Gotowe bibliografie tematyczne / Georges Rousse

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Gotowa bibliografia na temat „Georges Rousse”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 12 lutego 2022

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Artykuły w czasopismach na temat "Georges Rousse"

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Carluccio, Daniele. "Georges Perec et le deuil de l’achèvement". Voix Plurielles 11, nr 2 (3.12.2014): 32–41. http://dx.doi.org/10.26522/vp.v11i2.1098.

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Qu’est-ce que lire en moderne ? Walter Benjamin définit l’homme moderne, et donc aussi le lecteur moderne, comme un « caractère traumatophile ». Jules de Gaultier, le théoricien du bovarysme, compare Mme Bovary, la fameuse héroïne lectrice de Flaubert, à un artiste contraint à l’inachèvement, qui échoue à insuffler la vie à l’idéal qu’elle trouve dans les livres. Dans cet article, j’explore le cas de Georges Perec lecteur de Raymond Roussel dans un essai initulé Roussel et Venise. Esquisse d’une géographie mélancolique. Puis je m’intéresse à Perec à la fois auteur et lecteur de W, cette fiction inachevée inscrite dans un contexte autobiographique qui en dévoile l’origine traumatique. Je m’efforce de montrer que l’œuvre de Perec s’adresse à un lecteur qui lui ressemble : ce lecteur moderne, mélancolique, qui doit faire le deuil de l’achèvement. Georges Perec and the Mourning for Completion ABSTRACT What is modern reading? Walter Benjamin defines the modern man, and thus the modern reader, as a “traumatophilic type”. Jules de Gaultier, the theoretician of bovarism, compares Mrs Bovary, the famous Flaubertian reading hero, to an artist constrained to incompletion, who fails to bring the ideal she finds in books to life. In this article, I explore the case of Georges Perec as reader of Raymond Roussel in an essay entitled Roussel and Venice. Outline of a Melancholic Geography. Secondly, I focus on Perec as both author and reader of W, an incomplete fiction included in an autobiographical context which reveals its traumatic origin. I attempt to show that the work of Perec is for a reader who is similar to him: a modern, melancholic reader who mourns for completion.
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Bernier, Serge. "Roussel, Éric, Georges Pompidou. Paris, J.C. Lattès, 1984, 563 p." Études internationales 16, nr 3 (1985): 701. http://dx.doi.org/10.7202/701915ar.

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Carvalho, Manoel Jarbas Vasconcelos. "A RELIGIÃO INTIMISTA DE ROUSSEAU: UM DEBATE SOBRE A RELAÇÃO ENTRE CONSCIÊNCIA, RAZÃO E CONHECIMENTO". Revista Dialectus - Revista de Filosofia, nr 15 (24.12.2019): 203–17. http://dx.doi.org/10.30611/2019n15id43145.

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A discussão concernente à relação entre a razão e a consciência moral no pensamento rousseauniano anima os longos debates entre os estudiosos de Rousseau. A influência religiosa que reivindica a primazia da consciência moral sobre a razão a que Jean-Jacques esteve exposto no decorrer de sua vida foi amplamente estudada por Pierre-Maurice Masson em La religion de J.-J. Rousseau: la formation religieuse de Rousseau. Sob outro aspecto, autores como Georges Beaulavon, Émile Bréhier e especialmente Robert Derathé, em Le rationalisme de Jean-Jacques Rousseau, compreenderam a obra do genebrino sob o prisma do racionalismo de Descartes e Malebranche. O objetivo desta pesquisa, além de trazer à tona a discussão sobre esses estudos, é mostrar que a razão e a consciência moral coexistem e interdependem-se no interior do pensamento de Rousseau.
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Rabinbach, Anson. "George Mosse and the Culture of Antifascism". German Politics and Society 18, nr 4 (1.12.2000): 30–45. http://dx.doi.org/10.3167/104503000782486426.

