Sylvie Germain, Henry Bauchau and Philippe Le Guillou. Thanks to fictional and narrative techniques, these authors' approach belongs to a literature between the mythological novel, the initiation rite genre or the psychoanalytical approach. The notion of symbol fits into the directions mentioned above ; however, the three novelists' approach cannot be restricted to one of these notions. The symbolic novel identifies with modern and contemporary questionings about representation in writing which appears through symbolism in the novels, for figuration turns into signification and appeals interpretation : it is both construction and metamorphosis. As a consequence, in these works the world is perceived with its philosophical and spiritual dimensions that are inherent in symbolism : the one of the man in the world seen in his entirety with whom communication is possible and the one of the figuration of the invisible whether it is another dimension of reality or deep inwardness. In these works, the theme of the man confronted to what is beyond him or what escapes from his reality impacts on the poetry of the novel : it is the writing itself that expresses an appearance or an inadequation with its topic and thus reveals an empty transcendance which paradoxal figuration exists in fictional language
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Coppin, Ruivo Michelle. "L'imitation du modèle : sa puissance et ses failles dans le triptyque de Pilippe Le Guillou." Littoral, 2008. http://www.theses.fr/2008DUNK0203.
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A travers trois univers distincts – le monde médiéval dans Livres des guerriers d’or ; la vie tumultueuse d’Erich Sebastian Berg avec Les sept noms du peintre ; l’enfance du Christ revisitée par Douze Années dans l’enfance du monde – Philippe Le Guillou propose trois variations romanesques autour de la relation père – fils. Avec pour mode de reconnaissance l’ambivalence affective, la violence des sentiments devient réelle valeur esthétique ; aussi est-il nécessaire d’étudier comment, dans ce triptyque, se décompose, s’évanouit puis se reconstruit la figure du père. Trois chapitres illustrent ce cheminement : le premier, à partir de l’élimination systématique du père naturel, recompose les étapes menant à l’idéalisation du maître, substitut du père naturel. Le deuxième s’enquiert des problèmes liés à l’imitation engendrés par l’identification au maître. Face au dilemme désir/crainte de se fondre, l’imitation demeure le seul espoir pour répondre à la continuation et satisfaire la dette aux ancêtres. Enfin, le troisième s’interroge sur les intentions réelles, fantasmées ou parodiques du meurtre du père. Au cœur de cette étude, le mythe inversé d’Abraham. Paradoxalement, toutes les attaques visant le père renforcent son influence. Tuer le père signifie éprouver le père, c’est-à-dire la tradition. Plate-forme expérimentale, le triptyque expose les mécanismes de la transmission. La lutte de l’écrivain pour la conservation du moi se fond alors dans celle pour la sauvegarde du passéThrough three distinct universes – the medieval world in The Books of the golden warriors ; the turbulent life of Erich Sebastian Berg with The Seven names of the painter ; the rewritten childlife of Christ thought Twelve years in the childhood of the world – Philippe Le Guillou proposes three novelistic variations about the father/son relationship. With the affective ambivalency by way of recognition, the violence of feelings becomes a real aesthetic value ; so that in such a triptych an analysis must be conducted of the way in which the father figure decays, disappears, then reconstrucs itself. This development is illustrated in three chapters : the first one starting from the systematic elimination of the natural father recomposes the steps leading to the idealization of the master, a substitute for the natural father. The second one investigate the problems connected with the mimetic response resulting from the identification with the master. Confronted with the fear – desire fusion process, the mimetic response remains the sole hope of meeting the consistency and paying the debt due to the ancestors. Finally, the third one questions the intents of the father’s murder, whether real, fantasmagoric or parodic. At the heart of this analysis lies the reverted myth of Abraham. Paradoxically, every attack aimed at the father strengthens his influence. Killing the father means testing the father, in other words tradition. The triptych, an experimental platform shows the process of transmission. The writer’s fight for retaining the ego blends into that of saving the past
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Boula, de Mareuil Marie-Isabelle. "Le Jeu avec le passé dans le drame contemporain : Patrick Kermann, Jean-Luc Lagarce, Philippe Minyana." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030066.
