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Journal articles on the topic 'Voyous'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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1

Queneau, Raymond, and Jean-Marie Queneau. "Philosophes et voyous (II)." Littérature 86, no. 2 (1992): 3–14. http://dx.doi.org/10.3406/litt.1992.1541.

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2

Tréguier, Christine. "en finir avec les « brevets voyous »." Vacarme 24, no. 3 (2003): 46. http://dx.doi.org/10.3917/vaca.024.0046.

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3

Blaha, Jaroslav. "Entrepreneurs, oligarques ou « voyous de la transition ?" Le Courrier des pays de l'Est 1051, no. 5 (September 1, 2005): 102–5. http://dx.doi.org/10.3917/cpe.055.0102.

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4

Blézat, Mathilde, Tifenn Hermelin, Juliette Bulbari, and Last Siou. "« Ce n’était pas juste une histoire de voyous »." Z : Revue itinérante d’enquête et de critique sociale N° 8, no. 1 (October 31, 2014): 28–33. http://dx.doi.org/10.3917/rz.008.0028.

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5

Cerf, Eve. "Wackes Fasenacht. Le Carnaval des voyous à Strasbourg." Revue des sciences sociales de la France de l'Est 21, no. 1 (1994): 40–47. http://dx.doi.org/10.3406/revss.1994.3024.

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6

Souchier, Emmanuël. "Philosophes et voyous, ou « l'engagement » mis entre parenthèses." Littérature 86, no. 2 (1992): 15–21. http://dx.doi.org/10.3406/litt.1992.1542.

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7

Calcagno, Antonio. "Jacques Derrida, Voyous: Deux essais sur la raison." Journal of French and Francophone Philosophy 14, no. 1 (March 3, 2004): 94–98. http://dx.doi.org/10.5195/jffp.2004.454.

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8

Greenberg, Judith L., Raymond Queneau, A. I. Queneau, and Jean-José Marchand. "Journal 1939-1940 suivi de Philosophes et voyous." World Literature Today 61, no. 2 (1987): 244. http://dx.doi.org/10.2307/40143026.

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9

Maranghi, Antony. "La politique étrangère américaine face aux «états-voyous»." Recherches Internationales 100, no. 1 (2014): 23–37. http://dx.doi.org/10.3406/rint.2014.1399.

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10

Rongé, Jean-Luc. "Mineurs isolés étrangers : méthodes de dingues... ou de voyous ?" Journal du droit des jeunes 344, no. 4 (2015): 29. http://dx.doi.org/10.3917/jdj.344.0029.

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11

Lucat, Jean. "Les « agents voyous » : fin de la guerre froide, anticommunisme et terrorisme." Sécurité globale 16, no. 4 (2018): 113. http://dx.doi.org/10.3917/secug.184.0113.

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12

Videau, André. "Flics ou voyous. L'image des jeunes d'origine étrangère dans le cinéma français." Hommes et Migrations 1128, no. 1 (1990): 43–45. http://dx.doi.org/10.3406/homig.1990.1397.

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13

Pons, Philippe. "Ordre marginal dans le Japon moderne (17e-20e siècle). Les voyous canalisateurs de l'errance." Annales. Histoire, Sciences Sociales 51, no. 5 (October 1996): 1155–78. http://dx.doi.org/10.3406/ahess.1996.410909.

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L'histoire moderne du Japon illustre des tentatives de maîtrise des espaces sociaux liminaires par des dispositifs indirects de contrôle complétant les pratiques plus courantes de surveillance, répression et enfermement. Les autorités délèguent de facto le maintien de l'ordre social marginal à certains éléments des basses couches de la société, investissant en particulier la « voyouterie » d'une mission d'encadrement extra-légal d'une population flottante dans laquelle le misérable côtoie le vagabond ou le bandit, plus tard le chômeur ou le laissé-pour-compte du monde moderne. De tels mécanismes qui se mettent en place à l'époque Edo (17e-milieu du 19e siècle) se maintiendront, sous certaines formes, dans le Japon de Meiji puis de l'entre-deux-guerres. Ces trois siècles formeront le cadre temporel de cet article.
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14

Lucien, Mirande. "« Un savoureux enfer ». Naissance d’un roman : Voyous de velours ou L’Autre vue de Georges Eekhoud." Textyles, no. 8 (November 15, 1991): 301–14. http://dx.doi.org/10.4000/textyles.1873.

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15

Dayanne, Rose. "“VIVO SONHANDO”." Cadernos Miroslav Milovic 1, no. 1 (February 11, 2023): 165–72. http://dx.doi.org/10.46550/cadernosmilovic.v1i1.26.