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A survey of his extensive bibliography reveals that George Mosse wrote very little about the only movement that he ever called his political “Heimat”: antifascism. Nonetheless, in his last years, while writing his memoir Confronting History, he returned to the scenes of his youthful engagement on the left, acknowledging that his “political awakening” was due not merely to his being the refugee scion of the eminent Berlin German-Jewish family whose newspapers were excoriated almost daily by the Nazis. Rather, like many in his generation, at age seventeen George was roused from a sleepy indifference to his studies at the Quaker Bootham School in York-shire by the Spanish Civil War. If his activity on behalf of Spain was still “sporadic” during his last year at Bootham, at Cambridge, which George entered in the fall of 1937, commitment became more intense and eventually, he recalled, “marked my two years as an undergraduate.”
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Uriz Pemán, María Jesús. "Hacia una ética universal y social. La perspectiva interaccionista de George Herbert Mead (1863-1931)". Estudios de Deusto 41, nr 1 (29.01.2015): 179. http://dx.doi.org/10.18543/ed-41(1)-1993pp179-202.

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a) Influencia de Kant, Rousseau y el Cristianismo. b) Aplicación de la Ciencia a la conducta moral. c) Mecanismos psicológicos que son prerrequisitos del comportamiento moral. d) Derechos naturales e instituciones. Bibliografía utilizada.
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Lejon, Kjell O. "From Civil Religion to Presidential Public Theology—A Re-evaluation of the American Civil Religion Phenomenon. The Case of George H. W. Bush". European Journal of Multidisciplinary Studies 3, nr 4 (29.11.2018): 155. http://dx.doi.org/10.26417/ejms.v3i4.p155-162.

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Since the inauguration of the civil religion debate in the United States in 1967, it has been argued that the religious dimension of American presidency should be understood as a kind of civil religion, normally based upon the definition of Jean Jacque Rousseau, or variations of this his definition. However, in this article the author argues, based upon the empirical material presented in Public Papers of the President and elsewhere, that a more accurate description of the religion dimension of some modern presidencies is public theology. He uses the presidency of George H. W. Bush as a case study.
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Laporte, Dominique. "L’art romanesque et la pensée de George Sand dans Jacques (1834)". Analyses 29, nr 2 (12.04.2005): 123–36. http://dx.doi.org/10.7202/501165ar.

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Cette étude traite de l'organisation romanesque et de la thématique de Jacques (1834), un roman épistolaire de George Sand qui orchestre des thèmes majeurs de l'oeuvre sandienne : l'éducation et la sexualité féminines, l'androgynie, le mariage, l'inceste. Sur le modèle de la Nouvelle Héloïse (1761) de Jean-Jacques Rousseau, Jacques reprend des procédés du genre épistolaire, tout en renouvelant le traitement de thèmes romantiques : l'amour, la relation entre frère et soeur, l'inceste. À travers une structure polyphonique et un discours parodique sur le romanesque, l'auteure remet en question les rôles socioculturels traditionnels et défend une conception égalitaire des relations hommes-femmes.
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Isman, Sibel Almelek. "Eiffel Tower Through The Eyes of Painters". New Trends and Issues Proceedings on Humanities and Social Sciences 4, nr 11 (27.12.2017): 01. http://dx.doi.org/10.18844/prosoc.v4i11.2845.

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The Eiffel Tower, the global icon of France, was erected as the entrance to the Paris International Exposition in 1889. It was a suitable centrepiece for the World Fair, which celebrated the centennial of the French Revolution. Although the tower was a subject of controversy at the time of its construction, many European painters have been inspired by the majestic figure of the Eiffel Tower. They picturised the tower in their portraits and cityscapes. Paul Louis Delance, Georges Seurat, Paul Signac and Henri Rousseau were the first artists to depict this symbol of modernity. Robert Delaunay and Marc Chagall used the image of the tower most frequently. Maurice Utrillo, Raoul Dufy, Fernand Léger, Diego Rivera, Max Beckmann and Christian Schad can also be counted among the artists who picturised the tower. The Eiffel Tower appears differently in the eyes of pointillist, expressionist, orfist, cubist and abstract painters. Keywords: Eiffel Tower, European art, painting.
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van Oostveldt, Bram, i Stijn Bussels. "The Sublime and French Seventeenth-Century Theories of the Spectacle: Toward an Aesthetic Approach to Performance". Theatre Survey 58, nr 2 (19.04.2017): 209–32. http://dx.doi.org/10.1017/s0040557417000072.