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Les dramaturgies contemporaines répondent à l’exigence d’une écriture du temps au théâtre en renouvelant notamment leur forme, leur langue et leur adresse. Le drame n’est plus « action » au présent. Il devient l’expression d’un retour, celui du passé. Le jeu avec le passé est le va-et-vient sans fin et toujours renouvelé du passé vers le drame et du drame vers le passé. Cette étude se concentre sur neuf pièces écrites entre 1980 et 2000 par trois dramaturges français, Patrick Kermann, Jean-Luc Lagarce et Philippe Minyana. Dans ces écritures, le passé revendique sa place [et la prend] dans l’actualité de la représentation. En investissant toute la structure du drame, il bouleverse l’organisation du discours, la représentation de l’espace et la possibilité de l’action. Cette revendication s’effectue également à la faveur du retour des morts et sur la mort. Tandis que la catastrophe a déjà eu lieu, le désastre continue d’abîmer et déconstruire la fable. Joués par le passé, le drame et ses protagonistes témoignent d’un héritage « sans testament ». Privé d’identité, le personnage accepte ou subit le jeu sans pour autant parvenir toujours à en proposer une interprétationContemporary theatre answers the requirement of a theater writing of the time by renewing in particular its form, its language and its addressee. Drama is no longer an “action” taking place in the present. It becomes the expression of a return, that of the past. Playing with the past corresponds to endless comings and goings from the past to drama and from drama to the past. This study focuses on nine plays written between 1980 and 2000 by three French dramatists, Patrick Kermann, Jean-Luc Lagarce and Philippe Minyana. In these writings, the past claims its place [and takes it] in the performance actuality. By investing the whole drama structure, it disrupts the organization of speech, the representation of space and the possibility of action. This claiming also proceeds from the return of the dead and to death. Whereas catastrophe already took place, disaster keeps on damaging and deconstructing the fable. Played by the past, drama and its protagonists testify an inheritance left “by no testament”. Deprived of identity, the character accepts or suffers the way he is played, without necessarily and systematically managing to offer an interpretation
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Cornon, Stéphanie. "La résurgence de la littérature médiévale et la représentation de l'imaginaire celte dans les oeuvres de Philippe Le Guillou et de Thomas Hardy." Paris 3, 2005. http://www.theses.fr/2005PA030065.
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En Angleterre et en Bretagne, la littérature sous l'influence de l'Irlande voisine, présente encore des reflets du passé légendaire de ces deux pays. Ainsi, la production écrite met en relief la survivance d'un imaginaire celte qui n'a jamais disparu. Fascinés par l'atmosphère intemporelle qui règne dans ces hauts bastions du légendaire celte, Philippe Le Guillou et Thomas Hardy développent dans leurs œuvres les composantes obsessionnelles de cet imaginaire hanté par des images cauchemardesques de destruction et d'engloutissement. Cependant, l'âme celte ne saurait être définie sans ce rapport passionnel qu'elle entretient avec le monde élémentaire. La mer et la forêt omniprésentes dans les œuvres de nos deux auteurs vont servir de cadre à ce travail de reprise de thèmes médiévauxIn England and in Brittany, literature under the influence of the neighbouring Ireland, still presents reflections of this two country's legendary past. The written production brings out the survival of a Celt imaginary which never disappeared. Fascinated by the timeless atmosphere which reigns in these bastions of Celt legendary, Philippe Le Guillou and Thomas Hardy develop in their works the obsessional components of this imaginary haunted by nightmarish images of destruction and engulfing. However, the Celt spirit can't be defined without its passionate relation with elementary world. The sea and the forest omnipresents in the works of this two writers are used as setting in this work of re-using medieval's themes
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Donin, Nicolas. "Intéractions entre écriture et lecture dans le processus de composition de deux oeuvres par un créateur contemporain : pour une méthodologie d'analyse des pratiques musicales savantes d'aujourd'hui." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0086.
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Comment rendre compte des enjeux cognitifs et esthétiques de la pratique artistique d'un musicien ? L’étude détaille l'activité créatrice de Philippe Leroux, compositeur français né en 1959, pour deux œuvres successives (Voi(rex) (2003) et Apocalypsis (2006)), permet de mettre en évidence les pratiques d'écriture, de lecture, de relecture, d'écoute et de réécoute qui trament la genèse d'une partition contemporaine. La première partie de la thèse montre l'intérêt de développer « musicologie de la composition », tant pour la musicologie historique que pour l'anthropologie ou la psychologie. Deuxième partie traite des questions éthiques, méthodologiques et épistémologiques rencontrés par le chercheur souhaitait étudier un processus de composition au cours même de son accomplissement ; elle présente les processus étudiés, le dos génétique de Voi(rex), et l'atelier de Philippe Leroux. La troisième partie présente une série d'analyses de moments choisis dans les deux processus créateurs étudiés. La quatrième partie présente l'instrumentation informatique de l'étude précédente et propose d'en élargir la méthode et les leçons à un programme de recherche musicologique en dialogue avec les sciences humaines : une musicologie non seulement des œuvres, mais des pratiques et situations musicales. Deux annexes complètent la thèse: l'Annexe 1 rassemble les illustrations des 2e et 3e parties; l'Annexe 2 présente la transcription de trois entretiens la composition d'un mouvement de Voi(rex), et reproduit le «journal de bord » tenu par Leroux pendant la composition d'ApocalypsisHaw to build knowledge about the cognitive and aesthetic issues at stake in musical practices? A detailed study of creative process of Philippe Leroux, a French composer born in 1959, in two of his major pieces, Voi(rex) (2003) and Apocalypsis (2006), shows how a composer today writes, reads and re-reads, proof-reads, listens and re-listens-the core actions of a contemporary score writing process The first section of this doctorate thesis is devoted to articulated "musicology of composition as a practice", both from a historical perspective and an anthropological and psychological one The second section explores the ethical, methodological and epistemological Issues which arise when studying a compositional work in the midst of its creative process. The third section, a case study, presents a few specific items of t creative process of the two works at stake. The fourth section deals with computer-aided analysis and publication of the d" collected, and argues that the methodology developed throughout this study could be applied to a broader research program that takes in multiple social sciences approaches. Such a program woould unite both a musicology of musical war themselves and a musicology of musical practices and situations. Two appendixes complete the thesis: 1) illustrations of the second and third sections; 2) transcription of three sample interviews with the composer, and reproduction of Lerou compositional "diary" for Apocalypsis
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Company, Xavier. "Metamorphoses du regard. Traces d'ephemere. Carnets de philippe jaccottet. (1954-1979)." Montpellier 3, 1988. http://www.theses.fr/1988MON30001.