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O texto tem o objetivo de indicar as ressonâncias políticas no pensamento de Miroslav Milovic e Jacques Derrida. Em tempos de terror, esses dois filósofos destacaram a importância da democracia radical compreendida como possibilidade do impossível. Para entender as implicações desta questão, o artigo se divide em duas seções. O ponto de partida é o luto infinito, singular e coletivo, consequência das catástrofes políticas. A segunda seção investiga as relações de amizade imbricadas nas questões políticas. Nesse artigo, a fonte que a pesquisa utiliza é a correspondência de Mario Castellani a Miroslav Milovic acerca do tema “A democracia não tem fim”, alusão a obra Voyous de Derrida. A correspondência foi encontrada nos Manuscritos direito como potência, acervo que se mostra exitoso para novas pesquisas acerca do pensamento de Milovic. No final, ganha relevância a responsabilidade do sobrevivente em semear a espectralidade do outro, pois o mais importante do amor incondicional não é a semente, é o semear.
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16

Radlwimmer, Romana. "Orangen aus Algerien. Tony Gatlifs filmische Pikaresken." Romanische Forschungen 134, no. 2 (June 15, 2022): 197–213. http://dx.doi.org/10.3196/003581222835378634.

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Les récits cinématographiques du réalisateur, auteur, musicien, compositeur et produc- teur franco-algérien Tony Gatlif fonctionnent selon les lois picaresques qu'il réinvente pour débattre les logiques eurocentriques Les personnages principaux sont des acteurs transculturels dotés de voix fortes qui se passent des normes bourgeoises Ils sont astucieux et malins, vivent des aventures épisodiques à travers lesquelles ils évoluent; ils mendient, mentent, volent et ils célèbrent leur hédonisme de manière corporelle Gatlif construit des sujets fragmentés et semble interrompre la perspective autobiographique du picaresque classique, mais la réintroduit dans les bandes sonores et les chansons avec des narrateurs subalternes L'adaptation littéraire Mondo (1995) oriente le regard vers le Maghreb L'image des oranges flottantes sur la Méditerranée, décorées de caractères arabes, est décisive sur le plan épistémologique Exils (2004) accompagne le couple de voyous Zano et Naïma dans leur migration de la banlieue parisienne vers Alger L'objectif narratif n'est plus la promotion sociale, mais la reconquête de la mémoire culturelle algérienne, que les pro- tagonistes revendiquent à travers les personnes qui émigrent d'Afrique, et finalementen Algérie même Cette contribution propose un regard sur les films de Gatlif par le prisme du picaresque et des Epistémologies du Sud, et démontre ainsi comment les deux lignes de pensée convergent dans son æuvre.
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17

Yordanov, Krastyo. "Observations on the Voynuk Economy in the Filibe and Tatar Pazardzhik Kazas in the 16th – the Beginning of the 17th Centuries." Istoriya-History 30, no. 5 (September 20, 2022): 467–81. http://dx.doi.org/10.53656/his2022-5-1-obs.

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On the basis of several unpublished registers, the article examines the real practice of official Voynuk land ownership. The historical-legal analysis is applied in the research work. According to law, Voynuk farms were exempt from land taxes, but were part of the state land fund. However, the Voynuk baştina differed from the Rayet çiftlik and baştina not only in that it also included vineyards, gardens and even houses, but the sizes of the fields were often smaller than the legal norms for a pair of arable land. This can be explained by the fact that these areas were sufficient for the sustenance of a Voynuk household, since the considered category of population was exempt from land taxes and jizyah. However, as early as the 16th century, a property differentiation was gradually created between the Voynuks and a thin layer of wealthy owners of service lands stood out. They expanded their arable lands both by unregulated means, entering in the timar land, and through perhaps perfectly legal transactions for the transfer of shares of arable land between the Voynuks themselves.
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18

Partearroyo, Manuela. "The beauty in the beast and the beast in the beauty. The voyeur’s view." Escritura e Imagen 16 (December 16, 2020): 57–69. http://dx.doi.org/10.5209/esim.73025.

