Journal articles: 'Pleyner'

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ffrench, Patrick. "Interview with Marcelin Pleynet." Parallax 4, no. 1 (1998): 13–22. http://dx.doi.org/10.1080/135346498250424.

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Rotthaus, Wilhelm. "In memoriam Charly (Karl Heinz) Pleyer." Kontext 54, no. 3 (2023): 288–89. http://dx.doi.org/10.13109/kont.2023.54.3.288.

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Bann, Stephen. "Marcelin Pleynet and the system of painting." Parallax 4, no. 1 (1998): 55–62. http://dx.doi.org/10.1080/135346498250479.

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Chaguaceda Noriega, Armando. "Alter-activismo global: una mirada sugerente." Clivajes. Revista de Ciencias Sociales, no. 13 (September 21, 2020): 206. http://dx.doi.org/10.25009/clivajes-rcs.v0i13.2654.

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En su libro (Movimientos sociales en el siglo XXI. Buenos Aires: clacso), el sociólogo Geoffrey Pleyers (2018) identifica rasgos esenciales de los nuevos actores y procesos de cambio a escala global. Con una reflexión que nace del acompañamiento de luchas en todo el orbe, el autor habla de alteractivismo y espacios de experiencia, de gramáticas de acción basadas en la razón y en la subjetividad. Los alteractivistas son, para Pleyers (2018: 67) una suerte de electrones libres, “individuos que guardan su distancia respecto de cualquier organización, pero que interactúan según les parece mejor con grupos, redes u organizaciones que más coinciden con sus ideas y con el tipo de organización que quieren llevar a cabo.Global alter-activism: a suggestive lookAbstractIn his book (Social movements in the 21st century. Buenos Aires: CLACSO), the sociologist Geoffrey Pleyers (2018) identifies essential features of new actors and processes of change on a global scale. With a reflection that is born from the accompaniment of struggles throughout the world, the author speaks of alteractivism and spaces of experience, of grammars of action based on reason and subjectivity. The alteractivists are, for Pleyers (2018: 67) a kind of free electrons, "individuals who keep their distance from any organization, but who interact as they think best with groups, networks or organizations that most coincide with their ideas and with the type of organization they want to carry out.Alter-activisme global: un regard suggestifRésuméDans son livre (Movimientos sociales en el siglo XXI. Buenos Aires: clacso), le sociologue Geoffrey Pleyers (2018) identifie des traits essentiels des nouveaux acteurs et processus de changement à échelle globale. Avec une réflexion qui naît de l’accompagnement des luttes par tout dans le monde, l’auteur parle d’alter activisme et d’espaces d’expérience, de grammaires d’action basées sur la raison et la subjectivité. Les alter activistes sont, pour Pleyers (2018: 67), une sorte d’électrons libres, des “individus qui gardent leur distance en vers n’importe quelle organisation, mais qui interagissent selon leur convenance avec des groupes, des réseaux ou des organisations qui coïncident le plus avec leurs idées et avec le type d’organisation qu’ils veulent créer.

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Cáceres, Daniela. "Movimientos sociales y reconfiguración de la democracia en el Siglo XXI." Revista Temas Sociológicos, no. 20 (August 8, 2017): 161. http://dx.doi.org/10.29344/07194145.20.162.

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Cáceres, Daniela. "Movimientos sociales y reconfiguración de la democracia en el Siglo XXI." Revista Temas Sociológicos, no. 20 (August 8, 2017): 161. http://dx.doi.org/10.29344/07196458.20.162.

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Ishimura, Jun. "A New Interpretation of Chopin’s Piano Music Through Performance of the Second Piano Sonata on Pleyel and Erard Fortepianos and on a Modern Piano." Chopin Review, no. 3 (April 27, 2023): 140–64. http://dx.doi.org/10.56693/cr.124.

