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What Feminism? Author(S): Alice A
Berghahn Books What Feminism? Author(s): Alice A. Jardine Source: French Politics, Culture & Society, Vol. 28, No. 2, SPECIAL ISSUE: Simone de Beauvoir: ENGAGEMENTS, CONTEXTS, RECONSIDERATIONS (Summer 2010), pp. 66-74 Published by: Berghahn Books Stable URL: https://www.jstor.org/stable/42843656 Accessed: 11-05-2020 19:30 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Berghahn Books is collaborating with JSTOR to digitize, preserve and extend access to French Politics, Culture & Society This content downloaded from 206.253.207.235 on Mon, 11 May 2020 19:30:25 UTC All use subject to https://about.jstor.org/terms What Feminism? Alice A. Jardine Harvard University There is a new bridge in Paris: La Passerelle Simone de Beauvoir. I love this bridge. Almost as if in perfect harmony with its namesake, it joins the National Library with the Bercy Park, once a famous wine depot, still full of vineyards. Beauvoir would no doubt have loved the fact that the bridge joins the reading of books with the imbibing of spirits. Incorporating its etymological groundings in "passer" and "elles," the Simone de Beauvoir footbridge bounces, moves, spi- raling along its various levels of passageways from side to side, up and down, within an undulating rhythm at times a little dizzying. -
Workers and Labour in a Globalised Capitalism
Workers and Labour in a Globalised Capitalism MANAGEMENT, WORK & ORGANISATIONS SERIES Series editors: Gibson Burrell, School of Management, University of Leicester, UK Mick Marchington, Manchester Business School, University of Manchester and Strathclyde Business School, University of Strathclyde, UK Paul Thompson, Strathclyde Business School, University of Strathclyde, UK This series of textbooks covers the areas of human resource management, employee relations, organisational behaviour and related business and management fields. Each text has been specially commissioned to be written by leading experts in a clear and accessible way. The books contain serious and challenging material, take an analytical rather than prescriptive approach and are particularly suitable for use by students with no prior specialist knowledge. The series is relevant for many business and management courses, including MBA and post-experience courses, specialist masters and postgraduate diplomas, professional courses and final-year undergraduate courses. These texts have become essential reading at business and management schools worldwide. Published titles include: Maurizio Atzeni WORKERS AND LABOUR IN A GLOBALISED CAPITALISM Stephen Bach and Ian Kessler THE MODERNISATION OF THE PUBLIC SERVICES AND EMPLOYEE RELATIONS Emma Bell READING MANAGEMENT AND ORGANIZATION IN FILM Paul Blyton and Peter Turnbull THE DYNAMICS OF EMPLOYEE RELATIONS (3RD EDN) Paul Blyton, Edmund Heery and Peter Turnbull (eds) REASSESSING THE EMPLOYMENT RELATIONSHIP Sharon C. Bolton EMOTION -
Governing Body 323Rd Session, Geneva, 12–27 March 2015 GB.323/INS/5/Appendix III
INTERNATIONAL LABOUR OFFICE Governing Body 323rd Session, Geneva, 12–27 March 2015 GB.323/INS/5/Appendix III Institutional Section INS Date: 13 March 2015 Original: English FIFTH ITEM ON THE AGENDA The Standards Initiative – Appendix III Background document for the Tripartite Meeting on the Freedom of Association and Protection of the Right to Organise Convention, 1948 (No. 87), in relation to the right to strike and the modalities and practices of strike action at national level (revised) (Geneva, 23–25 February 2015) Contents Page Introduction ....................................................................................................................................... 1 Decision on the fifth item on the agenda: The standards initiative: Follow-up to the 2012 ILC Committee on the Application of Standards .................. 1 Part I. ILO Convention No. 87 and the right to strike ..................................................................... 3 I. Introduction ................................................................................................................ 3 II. The Freedom of Association and Protection of the Right to Organise Convention, 1948 (No. 87) ......................................................................... 3 II.1. Negotiating history prior to the adoption of the Convention ........................... 3 II.2. Related developments after the adoption of the Convention ........................... 5 III. Supervision of obligations arising under or relating to Conventions ........................ -