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L'etude concerne les carnets de philippe jaccottet (poete, ecrivain et traducteur) dans la periode 1954 1979. La raison de notre demarche provient du fait qu'a la lecture des carnets se revele la caracteristique fondamentale de cette poetique axee sur le regard. Ce regard est metamorphose par la pulsion erotique disseminee dans les metaphores. Mais ces traces ecrites pour essayer de capter l'immediat, l'ephemere, recellent l'energie qui provient de la rencontre avec le monde. Le regard est en presence du reel, decouvre l'harmonie ou derriere la parure, la dechirure. Attache a dire ces "lecons" de l'elementaire, le regard cultive le "natif", traverse les "ecrans" pour atteindre en traces ecrites l'evidence, clarte inaugurale, instants aleatoires. Singuliere demarche que nous situons dans notre conclusion "entre eros et psyche"The study concernes the philippe jaccottet book (poet, writer and translator) on the period 1954-1979. The reason of our approache comes as the result of at the reading of the book is revealed the fundamentally caracteristic of this poetics centered around the look. This look is transformed by erotic drive disseminated into metaphors. But this writen traces in order to try to win the moment, the fleeting, conceal the energy who comes from the meeting with the world. The look is in presence of the reality, discoveres the hartmony or behind the finery the break. Attached to say this "lessons" of the elementary, look cultivates "native", goes to the "screens" for reaching in writen traces the obvious, inaugural clarity, uncertain instants. Singular approache that we situate in our conclusion "between eros and psyche"
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Jaret, Émeline. "Entre ready-made et fiction : la posture d’auteur chez Philippe Thomas." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040174.
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En 1977, Philippe Thomas (1951-1995) débute un travail qui se situe entre l’art et la littérature et qui conservera cette double dimension d’une œuvre procédant tant du voir que du lire. Il l’élabore en lui donnant une dimension narrative dont l’intermédialité, le réseau de ramifications intertextuelles et l’accumulation de travaux qui relèvent du dispositif construisent un récit à la forme discontinue. Participant d’une écriture des événements et s’appuyant sur une mise en parallèle de la présentation artistique et de l’énonciation, le projet de Thomas est celui d’une fiction du faire qui cherche à éprouver la frontière entre les mondes réel et fictionnel. Notre étude souhaite répondre aux objectifs d’une première monographie d’artiste et s’attache à décrire l’ensemble de l’œuvre de Thomas afin d’en reconstruire le parcours à l’aide d’un certain nombre de notions clés. Elle prend sa source dans la bibliothèque de cet artiste qui définit l’art comme un processus de recherche, comme une expérimentation du langage. C’est l’œuvre en train de se faire que nous observons, en nous intéressant à sa genèse et à ses conditions de réalisation. Et ce, afin de définir la posture d’auteur qui se dessine dans la spécificité d’une pratique artistique demandant la prise en compte tant de l’œuvre que de ses marges. Si le projet de Thomas met en place la disparition de l’auteur par le biais d’un protocole de signature de ses ready-mades, notre thèse rappelle qu’il s’agit d’une absence toute paradoxale : l’artiste caché par ses personnages demeure omniprésent et par là, participe de la redéfinition de l’auteur malgré la déclaration de sa mort une décennie plus tôtIn 1977, Philippe Thomas (1951-1995) begins a practice situated between art and literature, and his works will conserve this dual dimension by proceeding both from the act of seeing and from the act of reading. Through intermediality, a network of intertextual offshoots, and an apparatus formed by the accumulation of works, he constructs a discontinuous narrative. Participating in event-based writing and relying on parallels between artistic presentation and enunciation, Thomas’ project is a fiction of making that seeks to test the frontier between real and fictional worlds. This study seeks to fulfill the need of a first monograph on the artist, and it describes the entirety of Thomas’ oeuvre so as to reconstruct his artistic career with the aid of a certain number of key notions. My first source is the library of this artist, who defines art as a research process like an experimentation of language. I observe the oeuvre as it is being constructed, by focusing on its genesis and on the conditions of its production. I do this in order to define an authorial posture shaped by the specificity of an artistic practice which requires consideration of both the works it produces and its margins. If Thomas’ project carries out the death of the author through a protocol of signatures of his readymades, my dissertation emphasizes that this is a paradoxical absence: the artist hidden by his personas remains omnipotent, participating in the redefinition of the author in spite of the declaration of his death a decade earlier
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Sermon, Julie. "L'effet-figure : états troublés du personnage contemporain (Jean-Luc Lagarce, Philippe Minyana, Valère Novarina, Noe͏̈lle Renaude)." Paris 3, 2004. https://hal.archives-ouvertes.fr/tel-01832413.