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I explored different approaches to performing Chopin’s Second Piano Sonata using my experience of playing on two period instruments: an original Pleyel 1848 grand fortepiano (known to have been played by Chopin) and an original Erard 1845 grand fortepiano. I considered how my experience of these instruments generated new knowledge which then informed my approach to performing the piece on a modern piano. This article is not intended to encourage pianists to imitate or copy my performance on historical instruments, but to re-discover period instruments in a new context and develop the ideas and perception gained from them to transform approaches to interpretation on modern pianos.I first examined the differences between the Pleyel and Erard instruments, and how the characteristics of the two fortepianos are affected by their different mechanical features. I explain why these differences occur and how they affect performers, and this is connected to the famous statement by Chopin comparing Pleyel and Erard fortepianos.Examining the Pleyel and Erard fortepianos and comparing historical and modern instruments from the perspective of being a concert pianist myself, this research revealed how pianists can bring out a singing quality in performance on percussive keyboard instruments. Experimenting with the Pleyel and Erard fortepianos has expanded my view of how to listen to the sound, with consequences for the management of specific dimensions and for my approach to modern pianos.

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Carbunar, Clara, Ivan de Lépinay, Angela Erazo, Hira Kaynar, and Tala Talaee. "Pleyers Geoffrey, Alter-Globalization." Recherches sociologiques et anthropologiques 42, no. 1 (2011): 138–41. http://dx.doi.org/10.4000/rsa.692.

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Crispin, Jairo. ""Movimientos sociales en el siglo XXI: perspectivas y herramientas analíticas"." Ciudad Paz-ando 12, no. 1 (2019): 98–101. http://dx.doi.org/10.14483/2422278x.15019.

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Abdimuminov, Muhammad Sodiq. "BO`LAJAK TASVIRIY SAN`AT O`QITUVCHILARIDA BADIIY-IJODIY MAHORATLARINI RIVOJLANTIRISHDA MANZARA JANRIDAN FOYDALANISH USULLARI." JOURNAL OF UNIVERSAL SCIENCE RESEARCH 1, no. 5 (2023): 1430–39. https://doi.org/10.5281/zenodo.7983015.

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Yevropada peyzaj alohida janr sifatida Xitoy va Yaponiyaga qaraganda ancha kechroq paydo bo'lgan. O'rta asrlarda, faqat diniy kompozitsiyalar mavjud bo'lish huquqiga ega bo'lgan davrda, landshaft rassomlar tomonidan qahramonlarning yashash joyining tasviri sifatida talqin qilingan. Peyzaj janrining shakllanishida yevropalik miniatyurachilar muhim rol o‘ynagan. O'rta asrlarda Frantsiyada, 1410-yillarda Burgundiya va Berri gersoglari sudlarida iste'dodli rassomlar, aka-uka Limburglar Berri gertsogi soat kitobi uchun maftunkor miniatyuralar yaratganlar. Fasllar va ularga mos dala ishlari va ko'ngilochar haqida hikoya qiluvchi bu nafis va rang-barang chizmalar tomoshabinga o'sha davr uchun mohirona nigoh bilan ishlangan tabiat manzaralarini namoyish etadi.

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Ye, Xinyu. "La evolución de los movimientos sociales en la era de la mediación tecnológica." Mediaciones Sociales 19 (December 3, 2020): e72831. http://dx.doi.org/10.5209/meso.72831.

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Eigeldinger, Jean-Jacques. "Chopin and Pleyel." Early Music XXIX, no. 3 (2001): 389–98. http://dx.doi.org/10.1093/earlyj/xxix.3.389.

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Johnston, A. F. "'PLEYES OF MYRACLES'." English 64, no. 244 (2015): 5–26. http://dx.doi.org/10.1093/english/efu035.

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Eigeldinger, J.-J. "Chopin and Pleyel." Early Music 29, no. 3 (2001): 389–96. http://dx.doi.org/10.1093/em/29.3.389.

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Nagina, Dana A. "Haydn, Mozart and Pleyel: Rivalry And Interinfluences." Contemporary Musicology, no. 2 (2021): 91–144. http://dx.doi.org/10.56620/2587-9731-2021-2-091-144.