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Theatre scholars and historians assume too easily that theoretical reflection on the performative qualities of the theatre began only in the eighteenth century. In mid-eighteenth century France, writers and philosophers such as Denis Diderot, Jean le Rond D'Alembert, Jean-Jacques Rousseau, Antoine-François Riccoboni, or Jean-Georges Noverre (to name but a few) showed a passionate interest in the aesthetics and the morality of performance practices in dramatic theatre, music theatre, or dance. Compared to this rich diversity of ideas in the eighteenth century, seventeenth-century French writings on theatre and the performing arts seem, at first sight, far less interesting or daring. However, this is merely a modern perception. Our idea of le théâtre classique is still rather reductionist, and often limited to the theatrical canon of Pierre Corneille, Jean Racine, and Molière. It affords a view of the performing arts that is dominated by tragedy and comedy and that, firmly embedded within a neo-Aristotelian poetics, privileges dramatic concerns above performative interests.
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Radin, Beryl A. "Reclaiming Our Past: Linking Theory and Practice". PS: Political Science & Politics 46, nr 01 (styczeń 2013): 1–7. http://dx.doi.org/10.1017/s1049096512001230.

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As others have done before me, I am honored to receive the APSA John Gaus Award. As I prepared this lecture, I realized that the Gaus award has been given by APSA 26 times; mine is the 27th. The first was awarded to Herbert Kaufman whose work set a very high standard for this honor. Reviewing the list of the other Gaus award recipients provides a picture of the development of our field. It includes a variety of individuals who represent different approaches to the intersection of public administration and political science. Among the recipients are seven individuals who had a major and personal influence on my work: Aaron Wildavsky, Frank Rourke, George Frederickson, Martha Derthick, Lou Gawthrop, Larry Lynn, and David Rosenbloom. Others are people who have been important to my own intellectual development.
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Rozprawy doktorskie na temat "Georges Rousse"

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Gleizes, Laurie. "[Dé]construction et mise en résonance des espaces : l'architecture en question chez Georges Rousse". Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30091.

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Etablissant une relation inédite entre la peinture, la photographie, l'architecture et l'espace qui questionne et déplace les frontières entre les médias traditionnels, l'œuvre de Georges Rousse se place au cœur de nos recherches. C'est la mise en critique de l'espace, de la représentation spatiale et des processus de création et de réception que nous cherchons à questionner, induisant une approche transdisciplinaire. L'œuvre de l'artiste relève d'un usage de dispositifs paradoxaux, du projet et de sa représentation, il nous oriente vers une manière de penser et de produire l'espace – construit, architecturé, fictif. C'est parce que ce processus fait écho à la conception et à la matérialisation d'un espace que nous nous interrogeons sur le statut que son œuvre confère à l'objet-architecture. [Dé]construire l'œuvre de Georges Rousse s'avère une occasion d'enrichir la pensée architecturale qui ouvre à des problématiques relatives à la notion de projet, rapportée et distinguée entre une démarche architecturale et une démarche plastique. A l'interface entre l'architecture comme matière à créer et comme matière à penser ; le projet est étudié en termes de processus – création, réflexion, conception et réception. La spatialité de l'intervalle, la mise en scène des espaces, la photographie à trois dimensions et les références topologiques plurielles juxtaposées nous amènent à réactualiser le processus de projection propre à l'architecte par la mise en critique de son œuvre. La mise en résonance des espaces, construits et [dé]construits, nous permet de questionner l'espace mental de conception – camera obscura visuelle de l'architecte. Le processus de conception, comme mise en mouvement de pensées pesées, permet à l'architecte de considérer les possibles avant de formuler une proposition de projet, un propos spatial
By establishing an unprecedented relationship between painting, photography, architecture and space, Georges Rousse's work throws into question the boundaries within traditional media, and blurs them. This singular approach places his work at the heart of our researches. Our goal is to question space, spatial representation and the creative process in and of themselves, as well as perception, by inducing a transdisciplinary approach.The working process set up by the artist falls within paradoxical arrangements. Starting from the notion of project and its representation, he drives us towards a way of thinking and producing space (constructed space, architectured space, fictitious space). It is precisely because this working process echoes with the conception and materialization of space, that we intend to explore the status given by his body of work to the Architectural Object. [De]constructing George Rousse’s body of work represents an opportunity to enrich the architectural thought by opening new challenges that relate to the notion of project, in relation and compared to an architectural and plastic approach. We investigate the project as processes – creation, reflexion, conception and perception – at the interface between architecture taken as food for thought, and architecture taken as food for creation.The spatiality of the interval, the staging of spaces, the three-dimensional photography and the plural juxtaposed topological references, leads us to update the projection process inherent to the architect by putting into question his body of work. Aligning constructed and [de]constructed spaces allows us to query the mental space of conception – visual camera obscura of the architect. The conception process, as a “set in motion” of weighted thoughts, enables the architect to consider all potential possibilities before drawing up a project proposal, a spatial statement
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Alaman, Garcera Jorge. "Intervenciones artísticas-gráficas sobre objeto de diseño y espacio. Op Art; la obra de Felice Varini y Georges Rousse y su posible aplicación al diseño de producto". Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/61303.