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This paper would like to analyse two films, The Elephant Man (David Lynch, 1981) and Blow up (Michelangelo Antonioni, 1966) and one classic myth, Mary Shelley’s Frankenstein, through the very poignant figure of the voyeur. We will investigate this observer of the unnamable focusing on two characters, two eyewitnesses: the scientist who discovers John Merrick and the photographer who becomes obsessed with finding a corpse in an amplified picture. Both these voyeurs seem to be in search of the bewitching and sublime darkness that lies within, a search that in a way is inaugurated by the Promethean doctor at the break of Modernity. The corporeal distance between monster and voyeur creates the unbearable morbidity that devours our gaze. And at that exact point, the figures are reversed and the voyeur becomes the actual monster. Soon enough, we discover that their perspective as voyeurs becomes ours, because through the cinematic experience the spectator becomes witness of the crime, part of the freak show, morbid viewer of the abject. Lynch and Antonioni, together with Shelley’s creature and creator, put the question of the body through a microscope and dare us spectators to look inside, to find the morbidity of truth and the limits of art.
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19

Nurbaiti, Alya, and Irham Nur Anshari. "Privacy Management in Social Network Sites: A Case Study on the Use of Finstagram for Mediated Voyeurism." Jurnal Media dan Komunikasi Indonesia 1, no. 2 (September 24, 2020): 114. http://dx.doi.org/10.22146/jmki.55012.

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In 2015, Instagram users started to create secondary accounts dubbed finstagram (fake Instagram) to fulfill the unmet needs of using the main account. Among the needs is to do mediated voyeurism or stalking — the act of watching other’s lives through the means of the media — safely. Prior Instagram studies have been more focused on the self-disclosure discourse while analysis on the voyeurs as consumers of disclosure is lacking. Using the case study method, this paper records the exercise of mediated voyeurism through finstagram and the privacy management that occurs within. The result shows that the use of finstagram for mediated voyeurism is driven by the perceived privacy risk (perceived risk of possible privacy violations). The perceived privacy risk encourages voyeur to navigate privacy management by adopting protecting behavior, or various forms of action taken to protect the exercise of stalking.
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20

Carbonnet, Adrien. "Impérialiste contre voyou." Cipango, no. 19 (October 30, 2012): 149–71. http://dx.doi.org/10.4000/cipango.1709.

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21

Scherer, René. "La morale du voyou." Chimères 85, no. 1 (2015): 113. http://dx.doi.org/10.3917/chime.085.0113.

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22

Munier, Brigitte. "L’imaginaire, un concept-voyou." Hermès 80, no. 1 (2018): 51. http://dx.doi.org/10.3917/herm.080.0051.

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23

Tammer, David. "Voyeur." Rocky Mountain Review of Language and Literature 40, no. 1/2 (1986): 34. http://dx.doi.org/10.2307/1566600.

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24

Rancourt, Jacques J. "Voyeurs." Colorado Review 44, no. 2 (2017): 148–49. http://dx.doi.org/10.1353/col.2017.0057.

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25

Weissmiller, Jan. "Voyeur." Iowa Review 28, no. 2 (July 1998): 36. http://dx.doi.org/10.17077/0021-065x.4995.

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26

Singh, Debashis. "Voyeur." BMJ 322, Suppl S5 (May 1, 2001): 0105169b. http://dx.doi.org/10.1136/sbmj.0105169b.

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27

Hammer, David. "Voyeur." Rocky Mountain Review 40, no. 1-2 (1986): 34. http://dx.doi.org/10.1353/rmr.1986.0009.

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28

Richter, Florence. "Jean Genet, poète et voyou." Histoire de la justice 23, no. 1 (2013): 235. http://dx.doi.org/10.3917/rhj.023.0235.

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29

Richter, Florence. "Jean Genet, poète et voyou." Revue interdisciplinaire d'études juridiques 61, no. 2 (2008): 73. http://dx.doi.org/10.3917/riej.061.0073.

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30

Boyer, Elsa. "Harun Farocki : que voyons-nous venir ?" Vertigo 48, no. 1 (2015): 89. http://dx.doi.org/10.3917/ver.048.0089.

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31

Gioia, Dana. "The Voyeur." Hudson Review 49, no. 3 (1996): 423. http://dx.doi.org/10.2307/3852510.

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32

Kemp, Martin. "Venus's voyeurs." Nature 393, no. 6686 (June 1998): 633. http://dx.doi.org/10.1038/31367.

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33

Veinberg, Jon. "The Voyeur." Missouri Review 12, no. 2 (1989): 57. http://dx.doi.org/10.1353/mis.1989.0100.

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34

Martínez, Ariel. "Café Voyeur." Papel Escena, no. 15 (February 28, 2017): 170–71. http://dx.doi.org/10.56908/pe.n15.87.