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Ignaz Pleyel was one of the talented and extraordinarily popular composers of his time. At least twice in his life he could instill a sense of rivalry in his eminent contemporaries—Joseph Haydn and Wolfgang Amadeus Mozart. This gave birth to several most interesting instrumental works of the 18th century, i.e., the “Haydn” Quartets by Mozart and the Sinfonia Concertante in B flat major by Haydn. Mark Evan Bonds has convincingly shown that the “forefather” of the genre was not the only person involved in the three out of six Mozart’s quartets dedicated to Haydn. When composing his works, Mozart made himself familiar with Pleyel’s Quartets Oр. 1 written according to the model of Haydn’s works. Mozart, to all appearances, decided to surpass Pleyel. Haydn’s Sinfonia Concertante in B flat major was composed during the creative competition with Pleyel in London. It was organized by rival impresarios Johann Peter Salomon and Wilhelm Kramer. The composition was Haydn’s answer to similar works by his ex-pupil Pleyel—Sinfonia Concertante in F major and Sinfonia Concertante in A major. However, where Mozart was an absolute winner leaving behind not entirely independent quartet experiments of his rival, the competition between Haydn and Pleyel ended in a “draw”. The London concert symphonies of both composers are marked by the maturity of style, beautiful melodism, compositional creativity as well as the harmonic balance of virtuosic solo parts and orchestral monumentalism. Pleyel was instrumental in the very existence of certain works by Mozart and Haydn. However, both of them also influenced his style. This is especially true of Pleyel’s interpretation of the sonata form. In the first quartets he relied on Haydn’s model with the variant transformation of the main theme, then, however, he resorts to Mozart’s model with its thematic plurality, combinatorics, and thematic and structural parallels with the Italian opera arias. Pleyel's symphonies concertante are the extreme of similarity to Mozart's form.

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Reyes Barrera, Miguel Ángel. "Investigación y activismo en la década de la indignación (reseña)." Desde el Jardín de Freud, no. 21 (December 1, 2021): 520–27. http://dx.doi.org/10.15446/djf.n21.101278.

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Tolley, Thomas. "Haydn’s “bloody harmonious war”: A pictorial souvenir of battles with publishers, “professionals,” and Pleyel in London, 1788–1792." Studia Musicologica 58, no. 1 (2017): 15–56. http://dx.doi.org/10.1556/6.2017.58.1.2.

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Haydn’s “bloody harmonious war” is the composer’s punning description of the rivalry in London between the concert organization for which he worked, headed by the violinist Salomon, and the ‘Professional Concert’, whose star attraction in 1792 was Haydn’s former pupil, the composer Pleyel. Haydn’s vocabulary, mixing metaphors musical and combative, reflects how newspapers projected this phony war. Pleyel was linked to Wilson Braddyll, England’s leading advocate for pugilism. One report even suggested that only by resorting to the law might the conflict be resolved. Haydn and Pleyel really did find themselves in court, called as deponents in a lawsuit between their publishers begun in 1788. Although interpretation of this case has hitherto focussed on Haydn’s supposed misappropriation of compositions by Pleyel, evidence presented here for the first time shows that the latter was equally culpable, having made unauthorized use of several compositions by his erstwhile teacher. The root of the case, however, lay in establishing ownership of publication and other rights, which Haydn effectively always turned to his personal advantage to the perceived detriment of others. As a souvenir marking the end of the whole episode, the triumphant reception of his compositions in the 1792 season, Haydn acquired a print for his collection, its subject referencing the “war’s” principal themes and personalities.

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Schäfer, Horst. "Identifikation und Akzeptanz. Eignungskriterien für die medienpädagogische Filmarbeit mit Kindern – ein Seminar-Modell der Fachhochschule Münster (1998)." Medienwelten – Zeitschrift für Medienpädagogik, no. 3 (May 16, 2014): 75–91. http://dx.doi.org/10.13141/zfm.2014-3.68.