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Le personnage théâtral n'a pas échappé au soupçon propre à notre modernité. Sa mise en crise, persistante, a abouti ces trente dernières années au resserrement des écritures sur le seul théâtre de la parole. Certains auteurs se passent désormais d'identités fictives repérables, pour ne plus se consacrer qu'aux enjeux du dire et de la voix ; je me suis intéressée aux écritures qui, tout en accordant le primat dramaturgique à la parole, imposaient simultanément un imaginaire du personnage. Les auteurs étudiés ici n'évincent pas la question de l'incarnation : ils distribuent les voix, nomment leurs locuteurs. L'inventaire onomastique de leur personnel théâtral révèle cependant que les êtres qu'ils mettent en scène ne se laissent plus saisir en termes classiques d'effets-personnages. La notion d'effet-figure, qui interroge le personnage comme objet de regard et construction poétique, permet de définir les enjeux de représentation propres à ces identités théâtrales d'un autre genreThe theatrical character did not elude the specific suspicion of our modernity. For the last thirty years, its coming to a crisis, which was persistent, gradually ended up in the tightening up of writings into mere drama of speech. Some writers now do without fictitious identities which could be spotted, so that they only concentrate on the stakes of words and voices ; I studied writings which imposed an imagination of the character while giving pride of place to the voice. The authors studied here do not oust the quesiton of embodiment ; they distribute the voices, gives names to their pseakers. However, the onomasti inventory of their theatrical personnel reveals that the people they put on stage will not be grabbed as classical effect-characters. The notion of effect-figure which examines the character as an object of glance as well as poetic construction enables us to define the stakes of représentation wchich are specific to these theatrical identities of another kind
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Ménard, Claire. "L’Insoutenable flexibilité de l’Être : réseaux et errances dans la littérature et le cinéma contemporains." Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080151.
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Cette thèse étudie les représentations littéraires et filmiques des évolutions sociétales dues à l’introduction des réseaux et de la flexibilité dans nos modes de vie contemporains. Mon approche s’attache à décrire la façon dont le rhizome Deleuzien peut être conçu comme un concept qui problématise la représentation de cette évolution. En effet, le rhizome est un concept qui définit l’espace discursif comme un lieu de connections et d’interconnections, donc comme un réseau. Pour Deleuze et Guattari, cette manière d’identifier le discours participe à une critique des catégories qui organisent le savoir et permet de mettre en évidence le caractère centripète et non-linéaire des structures qui régissent la création de sens, ce qui me permet de m’attacher à la description de nouvelles formes de représentations, de communication et de signification qui trouvent leur particularité dans leur nature polymorphe et leurs mutations constantes.Cet état de chose permet d’ouvrir le potentiel de créativité des arts et des agents d’innovations économiques et sociales. Néanmoins au XXIème siècle, le capitalisme fonctionne de plus en plus comme un rhizome, c’est à dire comme une structure polymorphe et en mutation constante, ce qui oblige donc de plus en plus les individus à s’adapter en permanence pour appartenir à ce nouveau monde flexible. Cette adaptation perpétuelle crée un malaise mis en évidence par le concept d’« insupportable flexibilité de l’être » (nommé de cette façon par l’auteure de cette thèse en hommage à Milan Kundera). Cette thèse analyse la manière dont cette flexibilité forcée de la société est représentée en cinéma et en littérature dans le travail de Jean-Echenoz, Jean-Philippe Toussaint, Michel Houellebecq, Marie Redonnet et Eric Chevillard, et dans les films de Leos Carax, Laurent Cantet, Nicolas Klotz, Noémie Lvovsky, Jean-Marc Moutout et Cédric KlapischThis dissertation studies representations – in contemporary French and Francophone literary fiction and feature films – of the developing condition associated with global markets and networking technology; a condition that the word “flexibility” aptly summarizes. My approach to this issue draws on the “rhizome” concept proposed by Gilles Deleuze and Felix Guattari – that is, on the idea of a discursive space in which everything is connected and which therefore functions like a network. As the Deleuze and Guattari critique of categorization highlighted the non-linear and non-centrifugal nature of the structures governing the creation of meaning, it can also help us study new forms of representation, communication and signification which are by essence both polymorphic and in constant mutation. This state of affairs supposedly gives more room to creativity and innovation; it can be argued, nevertheless, that in the 21st century, capitalism itself behaves more and more like a rhizome, that is to say an ever-changing and polymorphic structure, which forces human beings to constantly adapt in order to fit into this world, thereby becoming more flexible. We have only begun to take stock of this ongoing process of enforced flexibility, and of the suffering that may result from it for the ever-adapting humanity that we have become. My dissertation calls this anguish or unease courtesy of Milan Kundera – “the unbearable flexibility of being.” This research aims at studying this anguish in French Contemporary Literature and Films in works of literature by Jean Echenoz, Jean-Philippe Toussaint, Michel Houellebecq, Marie Redonnet and Eric Chevillard and in films by directors such as Leos Carax, Laurent Cantet, Nicolas Klotz, Noémie Lvovsky, Jean-Marc Moutout and Cédric Klapisch
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Dumont, Mireille. "Les modèles de culture chez Marguerite Audoux, Charles-Louis Philippe et Emile Guillaumin." Paris 10, 1985. http://www.theses.fr/1985PA100236.
