ENRICHMENT ENGAGE, EXPLORE, DISCOVER Years 10-13 Use the Enrichment Links Below Xxcontents | to Engage, Explore and Discover
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Dossier De Presse
Atypik Films Présente Patrick Ridremont François Berléand Virginie Efira DEAD MAN TALKING Un film belge de PATRICK RIDREMONT (Durée : 1h41) Distribution Relations Presse Atypik Films Laurence Falleur Communication 31 rue des Ombraies 57 rue du Faubourg Montmartre 92000 Nanterre 75009 Paris Eric Boquého Laurence Falleur Assisté de Sandrine Becquart Assisté de Vincent Bayol Et Jacques Domergue Tel : 01.83.92.80.51 Tel : 01.77.68.32.16. Port. : 06.48.89.41.29 Port. : 06.62.49.19.87. [email protected] [email protected] [email protected] Matériel de presse téléchargeable sur www.atypikfilms.com SYNOPSIS William Lamers , 40 ans, anonyme criminel condamné au Poison pour meurtre, se prépare à être exécuté. La procédure se passe dans l’indifférence générale et, ni la famille du condamné, ni celle de ses victimes n’a fait le déplacement pour assister à l’exécution. Seul le journaliste d’un minable tabloïd local est venu assister au «spectacle». Pourtant ce qui ne devait être qu’une formalité va rapidement devenir un véritable cauchemar pour Karl Raven, le directeur de la prison. Alors qu’on lui demande s’il a quelque chose à dire avant de mourir, William se met à raconter sa vie, et se lance dans un récit incroyable et bouleversant. Raven s’impatiente et appelle le Gouverneur Brodeck pour obtenir l'autorisation d'exécuter William. Mais comme la loi ne précise rien sur la longueur des dernières paroles et que le Gouverneur Stieg Brodeck, au plus bas dans les sondages, ne peut prendre aucun risque à un mois des élections, on décide de laisser William raconter son histoire jusqu’au bout. -
Course Catalogue 2016 /2017
Course Catalogue 2016 /2017 1 Contents Art, Architecture, Music & Cinema page 3 Arabic 19 Business & Economics 19 Chinese 32 Communication, Culture, Media Studies 33 (including Journalism) Computer Science 53 Education 56 English 57 French 71 Geography 79 German 85 History 89 Italian 101 Latin 102 Law 103 Mathematics & Finance 104 Political Science 107 Psychology 120 Russian 126 Sociology & Anthropology 126 Spanish 128 Tourism 138 2 the diversity of its main players. It will thus establish Art, Architecture, the historical context of this production and to identify the protagonists, before defining the movements that Music & Cinema appear in their pulse. If the development of the course is structured around a chronological continuity, their links and how these trends overlap in reality into each IMPORTANT: ALL OUR ART COURSES ARE other will be raised and studied. TAUGHT IN FRENCH UNLESS OTHERWISE INDICATED COURSE CONTENT : Course Outline: AS1/1b : HISTORY OF CLASSIC CINEMA introduction Fall Semester • Impressionism • Project Genesis Lectures: 2 hours ECTS credits: 3 • "Impressionist" • The Post-Impressionism OBJECTIVE: • The néoimpressionnism To discover the great movements in the history of • The synthetism American and European cinema from 1895 to 1942. • The symbolism • Gauguin and the Nabis PontAven COURSE PROGRAM: • Modern and avantgarde The three cinematic eras: • Fauvism and Expressionism Original: • Cubism - The Lumière brothers : realistic art • Futurism - Mélies : the beginnings of illusion • Abstraction Avant-garde : - Expressionism -
Textileartscouncil William Morrisbibliography V2
TAC Virtual Travels: The Arts and Crafts Heritage of William and May Morris, August 2020 Bibliography Compiled by Ellin Klor, Textile Arts Council Board. ([email protected]) William Morris and Morris & Co. 1. Sites A. Standen House East Grinstead, (National Trust) https://www.nationaltrust.org.uk/standen-house-and-garden/features/discover-the- house-and-collections-at-standen Arts and Crafts family home with Morris & Co. interiors, set in a beautiful hillside garden. Designed by Philip Webb, taking inspiration from the local Sussex vernacular, and furnished by Morris & Co., Standen was the Beales’ country retreat from 1894. 1. Heni Talks- “William Morris: Useful Beauty in the Home” https://henitalks.com/talks/william-morris-useful-beauty/ A combination exploration of William Morris and the origins of the Arts & Crafts movement and tour of Standen House as the focus by art historian Abigail Harrison Moore. a. Bio of Dr. Harrison Moore- https://theconversation.com/profiles/abigail- harrison-moore-121445 B. Kelmscott Manor, Lechlade - Managed by the London Society of Antiquaries. https://www.sal.org.uk/kelmscott-manor/ Closed through 2020 for restoration. C. Red House, Bexleyheath - (National Trust) https://www.nationaltrust.org.uk/red-house/history-at-red-house When Morris and Webb designed Red House and eschewed all unnecessary decoration, instead choosing to champion utility of design, they gave expression to what would become known as the Arts and Crafts Movement. Morris’ work as both a designer and a socialist were intrinsically linked, as the creation of the Arts and Crafts Movement attests. D. William Morris Gallery - Lloyd Park, Forest Road, Walthamstow, London, E17 https://www.wmgallery.org.uk/ From 1848 to 1856, the house was the family home of William Morris (1834-1896), the designer, craftsman, writer, conservationist and socialist. -