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[EN] ABSTRACT The development of this thesis supposes an opportunity of learning and a tool in the area of Industrial Design teaching. The experience of having been teaching for fourteen years in the Escuela Técnica Superior de Ingeniería del Diseño of the Universitat Politècnica de Valencia and particularly in the subject of Artistic Expression, belonging to the first course of the degree in Product Design, inspired me to investigate areas which may be able to promote creativity and foster the perception as a resource when designing. We value as the two main bases in the vocational development of the student of Design, the perception and the creativity, observing in the novice students a lack of these skills, which makes difficult an organised improvement in their formation and their acquisition of abilities. Therefore we consider imperative the education in both of these areas. We are giving value to Jules Goncourt's thought: "The longest apprenticeship of all the arts is learning how to see". We reckon the important role that perception plays: "Things are not seen as they are; they are seen as we are" (H. Ascasubi). We analyse the perception among the students of the first course of ETSID. Given that we know the society is overloaded with visual stimuli, we consider the Op Art and its current reference in Felice Varini and Georges Rousse's work, a proper mean to connect with the students, so that it can work as a resource to reflect and discover the perception, the shape, the space and the creativity; elements which are all interrelated in a very interesting way in the work of the artists object of study. We intend to deeply analyse the perception (sense and knowledge) and the perspective as its representation, appreciating the technique of the anamorphosis as a creative and intriguing rupture, which may provoke a new way of looking on the students of Design, providing them with new resources, different points of view, new interpretations of the object, needs. In this thesis, more than arguing the pedagogical component of art for the students of Design, singled out in the Op Art, we intend to show the positive link that exists between art, and product design, from basic aspects; the creativity, the formal and graphic resources, the subject-object connection relating to perception and in the formal aspect, the link between two and three dimensions.
[ES] RESUMEN La realización de esta tesis se presenta como una oportunidad de aprendizaje y herramienta en el ámbito de la enseñanza del diseño industrial, la experiencia docente de catorce años en la Escuela Técnica Superior de Ingeniería de Diseño de la Universidad Politécnica de Valencia y en especial en la asignatura Expresión Artística de primer curso del Grado en Diseño de Producto, me ha impulsado a investigar áreas que puedan motivar la creatividad y potenciar la percepción como recurso de diseño. Hemos valorado como dos pilares fundamentales en el desarrollo vocacional del estudiante de diseño la percepción y la creatividad, observando en los alumnos nóveles carencias en estas áreas que dificultan un ordenado crecimiento en la formación y adquisición de capacidades, por lo que vemos prioritario educar en estas dos áreas. Poniendo en valor el pensamiento de Jules Gouncourt: "El más largo aprendizaje de todas las artes es aprender a ver." Nos planteamos la influencia de la percepción; "Las cosas no se ven como son, las vemos como somos" (H. Ascasubi). Analizamos la percepción del alumnado de primer curso de ETSID. Conociendo que la sociedad está sobrecargada de estímulos visuales nos parece el Op Art y su referente actual en la obra de Felice Varini y Georges Rousse un medio para conectar con el alumnado de manera que sea un recurso para la reflexión y el descubrimiento de la percepción, la forma, el espacio y la creatividad, elementos que se interrelacionan de muy interesante manera en la obra de los artistas objeto de estudio. Buscamos analizar en profundidad la