Sur Choron, Dernière
ChoronPour restera beaucoup, le monsieur chauve et ivre qui mettait sa bite dans les flûtes de champagne. horOn, Remarquez, y a pire comme trace C laissée sur terre. BHL, exemple au hasard, ne laissera-t-il pas derniÈre l’image d’un triste sire LE FILM qui montrait sa chemise blanche documentaire dans les postes de télévision ? de Pierre Carles Quoi qu’il en soit, le Prof et Martin, était bien plus que cela. Avec Georges Bernier, Quand j’étais jeune (et vrai) journaliste, de la bande des dit Choron, Cavanna, Cabu, Siné, NAbe, Hara-Charlie-Kiri-Hebdo, Vuillemin, Wolinski, Val… c’était lui qu’on voulait tous Choron, dernière - 1 h 38’, couleur. 1,33, mono, 2008. Réalisation : Pierre Carles et Martin. rencontrer. Entretiens : Xavier Naizet. Image : Éric Maizy. Son : Bertrand Bourdin, Fabien Briand, Marie- Parce qu’il avait la classe. Pierre Thomat. Montage : Pierre Carles (assistant : Ludovic Raynaud). Mixage : Cristinel Sirli. Le panache. L’esprit vif. Production : Muriel Merlin, 3B productions. Coproduction : Pages et Images, Yorame Merovach, Créative Sound. Avec le soutien de la Région Picardie et du Festival de la BD d’Angoulême. La grande gueule qui cogne. Distribution : Tadrart Films, 01 43 13 10 68. [email protected] Les autres étaient bien gentils www.choronderniere.com de dessiner et d’exprimer leurs idées, mais qui leur fournissait le papier ? C’était bien lui. Escroc, menteur, voleur, peut-être. Mais qui avait les Bête et méchant couilles d’être leur directeur de Charlie Hebdo appartient maintenant à l’histoire. Dans cinquante ans, on étudiera en cercles de sociologues ce phénomène qui sau- publication ? D’aller jusqu’aux va le journalisme de la fin du siècle. -
Colette Magny, Feu Chanteuse Atypique Engagée
DOSSIER DE PRESENTATION " Quatre jeunes musiciens (chant, saxophone, flûte, guitare) pour un moment exceptionnel, je pèse mes mots, de recherche et de qualité musicale, d'engagement scénique, de générosité, d'émotion pleine et sincère de part et d'autre de la rampe. " Musik n° 8 OKAM!IK OKAM!IK plonge dans l'univers de Colette Magny, feu chanteuse atypique engagée. "Il faut manier le paroxysmique avec prudence" nous écrivait un directeur de scène nationale. Exit la prudence nous n'avons plus le temps. Nous maçonnons une histoire d'immédiateté avec une personne disparue. Nous sommes sur le vif, le vif du nerf musical des grandes émotions cruelles. Jouant de nos timbres, lyrismes et autres gargarismes personnels, endurcis par l'expérience de l'improvisation dite libre, nous fourrageons, ciselons la poésie de Colette et celle des auteurs qu'elle a mise en musique. Ses mots – souvent écrits au cœur des luttes – par lesquels frémissent l'indignation, la douleur de vivre et l'espoir, n'ont pas pris une ride. Ainsi nous les portons fiévreusement, architectes sonores épousant l'engagement total de la dame. Un lieu fondateur : Verfeil-sur-Seye. La création (2005) d’Okam!ik/Magny ne pouvait se vivre ailleurs qu’à Verfeil, petit village du Tarn-et-Garonne, au festival Des Croches et la lune. C’est Colette Magny qui, à la demande des jeunes du village, avait aidé à monter le festival, dans les années 1990. COLETTE MAGNY (1926-1997) Elle a aimanté, vécu une multitude d'expérimentations musicales, au service du mot, toujours. Ses engagements, ses passions et coups de gueule ne suivent aucune mode, aucune convention. -
The Other Woman. Towards a Diffractive Rereading of the Oeuvres of Simone De Beauvoir and Luce Irigaray