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Dieter Baacke hat in seinem Artikel von 1981 für das Lernen aus Spielfilmen in der Pädagogik argumentiert. Peter Pleyer und Horst Schäfer haben dazu in den 1990er Jahren ein Seminar-Modell konzipiert, das Schäfer hier vorstellt. Das Seminar geht von dem handlungsorientierten Ansatz der Medienpädagogik zur Aneignung von Medienkompetenz – als Teilbereich kommunikativer Kompetenz – aus, die sich als kritischer, reflektierter, selbstbestimmter und kreativer Umgang mit Medien versteht. Kinder sind mit Medien vertraut; ihre Wirklichkeit ist durch die Erfahrung medialer Wahrnehmungen geprägt. Die medienpädagogische Filmarbeit setzt sich mit dieser visuellen Wahrnehmung auseinander und vermittelt über die Rezeption zielgruppengerechter Filme Fähigkeiten ästhetischer Urteilsbildung, Kritikfähigkeit, Erkenntnisse über Medienwirkungen und Hilfen zur Bewältigung medialer Einflüsse.In his article from 1981 Dieter Baacke has argued for learning from films in pedagogy. In addition, Peter Pleyer and Horst Schäfer have designed a seminar model in the 1990s, which Schäfer introduces here. The seminar is based on the action focused approach of media pedagogy for the acquisition of media literacy (Medienkompetenz) as a critical, reflective, self-determined and creative dealing with media. Children are familiar with media; their reality is shaped by the experience of media perceptions. The media pedagogical film education deals with these visual perceptions by means of the reception of films which are geared to the target group, and it promotes skills of aesthetic judgment, critical faculty, knowledge about media effects, and helps to deal with media influences.

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Bonds, M. E. "Replacing Haydn: Mozart's 'Pleyel' Quartets." Music and Letters 88, no. 2 (2007): 201–25. http://dx.doi.org/10.1093/ml/gcl150.

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BADLEY, ALLAN. "5. INTERNATIONALES IGNAZ-JOSEPH-PLEYEL-SYMPOSIUM IGNAZ-PLEYEL-MUSEUM, RUPPERSTHAL, 17–18 JUNE 2016." Eighteenth Century Music 14, no. 1 (2017): 166–68. http://dx.doi.org/10.1017/s1478570616000555.

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Nagina, Dana A. "Joseph Haydn and Ignaz Pleyel: The Teacher and His Student." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2023): 23–34. http://dx.doi.org/10.56620/2782-3598.2023.1.023-034.

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The article is devoted to the history of the mutual relations of two eminent Austrian composers — Joseph Haydn and his student Ignaz Pleyel. And although presently Pleyel is much less known than his instructor, his contemporaries perceived him as one of the most significant composers of his time. Moreover, he achieved his fame as an outstanding musical activist, the founder of the music publishing house Chez Pleyel, as well as a piano manufacturing company, which exists up to the present day. Examining the various stages of Haydn’s and Pleyel’s artistic biographies, the author exerts special attention to the moments of their conflux after the period of study. One such interconnection may be considered by the indications in the editions of Pleyel’s compositions on his pedagogical relations with Haydn. These margin notes served as a means of expression of acknowledgement to the teacher, as well as advertisement, which was conducive to the growth of interest towards the master’s pupil. The occasion for the composers’ interaction was also served by a legal argument around Haydn’s Trio opus 40 (Hob. XV: 3–5) which began in 1785 and extended for a few years. The article shows how the evaluations of this situation by research have changed up to the present time. An important landmark in the composers’ mutual relations was expressed in their engagements in London in 1792. Through the efforts of the impresarios who invited them, Johann Peter Salomon and Wilhelm Kramer, both Haydn and Pleyel turned out to be drawn into an artistic competition against their wills. The picture of their famous contest is recreated with a reliance on the utterances of the witnesses of their events (primarily, Haydn, as well as the reporters of the London press), as well as relevant musicological research works. In the conclusion to the article the author aims to show that the composers were able to preserve excellent relations with each other, despite everything, and showed support for each other.

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Honegger, Geneviève, and Genevieve Honegger. "Pleyel a Strasbourg durant la Terreur." Revue de musicologie 73, no. 1 (1987): 113. http://dx.doi.org/10.2307/928916.

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Badley, Allan. "3. INTERNATIONALES IGNAZ-JOSEPH-PLEYEL-SYMPOSIUM." Eighteenth Century Music 9, no. 1 (2012): 168–72. http://dx.doi.org/10.1017/s1478570611000650.

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BADLEY, ALLAN. "4. INTERNATIONALES IGNAZ-JOSEPH-PLEYEL-SYMPOSIUM." Eighteenth Century Music 11, no. 1 (2014): 157–60. http://dx.doi.org/10.1017/s1478570613000614.