percepción (sentido y conocimiento) y la perspectiva como su representación, valorando la técnica de la anamorfosis como ruptura creativa y sugerente, que puede provocar una nueva mirada en el alumno de diseño capacitándolo con nuevos recursos, distintos puntos de vista, nuevas lecturas del objeto, necesidades. En esta tesis más allá de argumentar el componente pedagógico del arte para el estudiante de diseño, singularizado en el Op Art, buscamos demostrar la positiva vinculación del arte con el diseño de producto desde aspectos básicos; la creatividad, los recursos formal y gráfico, la relación perceptual sujeto-objeto y en el aspecto formal la relación entre dos y tres dimensiones.
[CAT] RESUM La realització d'aquesta tesi es presenta com a una oportunitat d'aprenentatge i com a eina a l'àmbit de l'ensenyament del disseny industrial. L'experiència docent de catorze anys a l'Escola Tècnica Superior d'Enginyeria de Disseny de la Universitat Politècnica de València i, en especial, en l'assignatura d'Expressió Artística de primer curs del Grau en Disseny de Producte, m'ha impulsat a investigar àrees que poden motivar la creativitat i potenciar la percepció com a recurs per al disseny. Hem valorat dos fites fonamentals en el desenvolupament vocacional de l'estudiant de disseny: la percepció i la creativitat. Tanmateix, observem en els alumnes novells carències en aquestes àrees que dificulten un ordenat creixement en la formació i adquisició de capacitats. Veiem, doncs, prioritari educar en aquestes dos àrees, posant en valor el pensament de Jules Gouncourt: "El més llarg aprenentatge de totes les arts és aprendre a veure." Ens plantegem la influència de la percepció: "Les coses no es veuen com són, les veiem com som" (H. Ascasubi) i analitzem la percepció de l'alumnat de primer curs d'ETSID. Assumint que la societat està saturada d'estímuls visuals, ens sembla l'Op Art i el seu referent actual en l'obra de Felice Varini i Georges Rousse un mitjà per a connectar amb l'alumnat de manera que siga un recurs per a la reflexió i el descobriment de la percepció, la forma, l'espai i la creativitat, elements que s'interrelacionen de manera molt interessant en l'obra dels artistes que són objecte d'estudi. Cerquem analitzar en profunditat la percepció (sentit i coneixement) i la perspectiva com a la seua representació, valorant la tècnica de l'anamorfosi com a ruptura creativa i suggeridora, que pot provocar una nova mirada en l'alumne de disseny. D'aquesta manera el capacita amb nous recursos, distints punts de vista, noves lectures de l'objecte, necessitats. En aquesta tesi, més enllà d'argumentar el component pedagògic de l'art per a l'estudiant de disseny, singularitzat en l'Op Art, busquem demostrar la positiva vinculació de l'art amb el disseny de producte des d'aspectes bàsics: la creativitat, els recursos formal i gràfic, la relació perceptual subjecte-objecte i en l'aspecte formal, la relació entre dos i tres dimensions.
Alaman Garcera, J. (2016). Intervenciones artísticas-gráficas sobre objeto de diseño y espacio. Op Art; la obra de Felice Varini y Georges Rousse y su posible aplicación al diseño de producto [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/61303
TESIS
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Najdek, Carl Lienesch Michael. "Revolutionizing Rousseau an analysis of the political thought of Jean-Paul Marat, Georges Jacques Danton, and Maximilien Robespierre /". Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,2074.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2008.
Title from electronic title page (viewed Feb. 17, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Political Science." Discipline: Political Science; Department/School: Political Science.
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Petersen, Thomas. "Subjektivität und Politik : Hegels "Grundlinien der Philosophie des Rechts" als Reformulierung des "Contrat social" Rousseaus /". Frankfurt am Main : Hain, 1992. http://catalogue.bnf.fr/ark:/12148/cb366615661.