Faculty of Humanities Research Institute for History and Culture (OGC) RMA Gender and Ethnicity, 2011-2012 The Other Woman. Towards a diffractive rereading of the oeuvres of Simone de Beauvoir and Luce Irigaray. Research master thesis, Gender and Ethnicity Written by Evelien Geerts, 3615170 Supervisor: dr. Iris van der Tuin (Utrecht University) Second reader: dr. Annemie Halsema (VU-University) Utrecht, 20/07/2012. Abstract. This thesis project –a project that has to be located in the domains of Continental philosophy, feminist theory, and gender studies– wishes to overcome the Oedipalized reception history, or the Oedipal feminist narratives that have been created and told about the oeuvres of feminist philosophers Simone de Beauvoir and Luce Irigaray. I claim that this Oedipalized reception history –which will be thoroughly reviewed in this thesis– put the works of Beauvoir and Irigaray against one another in an oppositional and hierarchic manner, by first of all examining the wide-spread assumption that Irigaray should be seen as Beauvoir’s rebellious daughter, and by critically looking at the idea that Irigaray’s sexual (now relabeled as sexuate) difference philosophy then must be a flat-out refusal of Beauvoir’s humanist, existentialist feminism. My project hopes to shed light on this paralyzing constructed opposition, and wishes to move towards a different kind of feminist rereading and story-telling: namely, a diffractive and explicitly an-Oedipal way of telling of stories that would look for the lines of continuity between these two philosophies, without reducing them to another; without, to put it differently, falling back into the phallogocentric, reflective logic of sameness. -
La Bande À Charlie
LA BANDEÀ CAVANNA CHORON REISER GEBÉ MÉCHAMMENT ROCK ISABELLE Photos 1-2-3-4-5-7-8-12, Roger-Viollet/ 6,Magnum/ 10-11,Giraudon CHARLIE FOURNIER DELFEIL DE TON WOLINSKI CABU PAULE WILLEM Du même auteur aux Éditions Stock Messieurs du Canard Jean Egen LA BANDE À STOCK Tous droits réservés pour tous pays © 1976, Éditions Stock « Oui, oui, je lis Charlie-Hebdo. Ce n'est pas exactement le style que je préfère, mais dans les textes de Cavanna - je dois lui ren- dre cette justice -, il y a, assez souvent, de bonnes, de saines réactions. » HUBERT BEUVE-MÉRY (interrogé par Jacques Chancel). « On peut certes trouver irritantes, insup- portables même, la verve célinienne, la har- gne universelle, la vulgarité outrageusement provocante de Charlie-Hebdo, qui mêle à plaisir la dérision, la scatologie et l'humour noir. On peut se demander si cette volonté de choquer pour se faire remarquer et cette manière de hurler pour se faire entendre sont bien dans la ligne du gauchisme version Mai 68 revue et adaptée pour 1974. « Mais, qu'il soit ou non pré-rétro, Charlie- Hebdo constitue en matière journalistique la création la plus originale, et peut-être la seule qu'on ait enregistrée depuis bien des années ; et cela pour la simple raison que ses anima- teurs ainsi que bon nombre de ses rédacteurs et dessinateurs possèdent incontestablement ce don rare, ce petit rien de plus qui se nomme le talent. » PIERRE VIANSSON-PONTÉ (Le Monde). « Charlie-Hebdo a apporté une nouvelle formule dans le journalisme moderne... Il a intégré, pour en faire une arme dont il se sert avec talent, le mauvais goût. -
Coudenhove-Kalergi De Gaulle Une Certaine Idée De L’Europe
n Cahiers de la Fondation Charles-de-Gaulle n COUDENHOVE-KALERGI DE GAULLE UNE CERTAINE IDÉE DE L’EUROPE Cahier n° 6 - 1999 Cahiers de la Fondation Charles de Gaulle RICHARD COUDENHOVE-KALERGI - CHARLES DE GAULLE Colloque organisé à Nancy le 14 novembre 1998 par la Fondation Coudenhove-Kalergi, la Fondation Charles de Gaulle et l'Université de Nancy-II Textes rassemblés par le Professeur Alain I ARC AN Fondation Charles de Gaulle 5, rue de Solferino 75007 Paris Fondation Coudenhove-Kalergi Case Postale 3279 Genève 3 CH 1218 Cahiers déjà parus n° 1 « L'établissement des relations diplomatiques entre la France et la Chine populaire », 1995. n° 2 « De Gaulle enseigné », 1995. n° 3 « Archives du Rassemblement du peuple français (RPF) », 1996 (Inventaire). n° 4 « La genèse du RPF », 1997. n° 5 « La participation dans l'Entreprise », 1998. Comité de Rédaction Frédérique Dufour, Claire Fredj, Alain Larcan, Letizia de Linares, Maurice Vaïsse © Fondation Charles de Gaulle, 1999 ISSN 1266-2437 SOMMAIRE Liste des membres du Comité d'Honneur 5 Liste des membres du Comité d'Organisation 5 Liste des intervenants 6 Avant-propos d'Alain LARCAN 9 Ouverture : 11 Jean-Denis MOUTON, directeur du Centre européen uni- versitaire de Nancy Pierre BARDELLI, président de l'Université Nancy II Jean FOYER, président de la Fondation Charles de Gaulle Gérard BAUER, président de la Fondation Coudenhove- Kalergi L'union paneuropéenne dans les coulisses du Mémorandum Briand, 1929-1932, par Franck THÉRY 19 Permanence de l'espace européen chez Coudenhove-Kalergi : nations, -
Codebook Indiveu – Party Preferences
Codebook InDivEU – party preferences European University Institute, Robert Schuman Centre for Advanced Studies December 2020 Introduction The “InDivEU – party preferences” dataset provides data on the positions of more than 400 parties from 28 countries1 on questions of (differentiated) European integration. The dataset comprises a selection of party positions taken from two existing datasets: (1) The EU Profiler/euandi Trend File The EU Profiler/euandi Trend File contains party positions for three rounds of European Parliament elections (2009, 2014, and 2019). Party positions were determined in an iterative process of party self-placement and expert judgement. For more information: https://cadmus.eui.eu/handle/1814/65944 (2) The Chapel Hill Expert Survey The Chapel Hill Expert Survey contains party positions for the national elections most closely corresponding the European Parliament elections of 2009, 2014, 2019. Party positions were determined by expert judgement. For more information: https://www.chesdata.eu/ Three additional party positions, related to DI-specific questions, are included in the dataset. These positions were determined by experts involved in the 2019 edition of euandi after the elections took place. The inclusion of party positions in the “InDivEU – party preferences” is limited to the following issues: - General questions about the EU - Questions about EU policy - Questions about differentiated integration - Questions about party ideology 1 This includes all 27 member states of the European Union in 2020, plus the United Kingdom. How to Cite When using the ‘InDivEU – Party Preferences’ dataset, please cite all of the following three articles: 1. Reiljan, Andres, Frederico Ferreira da Silva, Lorenzo Cicchi, Diego Garzia, Alexander H. -
Disrupting Heteronormativity with Russian Fairy Tales SQS 2/2011
And They Lived Queerly Ever After: Disrupting Heteronormativity with Russian Fairy Tales SQS 2/2011 David McVey The Department of Slavic and East European Languages and Literature 17 The Ohio State University QueerScope Articles Russian fairy tales and their uses because the fairy-tale protagonist, often striving toward some lofty goal, mapped well onto the prevailing Stalinist narrative of the “New Soviet Man” Aleksandr Nikolaevich Afanas’ev1 (1826–1871) is to Russian fairy tales (Tippner 2008, 312), who was to build a bright socialist future and inspire what the Brothers Grimm are to German tales and Charles Perrault is to others in doing so. Fairy-tale influences on art were thus permitted and French tales. Although he collected the narratives for only ten fairy tales exuberantly appropriated by the Soviet system because their plotlines often himself, between 1855 and 1864 Afanas’ev edited and published over 600 mirrored “Stalinist culture’s spirit of miraculous reality” (Prokhorov 2008, diverse stories based on oral Russian folk tradition (Jakobson 1945, 637). 135). Pre-revolutionary fairy-tale narratives no longer rankled the censors His quintessential compiled tales have provided a trove of inspiration to with their fantasy and were appropriated into the Soviet Union’s didactic Russian authors, poets, playwrights, composers, and filmmakers since the and assiduously policed system of textual production and circulation, nineteenth century. which foretold of a happy and triumphant future. These Russian fairy-tale narratives contain the same sort of fantastical Afanas’ev, however, anonymously published another set of Russian folk elements present in Western varieties. Consequently, the tales’ imaginative stories in Geneva, Switzerland in 1872 (Perkov 1988, 13). -