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Adlam, Derek. "The fortepiano from Silbermann to Pleyel." Early Music 33, no. 4 (2005): 734–38. http://dx.doi.org/10.1093/em/cah129.

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Vajda, Joanne. "Grand Paris, une histoire de gares en lien avec les grands événements, des Expositions Universelles aux Jeux Olympiques et Paralympiques." Anuarul Institutului de Cercetări Socio-Umane Sibiu 31 (December 31, 2024): 53–76. https://doi.org/10.59277/aicsus.31.05.

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This article aims to show the links between the construction of stations and major events in the Paris metropolis, through the example of three stations now located in the Grand Paris, which allow parallels between the construction of transport infrastructure for the Universal Exhibitions, the 1924 Olympic Games and the Olympic and Paralympic Games that took place 100 years later. On the one hand, we will see how these major events make it possible to rethink mobility in the Grand Paris, and on the other hand, to what extent a station built for the 1878 Universal Exhibition, the one in Colombes which was used for the 1924 Olympic Games or the one in Saint-Denis Pleyel, located near the Athletes’ Village and other infrastructures that are used for the 2024 Olympic and Paralympic Games, contribute to the transformation of the territories where they are located and find their place in the reconfiguration brought about by the construction of the new Grand Paris Express metropolitan transport network. We will see to what extent the undertaken projects concern broader urban developments, generate programmatic reflections and promise ambitious architectural approaches, which also reflect political visions. The construction of the new Saint-Denis Pleyel transport hub, presented as capable to transform the territory of Plaine Commune where the youngest and most precarious population of the Ile-de-France currently lives, has required complex engineering structures, generated the construction of new parts of the city (which require enormous financial investments) and has undergone developments that could make the Pleyel district a desirable place in the Grand Paris.

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Guy, John. "Henry VIII and the Anabaptists by Albert Pleysier." Catholic Historical Review 103, no. 4 (2017): 805–6. http://dx.doi.org/10.1353/cat.2017.0172.

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Travis D. Stimeling. "Hangverseny a Pleyel Duplazongorán (review)." Notes 65, no. 1 (2008): 143–44. http://dx.doi.org/10.1353/not.0.0044.

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Whitewood, Peter. "Albert Pleysier and Alexey Vinogradov, Exiled to Stalin’s Prisons." European History Quarterly 50, no. 2 (2020): 373–74. http://dx.doi.org/10.1177/0265691420912382n.

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Scharff, Mark V. "“Ignaz Joseph Pleyel: the Life and the Work”." Books at Iowa 54 (April 1991): 7–21. http://dx.doi.org/10.17077/0006-7474.1194.

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LUDWIG, ALEXANDER. "IGNAZ PLEYEL (1757–1831) PRUSSIAN QUARTETS 4–6 Pleyel Quartett Köln cpo 777 551–2, 2012; one disc, 59 minutes." Eighteenth Century Music 11, no. 1 (2014): 137–39. http://dx.doi.org/10.1017/s1478570613000535.

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Bringel, Breno. "Geoffrey Pleyers, Alter-Globalization: Becoming Actors in the Global Age." International Sociology 27, no. 5 (2012): 658–61. http://dx.doi.org/10.1177/0268580912452372b.

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Saint-Viatre, Pierre-Marie. "Le F. Pleyel, 9 rue Cadet : une gloire éphémère." La chaîne d'union N° 52, no. 2 (2010): 13–14. http://dx.doi.org/10.3917/cdu.052.0013.

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Kim, Hyun Joo. "Constructing Their Own Virtuosity: Marie Pleyel and Clara Schumann." Journal of the Science and Practice of Music 47 (April 30, 2022): 227–66. http://dx.doi.org/10.36944/jspm.2022.04.47.227.

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Tansel, Cemal Burak. "Alter-Globalization: Becoming Actors in the Global Age, by Geoffrey Pleyers." Capital & Class 36, no. 2 (2012): 346–49. http://dx.doi.org/10.1177/0309816812444828f.

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Álvarez-Benavides, Antonio. "Pleyers, Geoffrey (2019). Movimientos sociales en el siglo XXI. Barcelona: Icaria." Papeles del CEIC 2020, no. 1 (2020): 68. http://dx.doi.org/10.1387/pceic.21069.