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Gillett, Jessica C. "Monetizing truck freight and the cost of delay for major truck routes in Georgia". Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42907.

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This research provides an example delay calculation for long-haul single unit and combination trucks on Interstate-75 (I-75) in Georgia. Truck profiles on Georgia interstates are used to calculate the value of freight by truck type and commodity moved. Determining the types of trucks and commodities moved within the state of Georgia allows the researcher to monetize the effect of recurring congestion by location in addition to the cost of lost time. A more accurate calculation of delay based on truck type and commodity moved will better inform the Georgia Department of Transportation about the performance of Georgia's major truck routes and its potential effect on the local economy. A review of past research on this topic found that the calculated cost of delay in previous studies varied widely based on truck and commodity type. The identification of the types of commodities moved can assist in better monetizing the value of truck freight. Using forecast data on future truck traffic volume increases in the corridor, the growing importance of putting a value on different types of truck freight delay costs are demonstrated.
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Lee, Wing-tim. "The unity of particular and universal ends : Rousseau and Hegel in comparison /". [Hong Kong : University of Hong Kong], 1989. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12776865.

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Maumigny-Garban, Bénédicte de Soëtard Michel. "Démarche autobiographique et formation modélisation historique et essai de catégorisation fonctionnelle /". Lyon : Université Lumière Lyon 2, 2003. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2003/demaumigny_b.

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Eyssidieux-Vaissermann, Anne. "Hegel, lecteur de Rousseau : droit naturel et science de l'Etat". Paris 1, 2003. http://www.theses.fr/2003PA010619.

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Le rapport de Hegel à Rousseau est complexe parce qu'il s'effectue selon différentes modalités et qu'il est en partie occulté. Notre analyse nous conduit à distinguer trois niveaux de lecture : - une première lecture permet de faire une archéologie du problème pratique (les travaux de jeunesse). - une seconde lecture permet, par le dialogue critique avec le droit naturel qu'elle engage, d'élaborer le projet d'une philosophie de l'esprit (les écrits de Iéna). - enfin une troisième lecture concerne l'architecture de la philosophie du droit qui reprend la structure générale des traités jusnaturalistes, articulant droit naturel et science de 1' Etat. . Le projet de Hegel ne consiste pas, selon notre hypothèse, à ruiner la tradition jusnaturaliste, mais à dépasser son abstraction caractéristique pour fonder une véritable science du droit naturel, préalable indispensable à la science de l'Etat. Les Principes de la philosophie du droit apparaissent alors comme la reformulation du Contrat social de Rousseau.
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Cristiani, Valentina. "“Ad ogni donna pensata come amore in un attimo di libertà” Fabrizio De André tra due mondi: Georges Brassens e Leonard Cohen". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16480/.

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Il presente lavoro si propone di analizzare approfonditamente il processo traduttivo nell’opera del cantautore italiano Fabrizio De André, in quanto virtuoso esempio di traduzione etica e culturale. In modo particolare, approfondiremo in questo excursus il lascito della poetica di Georges Brassens e Leonard Cohen nella visione deandreiana, attraverso un’analisi comparativa dei brani originali in lingua francese e inglese e dei brani tradotti in lingua italiana, nell’alveo di una tematica che costituisce a pieno diritto il vero e proprio fil rouge nell’opera dei tre autori: la declinazione della figura femminile come esempio di dignità e resilienza, anche e soprattutto in contesti sociali di emarginazione. Prenderemo, inoltre, in esame il caso specifico della traduzione della canzone d'autore, che costituisce un esempio di grande rilevanza nell'ambito traduttivo, in quanto chi è chiamato a tradurre deve possedere conoscenze ritmico-musicali di un certo spessore, oltre a competenze linguistiche e traduttive.
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Snyder, David. "The war on terror tensions in the social contract post-September 11 /". Diss., Connect to the thesis, 2004. http://hdl.handle.net/10066/733.

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Książki na temat "Georges Rousse"

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Rousse, Georges. Georges Rousse. Barcelona: Museu d'Art Contemporani, 1996.