Preserving Power After Empire: the Credibility Trap and France's
Preserving Power after Empire: The Credibility Trap and France’s Intervention in Chad, 1968-72 Marc R. DeVore Open Access Copy—Please Do Not Cite Forthcoming in War in History 1 Abstract France’s 1968-72 intervention in Chad constitutes a forgotten turning point in the Fifth Republic’s foreign relations. Inter-connected institutions and treaties gave France a disproportionate influence over its African ex-colonies. French security guarantees underscored this system, however, whereby francophone African leaders continued to accept French economic and political leadership. French leaders discovered in Chad, however, that they had fewer choices and needed to dedicate more resources to fulfilling these commitments than President Charles de Gaulle had intended. Prosperous ex-colonies’ leaders judged French commitments’ value according to how France responded to crises in its least valued ex- colonies. Thus, although French analysts viewed intervening in Chad as irrational from a cost/benefit perspective, they found themselves pressured into doing so by other African governments who let it be known that they would interpret failing to support Chadian President François Tombalbye as a sign that they too could not count on France. Entrapped by prior commitments, French policymakers developed a new approach to using force, which I term strategic satisficing, far different from traditional French counterinsurgency practices. The tightly-coupled application of force and diplomacy in pursuit of limited objectives enables France to intervene with the frequency needed to uphold its post-colonial order in Africa. Introduction France’s role in Africa sets it apart from other states of its size. France is arguably the most politically potent foreign actor in Sub-Saharan Africa even though it is today a medium- sized European state with an economy that only occasionally ranks amongst the world’s top half dozen. -
Exposition Trine Søndergaard
Trine Søndergaard Still MuMa - Le Havre 13 octobre 2018 Musée d’art moderne André Malraux 27 janvier 2019 muma-lehavre.fr Sommaire Préface .................................................................... 3 L’exposition « Still » ............................................... 4 Biographie de Trine Søndergaard ...................... 8 A propos du peintre Vilhelm Hammershøi ........ 9 Lumières nordiques .............................................. 10 La genèse d’un projet ........................................... 11 Le MuMa et Lumières nordiques ....................... 12 La photographie au MuMa ................................. 13 Autour de l’exposition ........................................... 14 Les visuels disponibles pour la presse ............... 17 Les informations pratiques .................................. 18 Contacts presse ..................................................... 19 2 | TRINE SØNDERGAARD | Still Préface Il y a des évènements havrais qui font parler d’eux. Comme en 2014, avec la très re- marquée exposition du « Siècle d’or de la peinture danoise », où le MuMa avait mis à l’honneur l’art pictural danois. A nouveau, du 13 octobre 2018 au 27 janvier 2019, l’art danois renoue avec Le Havre. Le Musée d’art moderne André Malraux nous présente une trentaine de pièces de Trine Søndergaard et un tableau du peintre Vilhelm Hammershøi. Avec ces deux séries de photographies, Interior et Guldnakke c’est une nouvelle invitation au voyage qui nous est offerte par le MuMa. Un voyage architectural, presqu’inquiétant par