Stéphane Braunschweig Théâtre De L'odéon- 6E
de Molière 17 septembre 25 octobre 2008 mise en scène & scénographie Stéphane Braunschweig Théâtre de l'Odéon- 6e costumes Thibault Vancraenenbroeck lumière Marion Hewlett son Xavier Jacquot collaboration artistique Anne-Françoise Benhamou collaboration à la scénographie Alexandre de Darden production Théâtre national de Strasbourg créé le 29 avril 2008 au Théâtre national de Strasbourg avec Monsieur Loyal : Jean-Pierre Bagot Cléante : Christophe Brault Tartuffe : Clément Bresson Valère : Thomas Condemine Orgon : Claude Duparfait Mariane : Julie Lesgages Elmire : Pauline Lorillard Dorine : Annie Mercier Damis : Sébastien Pouderoux Madame Pernelle : Claire Wauthion et avec la participation de l’exempt : François Loriquet Rencontre Spectacle du mardi au samedi à 20h, le dimanche à 15h, relâche le lundi Au bord de plateau jeudi 2 octobre Prix des places : 30€ - 22€ - 12€ - 7,50€ (séries 1, 2, 3, 4) à l’issue de la représentation, Tarif groupes scolaires : 11€ et 6€ (séries 2 et 3) en présence de l’équipe artistique. Entrée libre. Odéon–Théâtre de l’Europe Théâtre de l’Odéon Renseignements 01 44 85 40 90 e Place de l’Odéon Paris 6 / Métro Odéon - RER B Luxembourg L’équipe des relations avec le public : Scolaires et universitaires, associations d’étudiants Réservation et Actions pédagogiques Christophe Teillout 01 44 85 40 39 - [email protected] Emilie Dauriac 01 44 85 40 33 - [email protected] Dossier également disponible sur www.theatre-odeon.fr Certaines parties de ce dossier sont tirées du dossier pédagogique et du programme réalisés par l’équipe du Théâtre national de Strasbourg. Collaboration d’Arthur Le Stanc Tartuffe / 17 septembre › 25 octobre 2008 1 Oui, je deviens tout autre avec son entretien, Il m'enseigne à n'avoir affection pour rien ; De toutes amitiés il détache mon âme ; Et je verrais mourir frère, enfants, mère, et femme, Que je m'en soucierais autant que de cela. -
Translated by Richard Wilbur Directed by Makaela Pollock
Translated by Richard Wilbur Directed by Makaela Pollock All original material copyright © Seattle Shakespeare Company 2015 WELCOME Dear Educators, Tartuffe is a wonderful play, and can be great for students. Its major themes of hypocrisy and gullibility provide excellent prompts for good in-class discussions. Who are the “Tartuffes” in our 21st century world? What can you do to avoid being fooled the way Orgon was? Tartuffe also has some challenges that are best to discuss with students ahead of time. Its portrayal of religion as the source of Tartuffe’s hypocrisy angered priests and the deeply religious when it was first written, which led to the play being banned for years. For his part, Molière always said that the purpose of Tartuffe was not to lampoon religion, but to show how hypocrisy comes in many forms, and people should beware of religious hypocrisy among others. There is also a challenging scene between Tartuffe and Elmire at the climax of the play (and the end of Orgon’s acceptance of Tartuffe). When Tartuffe attempts to seduce Elmire, it is up to the director as to how far he gets in his amorous attempts, and in our production he gets pretty far! This can also provide an excellent opportunity to talk with students about staunch “family values” politicians who are revealed to have had affairs, the safety of women in today’s society, and even sexual assault, depending on the age of the students. Molière’s satire still rings true today, and shows how some societal problems have not been solved, but have simply evolved into today’s context. -
DOCTORAL THESIS Vernon Lushington : Practising Positivism
DOCTORAL THESIS Vernon Lushington : Practising Positivism Taylor, David Award date: 2010 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 29. Sep. 2021 Vernon Lushington : Practising Positivism by David C. Taylor, MA, FSA A thesis submitted in partial fulfilment of the requirements for the degree of PhD School of Arts Roehampton University 2010 Abstract Vernon Lushington (1832-1912) was a leading Positivist and disciple of Comte's Religion of Humanity. In The Religion of Humanity: The Impact of Comtean Positivism on Victorian Britain T.R. Wright observed that “the inner struggles of many of [Comte's] English disciples, so amply documented in their note books, letters, and diaries, have not so far received the close sympathetic treatment they deserve.” Material from a previously little known and un-researched archive of the Lushington family now makes possible such a study. -