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Rousse, Georges. Georges Rousse. Kyoto, Japan: Kyoto Shoin, 1990.

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Piquet, Philippe. Georges Rousse. Châteauroux: Musées de Châteauroux, 2003.

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Rousse, Georges. Georges Rousse. Paris: Galerie Farideh Cadot, 1990.

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Rousse, Georges. Georges Rousse. [Arles]: Actes Sud, 1994.

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Rousse, Georges. Georges Rousse: 1981-2000. Genève: Bärtschi-Salomon Éditions, 2000.

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Rousse, Georges. Georges Rousse: 1983-1987. Bristol: Arnolfini, 1987.

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Georges Rousse: Tour d'un monde, 1981-2008. Arles: Actes sud, 2008.

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Nathalie, Roux, Charre Alain i Musée d'art Roger-Quilliot, red. Georges Rousse: Architectures : rencontre Clermont-Ferrand 2000-2010. Suresnes: Bernard Chauveau Éditeur, 2010.

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Rousse, Georges. Georges Rousse suivi d'un extrait des Chants de Maldoror de Lautreamont. Arles: Actes Sud, 1986.

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Części książek na temat "Georges Rousse"

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Caffio, Giovanni. "Anamorphic Perspective and Architectural Space. Two Works by Felice Varini and Georges Rousse". W Graphic Imprints, 1293–302. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93749-6_107.

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Dodd, Valerie A. "Marian Evans (1844–1850) Foster and Rousseau". W George Eliot, 99–108. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1057/9780230372863_11.

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Gamkrelidze, Irakli, Avtandil Okrostsvaridze, Kakhaber Koiava i Ferando Maisadze. "Geotourist Routes of Georgia". W Geoheritage, Geoparks and Geotourism, 25–55. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-62966-3_3.

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Villemur, Frédérique. "L’architecture en chambre optique : Georges Rousse à Chambord". W Ville et architecture en perspective, 313–30. Presses universitaires de Paris Nanterre, 2018. http://dx.doi.org/10.4000/books.pupo.13038.

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"THE LIGHT OF DEATH, A SACREDNESS OF DOING: GEORGES ROUSSE". W Contemporary French Art 2, 47–68. Brill | Rodopi, 2011. http://dx.doi.org/10.1163/9789401200455_005.

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"Why Read Rousseau?" W Collected Works of George Grant. Toronto: University of Toronto Press, 2009. http://dx.doi.org/10.3138/9781442687677-035.

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"George Gregory Roussas: Biographical Sketch". W Asymptotics in Statistics and Probability, redaktor Madan L. Puri, XVII—XXIV. Berlin, Boston: De Gruyter, 2000. http://dx.doi.org/10.1515/9783110942002-003.

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"JEAN-JACQUES ROUSSEAU (1712–78)". W The George Grant Reader, redaktorzy William Christian i Sheila Grant. Toronto: University of Toronto Press, 1998. http://dx.doi.org/10.3138/9781442681361-029.

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"APPENDIX: The Publications of George Gregory Roussas". W Asymptotics in Statistics and Probability, redaktor Madan L. Puri, 423–32. Berlin, Boston: De Gruyter, 2000. http://dx.doi.org/10.1515/9783110942002-029.

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Dentith, Simon. "George Eliot, Rousseau, and the Discipline of Natural Consequences". W The Victorians and the Eighteenth Century, 41–56. Routledge, 2017. http://dx.doi.org/10.4324/9781315236629-3.

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Streszczenia konferencji na temat "Georges Rousse"

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LAMBRINOS, NIKOS, i Efthimios-Spyridon Georgiou. "YEDI KULE - MONUMENT ROAD RACE: THE CONSTRUCTION OF THE 3D MAPPING ANIMATION OF THE OLD CITY OF THESSALONIKI, GREECE". W ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12046.