Full textBooks on the topic "Philippe (1959-....)"
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Vandenberg, Philippe. Philippe Vandenberg: Œuvre 1995-1999. Antwerpen: Museum van Hedendaagse Kunst Antwerpen, 1999.
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Phenomena and their interpretation: Landmark essays, 1957-1989. [Manila]: Ateneo de Manila University Press, 1992.
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Philippines. Dept. of Energy. Philippine energy plan, 1999-2008. [Metro Manila]: The Dept., 1998.
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Schmersal, Helmut. Philipp Scheidemann 1865-1939: Ein vergessener Sozialdemokrat. Frankfurt am Main: P. Lang, 1999.
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Philipp Scheidemann 1865-1939: Ein vergessener Sozialdemokrat. Frankfurt am Main: P. Lang, 1999.
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Demir, Ataman. Arşivdeki belgeler ışığında Güzel Sanatlar Akademisiʹnde yabancı hocalar: Philipp Gintherʹden (1929) - (1958) Kurt Erdmanʹa kadar. Fındıklı, İstanbul: Mimar Sinan Güzel Sanatlar Üniversitesi, 2008.
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Mimar Sinan Güzel Sanatlar Üniversitesi, ed. Arşivdeki belgeler ışığında Güzel Sanatlar Akademisiʹnde yabancı hocalar: Philipp Gintherʹden (1929) - (1958) Kurt Erdmanʹa kadar. Fındıklı, İstanbul: Mimar Sinan Güzel Sanatlar Üniversitesi, 2008.
Find full textBook chapters on the topic "Philippe (1959-....)"
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Schaller, Martin. "Ernest Philippe Charles Gaucher (1854–1919)." In Pantheon der Dermatologie, 343–47. Berlin, Heidelberg: Springer Berlin Heidelberg, 2008. http://dx.doi.org/10.1007/978-3-540-34093-5_57.
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Albrecht, Michael J. "John Philipp Koehler (1859–1951)." In Twentieth-Century Lutheran Theologians, 37–55. Göttingen: Vandenhoeck & Ruprecht, 2013. http://dx.doi.org/10.13109/9783666550454.37.
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Montgomery, Heather, and Nicola J. Watson. "Philippa Pearce, Tom’s Midnight Garden (1958)." In Children’s Literature: Classic Texts and Contemporary Trends, 203–26. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92347-2_8.
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Montgomery, Heather, and Nicola J. Watson. "Philip Pullman, Northern Lights (1995)." In Children’s Literature: Classic Texts and Contemporary Trends, 254–85. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92347-2_10.
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Brennan, Maeve M. "‘I Remember, I Remember’, 1955–85." In Philip Larkin: The Man and his Work, 27–37. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-09700-5_4.
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Kerby, Martin C. "Adventures in Journalism: 1918–1939." In Sir Philip Gibbs and English Journalism in War and Peace, 141–95. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57301-8_5.
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Kerby, Martin C. "The Pageant of the Years: 1939–1962." In Sir Philip Gibbs and English Journalism in War and Peace, 197–219. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57301-8_6.
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Panayotova, Plamena. "The Traditional Viewpoint—Philip Abrams’ The Origins of British Sociology (1968)." In Sociology and Statistics in Britain, 1833–1979, 15–20. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55133-9_2.
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Turgo, Nelson. "A Taste of the Sea: Artisanal Fishing Communities in the Philippines." In The World of the Seafarer, 9–22. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49825-2_2.