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Café Voyeur: espacio/tiempo en el que todo lo que ahí acontece está filtrado, lo vemos y lo sabemos a través de la mirada de Rouss, dueña del lugar que además atiende personalmente. El público asiste y es testigo o voyeur de una serie de encuentros y desencuentros que se entrecruzan, en los que la estupidez humana es la escénica del conflicto, el punto de partida y el detonante del acontecimiento escénico cuyo desenlace será completamente insospechado.
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35

Smith, Anna Deavere, Henry Louis Gates, and Diane Wood Middlebrook. "The Artful Voyeur." Transition, no. 67 (1995): 186. http://dx.doi.org/10.2307/2935266.

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36

Johnston, Fred, Aidan Murphy, Dermot Bolger, Angela Greene, and Tom Morgan. "Voyeur and Craftsman." Books Ireland, no. 145 (1990): 199. http://dx.doi.org/10.2307/20630665.

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37

Levine, Les. "V for VOYEUR." Public 28, no. 56 (October 1, 2017): 162–65. http://dx.doi.org/10.1386/public.28.56.162_7.

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38

Cooper, Danielle Chavy, and Nina Bouraoui. "La voyeuse interdite." World Literature Today 67, no. 1 (1993): 145. http://dx.doi.org/10.2307/40148876.

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39

Heer, Jeffrey, Fernanda B. Viégas, and Martin Wattenberg. "Voyagers and voyeurs." Communications of the ACM 52, no. 1 (January 2009): 87–97. http://dx.doi.org/10.1145/1435417.1435439.

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40

Cesana, Marcos. "O voyeur estúpido." Sinopse (São Paulo) 1, no. 2 (August 20, 1999): 22–23. http://dx.doi.org/10.11606/issn.1807-8907.v1i2p22-23.

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41

Landy, Robert. "« BHL », pape du conformisme ou « philosophe voyou » ?" Commentaire Numéro 130, no. 2 (May 1, 2010): 549–51. http://dx.doi.org/10.3917/comm.130.0549.

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42

Groopman, Jerome, and Frédéric Ogée. "Voyons ce que vous avez dans le ventre !" Books N° 118, no. 2 (February 8, 2022): 49–53. http://dx.doi.org/10.3917/books.118.0049.

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43

Aubron, Hervé. "Nous voyons souvent sa dépouille flottante garnir les broussailles." Vertigo 23, no. 1 (2002): 16. http://dx.doi.org/10.3917/ver.023.0016.

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44

Klein, Gabriella B. "De la langue unitaire à la langue autarcique : le discours sur la langue pendant le fascisme en Italie." Cahiers du Centre de Linguistique et des Sciences du Langage, no. 17 (April 9, 2022): 93–100. http://dx.doi.org/10.26034/la.cdclsl.2004.1598.

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Voyons précisément quels sont les discours formulés autour des questions linguistiques tant de la part des représentants du gouvernement fasciste que de la part des scientifiques (linguistes, écrivains, personnages influents de la culture). Les termes caractérisant ces discours sont mis entre guillemets pour souligner le style idéologisant avec lequel, à l'époque, on développait le débat autour des questions linguistiques.
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45

Canman, Julie C. "Becoming a cell voyeur." Nature Cell Biology 7, no. 8 (August 2005): 783. http://dx.doi.org/10.1038/ncb0805-783.

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46

Cooper, Danielle Chavy, and Conrad Detrez. "La mélancolie du voyeur." World Literature Today 61, no. 3 (1987): 420. http://dx.doi.org/10.2307/40143336.

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47

Zelinsky, Wilbur. "The Geographer as Voyeur." Geographical Review 91, no. 1/2 (January 2001): 1. http://dx.doi.org/10.2307/3250798.

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48

Dahmen, Nicole Smith. "Watchdog, Voyeur, or Censure?" Journalism Practice 9, no. 3 (September 3, 2014): 418–32. http://dx.doi.org/10.1080/17512786.2014.950883.

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49

Bynum, W. F. "American voyeurs in Paris." Nature 392, no. 6674 (March 1998): 349–50. http://dx.doi.org/10.1038/32813.

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50

Lauru, Didier. "Etat limite, adolescence, cannabis et cocaïne." Ágora: Estudos em Teoria Psicanalítica 17, spe (August 2014): 11–22. http://dx.doi.org/10.1590/s1516-14982014000300002.

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Les adolescents ont une appétence marquée pour les substances psychoactives. Certains, selon leur personnalité, vont aux limites de leur structure psychique. Dans la clinique, nous voyons bien souvent des états limites se révéler, bien distincts des usuelles adolescences problématiques. Les substances stupéfiantes, utilisées dans un premier temps comme anxiolytiques, deviennent vite source d'angoisse, et parfois mettant à jour des sujets en état limite.
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