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This project refers to the construction of a 3D map of Thessaloniki’s historical route. The Yedi Kule Conquest – Monument Road Race took place in the old city of Thessaloniki, which was built during the Byzantine and Ottoman period. The purpose of this project is the digital recording of the castles, the monuments, the old churches, the traditional buildings, and the squares which are prime examples of the architectural beauty of the place. The methodology of the project is based on the online software Google Earth Studio and Adobe Premiere Pro. These are the tools of digitization, rendering, and building process of the animation. With this methodology, the authors achieved the documentation of land use and the architectural landscape. The animation is a credible graphic index of the historical background of Thessaloniki. The Yedi Kule area constitutes of a cultural mosaic made from different historic periods. The buildings and the neighbourhoods give the sense of transition of the narrow roads, the old Christian churches, the house of the first Turkish governor, and the byzantine castle to the modern city. In Thessaloniki, three historic periods coexist the Ancient Greek/Roman, the Byzantine, and Ottoman Empire. The responsibility of the governmental politics and of every citizen of Thessaloniki is to promote and preserve the historic background of the city. The final product offers a good opportunity for the digital storage of Thessaloniki’s old city. The animation creates an interactive environment that portrays the current image of the transition from the old to a modern city.
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Burak, Nurhilal. "Genoese Traces in the Black Sea Coast of Turkey’s Forts". W FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11524.

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The Black Sea is an interior sea and located between Bulgaria, Romania, Moldova, Ukraine, Russia, Georgia and Turkey. The Black Sea flows through the Bosporus and reaches the Marmara Sea. Strong winds and stream has seen in the Black Sea in most of times in a year. Because of that natural bays were preferred while the ports and settlements were established. Republic of Genoa has started to plan the trade routes that will be carried out on the Black Sea coast since the Treaty of Nymphaeum signed in 1261. The settlements of the Genoese colonies along the Black Sea coast were not simultaneous. From 1266 onwards, there had been a growth of about 200 years. They intervened in some of the defense structures in these ports. They have placed their own coat of arms on the walls of the defensive structures they had built or repaired. The information is obtained about the colonies in these ports from the trade records which kept by Genoese (Massaria di Caffa, Massaria di Pera), the maritime maps (portolans) produced in those centuries and the medieval historians. The scope of this paper is to be examined that between Bulgaria and Georgia borders the Black Sea port of Turkey’s remaining strongholds which Genoese used for trade. Historical documents and maps will be used as well. In the light of these methods, the ports used by the Republic of Genoa on the shores of the Black Sea, established colonies and construction activities in the thirteenth - fifteenth centuries will be examined.
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Ardıl, Cemal. "Turkey - Black Sea Economic Cooperation Organization: Foreign Trade Relations during the 1996-2012 Period". W International Conference on Eurasian Economies. Eurasian Economists Association, 2013. http://dx.doi.org/10.36880/c04.00661.

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This paper presents the regional economic relations between Turkey and Black See Economic Cooperation Organization (BSEC). The Heads of State and Government of eleven countries: Albania, Armenia, Azerbaijan, Bulgaria, Georgia, Greece, Moldova, Romania, Russia, Turkey and Ukraine signed the Summit Declaration and the Bosphorus Statement giving birth to the Black Sea Economic Cooperation on 25 June 1992, in Istanbul. On 5 June 1998, the Heads of State or Government signed the BSEC Charter, came into force on 1 May 1999 BSEC has evolved into an international regional organization for economic cooperation. The organization has 12 members since Serbia joining the organization in 2004. It came into existence as a unique and promising model of multilateral political and economic initiative aimed at fostering interaction and harmony among the Member States, as well as to ensure peace, stability and prosperity encouraging friendly and good-neighbourly relations in the Black Sea region. Countries bordering the Black Sea, Balkan and Caucasus formed the BSEC countries cover an area of approximately 20 million square kilometer and represent more than 350 million people. The region with the foreign trade volume of U.S. $ 300 billion per year draws attention to the rich natural resources; and is the main European energy and transport corridor transfer. The Black Sea region is a contested neighbourhood and the subject of intense debates and conflicts in the globe. Also, this reflects the changing dynamics of the Black Sea region, its complex realities, the interests of outsiders and the region’s relations with the rest of the globe. Moreover, its strategic position, linking north to south and east to west, as well as its oil, gas, transport and trade routes are all important reasons for its increasing relevance. Turkey's foreign trade volume with BSEC member countries is steadily increasing as per the findings over the period of 1996-2012.
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