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AbstractThe Philippines remains one of the top suppliers of seafarers to the global merchant fleet. In the 2015 BIMCO Manpower Report on seafarer supply countries, the Philippines ranked first for ratings and second for officers with 363,832 Filipino seafarers deployed to ocean-going merchant vessels in 2014 and accounting for 28% of the global supply of seafarers (MARINA 2015). Seafarers are crucial in keeping the Philippine economy afloat and in 2018, Filipino seafarers sent home USD 6.14 billion (Hellenic Shipping News 2019), accounting for about a fifth of the USD 32.2 billion overseas workers sent home that year (Inquirer 2019). The Philippines has developed as a major player in the crewing sector of the global maritime industry primarily because of its maritime history (Giraldez 2015; Mercene 2007; Schurz 1939), its maritime geography and the continued centrality of the sea to many people’s lives (as attested to by the presence of the myriad fishing communities dotted around the many islands of the country) (Warren 2003, 2007), the economic liberalisation of the 1970s and the concomitant institutionalisation of the labour export policies as enacted by Philippine governments since the presidency of Ferdinand Marcos whose latter policy saw many Filipinos seeking employment overseas (Asis 2017; Kaur 2016; Wozniak 2015).
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Lawson, Konrad M. "Between Postoccupation and Postcolonial: Framing the Recent Past in the Philippine Treason Amnesty Debate, 1948." In Debating Collaboration and Complicity in War Crimes Trials in Asia, 1945-1956, 105–28. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-53141-0_6.
Full textConference papers on the topic "Philippe (1959-....)"
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Dubois, Marc. "Le Corbusier et la Belgique / Son Héritage." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.896.
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Résumé: À la suite de l’exposition de Paris 1925, le peintre René Guiette demande à LC de lui construire une maison avec atelier à Anvers. Ce bâtiment superbe existe encore, le seul témoignage de LC construit en Belgique! LC vient pour la première fois à Bruxelles en 1926 pour donner une conférence. Après une deuxième conférence en 1928 il reçoit une commande de Jean Canneel-Claes pour une maison, publiée par Le Corbusier en 1929 comme « Maison pour M. X à Bruxelles ». En 1930, il est présent à Bruxelles pour le congres CIAM. En 1933, LC participe au concours pour la Rive Gauche d’Anvers. En 1938 on lui demande de participer à l’ exposition de Liège en 1939, mais rien n’est construit. LC est présent à l’exposition Universelle de Bruxelles 1958 avec le pavillon exceptionnel pour Philips. Après l’expo, Le Poème Electronique est démoli. Keywords: LC 5xBelgique, Stynen & De Meyer, deSingel, Riverside Tower. DOI: http://dx.doi.org/10.4995/LC2015.2015.896
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Boldrin, E., E. Gaffo, G. te Kronnie, S. Bortoluzzi, KM Debatin, and LH Meyer. "Expression and impact of miR-497˜195 in pediatric ALL." In 30. Jahrestagung der Kind-Philipp-Stiftung für pädiatrisch-onkologische Forschung. Georg Thieme Verlag KG, 2017. http://dx.doi.org/10.1055/s-0037-1602219.
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Boldrin, E., E. Gaffo, JM Boer, R. Claus, C. Plass, ML Den Boer, KM Debatin, G. Te Kronnie, S. Bortoluzzi, and LH Meyer. "MicroRNA - 497~195 cluster suppresses cell cycle progression by targeting CCND3/CDK4 in acute lymphoblastic leukemia." In 33. Jahrestagung der Kind-Philipp-Stiftung für pädiatr. onkolog. Forschung. © Georg Thieme Verlag KG, 2020. http://dx.doi.org/10.1055/s-0040-1709774.
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Hegvold, L. W. "Urban Design Directions for Austrailia." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.36.
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Australia is an island continent with an essentially linear distribution of population. Approximately 90% of its people are located in 12 main urban centres spread along 30,000 km of coastline. In a recently published book entitles “The Coast Dwellers” by Australian architect and writer Philip Drew (1994), Drew sees Australians as quintessential “verandah people” sitting on the edge of our continent. He feels that those who see Australians in the “Crocodile Dundee” image are missing the point; that nearly all ofus live on the edge communing with the lifegiving sea rather than with the dead heart of the country. He puts forward evidence that seven out of ten Australians live in the narrow corridor of land on the eastern coast between the mountain range and the ocean, one in fifteen Australians lives within fifteen minutes drive of the beach, and most of the rest of the population live within one hour’s drive of the water.
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Shi, Yanhui, Zijing Shen, Xirui Feng, and Shuying Cheng. "Research on the fringe belts of Shangqiu, China: a morphogenetic approach." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5683.