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Dworczak, Hermann. "Review ofAlter-Globalization—Becoming Actors in the Global Ageby Geoffrey Pleyers." International Critical Thought 3, no. 2 (2013): 237–38. http://dx.doi.org/10.1080/21598282.2013.787298.

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Rowland, Beryl. "Pleyne Delit: Medieval Cookery for Modern Cooks ed. by Constance B. Hieatt, Brenda Hosington, Sharon Butler." ESC: English Studies in Canada 23, no. 1 (1997): 99–102. http://dx.doi.org/10.1353/esc.1997.0058.

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Albala, Ken, Constance B. Heiatt, Brenda Hosington, Sharon Butler, and Cindy Renfrow. "Pleyn Delit: Medieval Cookery for Modern Cooks." Sixteenth Century Journal 28, no. 1 (1997): 360. http://dx.doi.org/10.2307/2543335.

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Vilar, Josep M. "Sobre la difusió de les obres de Pleyel a Catalunya." Anuario Musical, no. 50 (January 24, 2019): 185. http://dx.doi.org/10.3989/anuariomusical.1995.i50.334.

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Ammad Ud Din, Mohammad, and Saad Jamshed. "Rate of seroconversion for routine vaccinations in patients with chronic lymphocytic leukemia on ibrutinib." Journal of Clinical Oncology 39, no. 15_suppl (2021): e19509-e19509. http://dx.doi.org/10.1200/jco.2021.39.15_suppl.e19509.

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e19509 Background: It is unclear whether Bruton tyrosine kinase inhibitors (BTKi) contribute to the humoral dysfunction in chronic lymphocytic leukemia. Methods: A literature search of PubMed, EmCare, and Google Scholar was performed on December 5, 2020. Five studies met inclusion criteria out of 249 studies per PRISMA guidelines (n = 244). Results: Pleyer et al. and Zent et al. showed an adequate recall humoral response to the shingle vaccine (41.5% and 75% seroconversion rate respectively), however, de novo response to hepatitis B vaccine was greatly reduced. Conflicting results were seen for the influenza vaccine as Sun et al. showed a significant increase in post-vaccination geometric mean titers for all three strains while only 7% of patients demonstrated seroconversion in the study by Douglas et al. None of the patients responded to the pneumococcal conjugate vaccine in a study by Andrick et al, though the results were not statistically significant (p = 0.029) (Table). Conclusions: Treatment with BTKi may not cause significant detrimental response to immunization but further studies are needed to elucidate longterm effects especially in patients with prior exposure to anti-CD20 antibodies.[Table: see text]

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Irazabal, Mariana Abalos. "Religiones de matriz afro y nuevos activismos políticos al interior del Conurbano Bonaerense." Religião & Sociedade 40, no. 1 (2020): 157–78. http://dx.doi.org/10.1590/0100-85872020v40n1cap07.

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Resumen: El artículo analizará la relación entre religiones de matriz afro y política al interior del Conurbano Bonaerense, empleando la noción de “nueva cultura activista” (Pleyers, 2018). Actualmente están emergiendo organizaciones afro-religiosas que adoptan una nueva lógica de acción que defiende las relaciones horizontales y el planeamiento colectivo de actividades, a diferencia de los modos tradicionales de acción colectiva de los movimientos sociales, verticales y jerárquicos. Las acciones toman un fuerte anclaje territorial y las redes socio-digitales adquieren una relevancia central. Se trabajará a partir del caso de Congregaciones Afroumbandistas Solidarias Asociadas, una agrupación político-religiosa de Esteban Echeverría; y el caso de Arte, Pasión y Sabiduría, un grupo de tamboreros autoconvocados que organizan ceremonias religiosas con fines solidarios en San Miguel.

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Rivas, Armas Diónys C. "Arti-vismo de insurgencia afro: Experiencias y Narrativas de la agrupación "Familia Negra"." Petroglifos Revista Crítica Transdisciplinar 6, no. 1 (2023): e060101. https://doi.org/10.5281/zenodo.7704430.