Course Booklet
On joining King’s you will be part of the most amazing peer group in the country. Welcome You and your fellow students will support, encourage and challenge each other through two years of outstanding teaching, learning, leadership and From the Associate Principal If you are a current student at King’s you will already know character development. and Director of Sixth Form that the staff here will go the extra mile for you, but whilst the fundamental ingredients which make us such a successful Dr Andrew Reay You will be able to achieve outstanding Academy remain, Sixth Form life is very different. You will be given greater autonomy and responsibilities, both for your own qualifications and go on to the best We are delighted that you are considering King’s Leadership Academy Sixth Form. This guide will not only development and for the well-being of others. For example, universities not just in this country but give you the information you need about the courses smart business dress is the order of the day and there is a across the world. that are best suited to your interests and aspirations, but Sixth Form Study Centre, IT suite and informal study area to also a deep insight into Sixth Form life. Most importantly, mark the distinction between life in the Sixth Form and the it will give you the confidence to know that by joining rest of the Academy. You will also be taught in even smaller King’s you are making the right move towards a very groups, have more self-directed study time, so that you are bright future. -
Dossier Pedagogique
banquet d’avril Directrice artistique : Monique Hervouët 06 11 11 21 88 [email protected] www.banquetd’avril.fr DOSSIER PEDAGOGIQUE LE TARTUFFE de Molière Mise en scène Monique Hervouët Création Octobre 2011 SOMMAIRE LE TARTUFFE de MOLIÈRE Mise en scène : Monique HERVOUET Compagnie banquet d’avril Coproduction : Le Grand R / Scène Nationale de la Roche-sur-Yon Avec Loïc AUFFRET Loyal /L’exempt/ Laurent • Mise en scène par Monique Hervouët Ghyslain DEL PINO Tartuffe Solenn JARNIOU Dorine Marion MALENFANT Mariane - Note d'intention : Monique Hervouët............................................................p 4 Glenn MARAUSSE Damis - Hypocrites......................................................................................................p 6 Jean-Pierre NIOBE Cléante - 3 Versions, 2 interdictions...............................................................................p 7 Hélori PHILIPPOT Valère - Résumé...........................................................................................................p 8 Hélène RAIMBAULT Mme Pernelle - L'auteur..........................................................................................................p 9 Gwenaël RAVAUX Elmire - Préface-avertissement de Molière à ses censeurs...............................................p 10 Didier ROYANT Orgon Scénographie Emilie LEMOINE Lumière Yohann OLIVIER • D'une mise en scène à l'autre (1907-2008) Chargée de production - communication Elise MAINGUY Administration Danièle OREFICE - Tartuffe à l'épreuve du temps..........................................................................p -
The Comic in the Theatre of Moliere and of Ionesco: a Comparative Study
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1965 The omicC in the Theatre of Moliere and of Ionesco: a Comparative Study. Sidney Louis Pellissier Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pellissier, Sidney Louis, "The omicC in the Theatre of Moliere and of Ionesco: a Comparative Study." (1965). LSU Historical Dissertations and Theses. 1088. https://digitalcommons.lsu.edu/gradschool_disstheses/1088 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 66-744 PELLISSIER, Sidney Louis, 1938- s THE COMIC IN THE THEATRE OF MO LI ERE AND OF IONESCO: A COMPARATIVE STUDY. Louisiana State University, Ph.D., 1965 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE COMIC IN THE THEATRE OF MOLIHRE AND OF IONESCO A COMPARATIVE STUDY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Foreign Languages btf' Sidney L . ,') Pellissier K.A., Louisiana State University, 19&3 August, 19^5 DEDICATION The present study is respectfully dedicated the memory of Dr. Calvin Evans. ii ACKNO'.-'LEDGEKiNT The writer wishes to thank his major professor, Dr. -
Elizabeth Eleanor Siddal - Poems