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Research on the fringe belts of Shangqiu, China: a morphogenetic approach Zijing Shen, Xirui Feng, Shuying Cheng, Yanhui Shi* College of Urban and Environmental Sciences. Peking University. Beijing. China 100871 E-mail: shzj950609@163.com, 873405878@qq.com, corrine0123@126.com, yhshi1988@sina.com* Keywords: fringe belts, morphogenetic analysis, ancient Shangqiu; concentric Conference topic: Urban form and social use of space The concept of the fringe belt has, in recent years, been studied quite widely in the Western world. Fringe belts were first recognized in Europe, primarily in relation to city walls. In China, fringe belts have been rarely studied, despite their very widespread occurrence. Yet China provides a highly complex world of urban morphological phenomena related to cultural settings substantially different from those in the West. In relation to both a long urban history and recent rapid processes of industrialization and urbanization, the fringe belts of Chinese cities deserve more in-depth research. To rectify this deficiency, this paper examines the developmental process and form of the fringe belts of Shangqiu (including both ancient Shangqiu and modern Shangqiu) as a central focus, using the basic methods of morphogenetic analysis. Since the Ming Dynasty the existence of fringe belts in Shangqui relates to double fixation lines (double city walls, the space between which is water for defence against invasion and flood). Since 1949, a new core developed outside ancient Shangqiu. In time, due to the alteration of the city’s organizational system and rapid expansion of modern Shangqiu, the whole of ancient Shangqiu, as well as its fringe belts, has become part of the fringe-belts system of modern Shangqiu. The development of the fringe belts of Shangqiu shows a different pattern from a concentric town such as Alnwick. This finding extends and refines the understanding of fringe belts. References: Louis, H. (1936) ‘Die geographische Gliederung von Gross-Berlin’, Länderkundliche Forschung: Krebs Festschrift (Engelhorn, Stuttgart) 146-71. Conzen, M. R. G. (1969) Alnwick, Northumberland: a study in town-plan analysis Institute of British Geographers Publication 27 (George Philip, London).
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Hiç, Özlen, and Ayşen Hiç Gencer. "Anti-Keynesian Views: Fiscal and Monetary Guidelines." In International Conference on Eurasian Economies. Eurasian Economists Association, 2014. http://dx.doi.org/10.36880/c05.00849.
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In this article, we will cover the main anti-Keynesian views and macroeconomic systems that arose in the post Keynes period as well as their fiscal and monetary policy guidelines. As is known, the early Classical economists introduced a macroeconomic system based on the Quantity Theory and Say’s Law resulting in automatic full-employment equilibrium; and finally after 1929-1934 Great World Depression, the Keynesian System was introduced as a “revolution” (Keynesian Revolution) in theory and practice. As a result of the Keynesian policies implemented, European countries and the United States not only got over the Great World Depression but also in the years following the World War II, they have observed a fast and stable growth for a long time. Moreover, cyclical fluctuations have been controlled to a great extent. Even so, at the stage when the Keynesian System was introduced, anti-Keynesian views and macroeconomic systems were immediately introduced. Intense academic discussions between advocates of these views and the Keynesian economists have continued up until today. Meanwhile, many economists such as J.R. Hicks, R.F. Harrod, N. Kaldor, M. Kalesci, A.W. Philips, A. Hansen, P.A. Samuelson, E. Domar, J. Tobin, R. Solow, A.M. Okun, W. Helier, G. Ackler, F. Modigliani, and R. Musgrave and many others have developed and defended the Keynesian System from different aspects. We can characterize significant anti-Keynesian views and macroeconomic systems as the “Counter-Revolution”.
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Martínez Millana, Elena. "Le Corbusier versus Sergei Eisenstein. La construcción de un sueño." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.824.