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Resumen Con la presentación de este ensayo, se pretende un acercamiento a la experiencia colectiva, compartida y vivida de la agrupación “Familia Negra”, considerando las narrativas y subjetividades de sus integrantes, quienes nos delinean la dimensión artística, la acción estética, el activismo social, cultural y político que han configurado como espacio de resistencia e insurgencia frente a la discriminación, la violencia y el racismo hacia un proyecto de emancipación desde un sentido de pertenencia con su entorno geográfico, corporal y espiritual. En dicho ensayo se desarrollaron seis resonancias que dan significación a esta experiencia de arti-vismo de insurgencia afro con el sentir de la diáspora africana en Venezuela de acuerdo a los aportes teóricos de Pleyers (2018) sobre el alter-activismo de los movimientos sociales en el siglo XXI en conexión con los relatos aportados por uno de sus miembros-fundadores. Abstract With the presentation of this essay, an approach to the collective, shared and lived experience of the group "Familia Negra" is intended, considering the narratives and subjectivities of its members, who delineate the artistic dimension, the aesthetic action, the social activism, cultural and political that have configured as a space of resistance and insurgency against discrimination, violence and racism towards a project of emancipation from a sense of belonging with their geographical, physical and spiritual environment. In said essay, six resonances were developed that give significance to this experience of Afro insurgency artivism with the feeling of the African diaspora in Venezuela according to the theoretical contributions of Pleyers (2018) on the alter-activism of social movements in the XXI century in connection with the stories provided by one of its founding members.

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44

Reeve, Katherine Kolb. "Primal Scenes: Smithson, Pleyel, and Liszt in the Eyes of Berlioz." 19th-Century Music 18, no. 3 (1995): 211–35. http://dx.doi.org/10.2307/746685.

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45

Reeve, Katherine Kolb. "Primal Scenes: Smithson, Pleyel, and Liszt in the Eyes of Berlioz." 19th-Century Music 18, no. 3 (1995): 211–35. http://dx.doi.org/10.1525/ncm.1995.18.3.02a00030.

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46

Kassler, Jamie C. "Pleyel as Music Publisher:A documentary sourcebook of early 19th-century music." Musicology Australia 16, no. 1 (1993): 63–64. http://dx.doi.org/10.1080/08145857.1993.10415226.

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47

Oliveira, Angela Meirelles. "O antifascismo como experiência associativa na região do Prata:." Revista Eletrônica da ANPHLAC, no. 14 (May 22, 2013): 177–95. http://dx.doi.org/10.46752/anphlac.14.2013.1233.

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Este artigo apresenta os primeiros resultados de uma pesquisa em curso a respeito da circulação de idéias antifascistas entre os países do Cone Sul (Argentina, Brasil, Chile e Uruguai) e, destes com os movimentos franceses « Amsterdam-Pleyel » e « Comité de Vigilance des Intellectuels Antifascistes », nos anos 1933-1939. Comparou-se a atuação das agrupações surgidas na Argentina (1935) e no Uruguai (1936) para que, a partir das experiências das organizações homônimas Agrupación de Intelectuales, Artistas, Periodistas y Escritores (Aiape), fosse demonstrada a dinâmica da mobilização do intelectual antifascista na região. Foi demonstrada a relação do intelectual antifascista com as demandas políticas daquele momento, concluindo que esta se dava na perspectiva do entrecruzamento dos problemas políticos locais e globais.

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48

Vettraino, Jean. "Brieg Capitaine (dir.) et Geoffrey Pleyers (dir.), MOUVEMENTS SOCIAUX. Quand le sujet devient acteur." Projet 356, no. 1 (2017): 93. http://dx.doi.org/10.3917/pro.356.0093.

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49

Carion, Florence. "Pleyers Geoffrey, Forums Sociaux Mondiaux et défis de l’altermondialisme. De Porto Alegre à Nairobi." Recherches sociologiques et anthropologiques 39, no. 1 (2008): 201–2. http://dx.doi.org/10.4000/rsa.442.

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Field, Corey, Rita Benton, and Jeanne Halley. "Pleyel as Music Publisher: A Documentary Sourcebook of Early 19th-Century Music." Notes 47, no. 3 (1991): 793. http://dx.doi.org/10.2307/941915.

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Journal articles on the topic 'Pleyner'

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