Classic Poetry Series Elizabeth Eleanor Siddal - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Elizabeth Eleanor Siddal(25 July 1829 - 11 February 1862) Elizabeth Eleanor Siddal was an English artists' model, poet and artist who was painted and drawn extensively by artists of the Pre-Raphaelite Brotherhood, including Walter Deverell, William Holman Hunt, John Everett Millais (including Millais' 1852 painting Ophelia) and most of Dante Gabriel Rossetti's early paintings of women. <b>Early Life</b> Named Elizabeth Eleanor Siddall, after her mother, Lizzie was born on 25 July 1829, at the family’s home at 7 Charles Street, Hatton Garden. She was born to Charles Crooke Siddall, who claimed that his family descended from nobility, and Eleanor Evans, a family of both English and Welsh descent. At the time of Lizzie’s birth, her parents were not poverty stricken: her father had his own cutlery- making business. Around 1831, the Siddall family moved to the borough of Southwark, in south London, a less salubrious area than Hatton Garden. It was in Southwark that the rest of Lizzie’s siblings were born: Lydia, to whom Lizzie was particularly close, Mary, Clara, James and Henry. Although there is no record of her having attended school, Lizzie was able to read and write, presumably having been taught by her parents. She developed a love of poetry at a young age, after discovering a poem by Tennyson on a scrap of newspaper that had been used to wrap a pat of butter; this discovery was one of Lizzie’s inspirations to start writing her own poetry. -
The Looking-Glass World: Mirrors in Pre-Raphaelite Painting 1850-1915
THE LOOKING-GLASS WORLD Mirrors in Pre-Raphaelite Painting, 1850-1915 TWO VOLUMES VOLUME I Claire Elizabeth Yearwood Ph.D. University of York History of Art October 2014 Abstract This dissertation examines the role of mirrors in Pre-Raphaelite painting as a significant motif that ultimately contributes to the on-going discussion surrounding the problematic PRB label. With varying stylistic objectives that often appear contradictory, as well as the disbandment of the original Brotherhood a few short years after it formed, defining ‘Pre-Raphaelite’ as a style remains an intriguing puzzle. In spite of recurring frequently in the works of the Pre-Raphaelites, particularly in those by Dante Gabriel Rossetti and William Holman Hunt, the mirror has not been thoroughly investigated before. Instead, the use of the mirror is typically mentioned briefly within the larger structure of analysis and most often referred to as a quotation of Jan van Eyck’s Arnolfini Portrait (1434) or as a symbol of vanity without giving further thought to the connotations of the mirror as a distinguishing mark of the movement. I argue for an analysis of the mirror both within the context of iconographic exchange between the original leaders and their later associates and followers, and also that of nineteenth- century glass production. The Pre-Raphaelite use of the mirror establishes a complex iconography that effectively remytholgises an industrial object, conflates contradictory elements of past and present, spiritual and physical, and contributes to a specific artistic dialogue between the disparate strands of the movement that anchors the problematic PRB label within a context of iconographic exchange. -
Iolanda Ramos Universidade Nova De Lisboa
A NOT SO SECRET GARDEN: ENGLISH ROSES, Iolanda Ramos VICTORIAN AESTHETICISM AND THE MAKING OF Universidade Nova de SOCIAL IDENTITIES Lisboa 1 Lady Lilith (1872), Dante Gabriel Rossetti, Delaware Art Museum 1 Iolanda Ramos is Assistant Professor at the FCSH-NOVA University of Lisbon, where she has been teaching since 1985, and a researcher at the Centre for English, Translation and Anglo-Portuguese Studies (CETAPS). She has published eXtensively on Victorian Studies and Neo-Victorianism within the framework of Utopian Studies as well as on intercultural, visual and gender issues. Her most recent publications include Performing Identities and Utopias of Belonging (co-edited with Teresa Botelho, Newcastle upon Tyne: CSP, 2013) and Matrizes Culturais: Notas para um Estudo da Era Vitoriana (Lisboa: Edições Colibri, 2014). GAUDIUM SCIENDI, Número 8, Julho 2015 98 A NOT SO SECRET GARDEN: ENGLISH ROSES, Iolanda Ramos VICTORIAN AESTHETICISM AND THE MAKING OF Universidade Nova de SOCIAL IDENTITIES Lisboa his essay seeks to draw on theories of representation so as to link the multi- signifying dimension of the garden with the language of flowers as T conveying a social and moral code, acknowledged both in the Victorian age and today, and therefore ultimately aims to revisit the making of social identities. It begins by placing the English rose within the tradition of British national symbols and proceeds to highlight how floral symbolism was widely used in the arts, focusing on a selection of Pre- Raphaelite paintings in order to show how floral imagery both sustained and subverted stereotyped female roles. It goes on to argue that floral representations were used as a means for women to recognise their "natural" place in society.