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Resumen: Este artículo plantea la revisión de la relación entre el arquitecto Le Corbusier y el cineasta Sergei Eisenstein. Se lanza como hipótesis la posible influencia del cineasta en Le Corbusier. Le Corbusier versus Eisenstein en el sentido más profundo de ‘avanzar en dirección a’: Le Corbusier hacia la cinematografía, no como contraposición. Se esboza el papel de cada figura y su encuentro en el período de 1928-1936, tiempo en que Le Corbusier se aproximó a la Unión Soviética, un contexto que configura un marco complejo a partir del cual es posible entrever aquello que los vincula y que refuerza la hipótesis planteada. Por otro lado, se realiza un análisis de Poème électronique - filme de 480” que Le Corbusier hace en 1958 con motivo de la Exposición Universal en Bruselas - con la intención de visibilizar que Le Corbusier recurre a la técnica del montaje dialéctico de la que Eisenstein era maestro y por tanto la consustancial influencia. Le Corbusier reconoce el potencial de esta técnica de montaje y se sirve de ella como la estrategia clave en su aproximación al ámbito de la cinematografía. El mecanismo del montaje dialéctico forma parte de su propio pensamiento y lo materializa en su arquitectura y también en el caso de estudio que nos ocupa, en la disciplina de la imagen en movimiento, tan próxima a ésta. Pero hay más, en el Pabellón Philips la técnica del montaje oculto - sobre la que Eisenstein había teorizado en aquél periodo - está presente, pues mediante éste mecanismo construye la puesta en escena del espectáculo total. Como veremos, Poème électronique representa la construcción de un sueño. Abstract: This article reviews the relationship between the architect Le Corbusier and the filmmaker Sergei Eisenstein. When launched, it was seen to hypothesise the possible influence of the filmmaker in the work of Le Corbusier. Le Corbusier versus Eisenstein, in the deepest sense of the expression, is portrayed as "towards to": Le Corbusier towards the film, not in opposition to it. It outlines the role of each figure and their interactions during the period between 1928 and 1936, the time when Le Corbusier got closer to the Soviet Union. This context forms a complex framework from which it is possible to glimpse what it is that links them, reinforcing the hypothesis-raised. On the other hand, this work presents an analysis of the Poème électronique - 480" film Le Corbusier made in 1958 for the Universal Exhibition in Brussels - in order to exemplify that Le Corbusier uses the technique of dialectical montage, in which Eisenstein was the undisputed master, thereby highlighting an inherent influence. Le Corbusier recognises the potential of this montage technique and uses it as a key strategy in his approach to the field of cinema. The mechanism of dialectical montage is a part of Le Corbusier's own thought and this materialises both in his architecture as well as in the subsequent case study regarding the discipline of the moving image, which is closely aligned to it. There is, however, more to it. In the Philips Pavilion, the hidden montage technique - theorised by Eisenstein in that period - is present, the use of which was the mechanism to construct the stage for the spectacle as a whole. As we will see, Poème électronique represents the construction of a dream. Palabras clave: Eisenstein; Le Corbusier; Le Poème électronique; montaje dialéctico; montaje oculto; cinematografía. Keywords: Eisenstein; Le Corbusier; Le Poème électronique; dialectical montage; hidden montage; cinematography. DOI: http://dx.doi.org/10.4995/LC2015.2015.824
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Araldi, Alessandro, and Giovanni Fusco. "The Nine Forms of the French Riviera: Classifying Urban Fabrics from the Pedestrian Perspective." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5219.
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The Nine Forms of the French Riviera: Classifying Urban Fabrics from the Pedestrian Perspective. Giovanni Fusco, Alessandro Araldi ¹Université Côte-Azur, CNRS, ESPACE - Bd. Eduard Herriot 98. 06200 Nice E-mail: giovanni.fusco@unice.fr, alessandro.araldi@unice.fr Keywords: French Riviera, Urban Fabrics, Urban Form Recognition, Geoprocessing Conference topics and scale: Tools of analysis in urban morphology Recent metropolitan growth produces new kinds of urban fabric, revealing different logics in the organization of urban space, but coexisting with more traditional urban fabrics in central cities and older suburbs. Having an overall view of the spatial patterns of urban fabrics in a vast metropolitan area is paramount for understanding the emerging spatial organization of the contemporary metropolis. The French Riviera is a polycentric metropolitan area of more than 1200 km2 structured around the old coastal cities of Nice, Cannes, Antibes and Monaco. XIX century and early XX century urban growth is now complemented by modern developments and more recent suburban areas. A large-scale analysis of urban fabrics can only be carried out through a new geoprocessing protocol, combining indicators of spatial relations within urban fabrics, geo-statistical analysis and Bayesian data-mining. Applied to the French Riviera, nine families of urban fabrics are identified and correlated to the historical periods of their production. Central cities are thus characterized by the combination of different families of pre-modern, dense, continuous built-up fabrics, as well as by modern discontinuous forms. More interestingly, fringe-belts in Nice and Cannes, as well as the techno-park of Sophia-Antipolis, combine a spinal cord of connective artificial fabrics having sparse specialized buildings, with the already mentioned discontinuous fabrics of modern urbanism. Further forms are identified in the suburban and “rurban” spaces around central cities. The proposed geoprocessing procedure is not intended to supersede traditional expert-base analysis of urban fabric. Rather, it should be considered as a complementary tool for large urban space analysis and as an input for studying urban form relation to socioeconomic phenomena. References Conzen, M.R.G (1960) Alnwick, Northumberland : A Study in Town-Planning Analysis. (London, George Philip). Conzen, M.P. (2009) “How cities internalize their former urban fringe. A cross-cultural comparison”. Urban Morphology, 13, 29-54. Graff, P. (2014) Une ville d’exception. Nice, dans l'effervescence du 20° siècle. (Serre, Nice). Yamada I., Thill J.C. (2010) “Local indicators of network-constrained clusters in spatial patterns represented by a link attribute.” Annals of the Association of American Geographers, 100(2), 269-285. Levy, A. (1999) “Urban morphology and the problem of modern urban fabric : some questions for research”, Urban Morphology, 3(2), 79-85. Okabe, A. Sugihara, K. (2012) Spatial Analysis along Networks: Statistical and Computational Methods. (John Wiley and sons, UK).