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“State of Civil Society Report: 2015
the year in review State of Civil Society report 2015: THE YEAR IN REVIEW ...these stories tell us that only civil introduction society, in its broadest sense, is taking a It has been another year of hard work and high achievement for civil society. The story of the year since the stance against the 2014 State of Civil Society Report was published has partly been one of a continuing series of attacks on civil concentration of society in the many countries where, when civil society asks difficult questions about power, the powerful seek to silence it. But is has also been a story of impressive and sustained civil society response, in a world that has power in the hands of become more turbulent and contested. a tiny, global, super- rich elite, and against As we show below, civil society faces challenges - of lack of space, under-resourcing and limited access to the attempts of many decision-makers. Civil society also needs continually to prove its connection with and relevance to citizens, political leaders and and it needs to demonstrate its ability to stay ahead of trends and innovate. When civil society groups do not corporate interests do these, they fail. But so often, we see civil society leading the response to crisis, taking on difficult issues, contributing to change, and winning arguments for social justice. to undermine human rights and This year in review section of the 2015 CIVICUS State of Civil Society Report is complemented by our report’s the value of people’s special thematic section on the resourcing for civil society, and the 27 guest contributions, from civil society participation. -
Controversy, Consensus, and Contradictions
Humour in Contemporary France Controversy, Consensus, and Contradictions Studies in Modern and Contemporary France 3 Studies in Modern and Contemporary France Series Editors Professor Gill Allwood, Nottingham Trent University Professor Denis M. Provencher, University of Arizona Professor Martin O’Shaughnessy, Nottingham Trent University The Studies in Modern and Contemporary France book series is a new collaboration between the Association for the Study of Modern and Contemporary France (ASMCF) and Liverpool University Press (LUP). Submissions are encouraged focusing on French politics, history, society, media and culture. The series will serve as an important focus for all those whose engagement with France is not restricted to the more classically literary, and can be seen as a long-form companion to the Association’s journal, Modern and Contemporary France, and to Contemporary French Civilization, published by Liverpool University Press. Humour in Contemporary France Controversy, Consensus, and Contradictions JONATH A N ERVIN E Humour in Contemporary France Liverpool University Press First published 2019 by Liverpool University Press 4 Cambridge Street Liverpool L69 7ZU Copyright © 2019 Jonathan Ervine The right of Jonathan Ervine to be identified as the author of this book has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. British Library Cataloguing-in-Publication data A British Library CIP record is available ISBN 978-1-78962-051-1 cased eISBN 978-1-78962-464-9 Typeset by Carnegie Book Production, Lancaster Contents Contents Acknowledgements vii Introduction. -
Unité 1: Bonjour, Tout Le Monde ! (P.3-48)
French 1 Semester 1 Study Guide 2016-17 Unité 1: Bonjour, tout le monde ! (p.3-48) Vocabulary Review vocabulary on pages 4-5, 16-17, 28-29 Listening Listen to the dialogue, then read the statements below. Write V if the statement is vrai (true) and F if it is faux (false). (Textbook Audio Program, Unité 1, U1C_p046_EvaluationA) 1. __F___ Maude introduces her cousin Robert to Aïcha. Aïcha: Bonjour, Maude. Maude: Bonjour, Aïcha. Comment ça va? 2. __F___ Robert is from Canada. Aïcha: Ça va bien, et toi? 3. __F___ Things aren’t going well for Aïcha. Maude: Pas mal. Aïcha: Je te présente mon cousin, Ahmed. 4. __F___ Maude invites Aïcha to a party. Ahmed est algérien. 5. __V___ Maude has homework to do. Maude: Enchantée, Ahmed. 6. __V___ The speakers will see each other the next day. Ahmed: Salut, Maude. On va au café. Et toi? Maude: Pas possible. Je dois faire mes Reading devoirs. On va au Vieux Carré*? Aïcha: Bon alors, à demain. Maude : Oui, à demain. Lilou: Allô, oui? Inès: Salut, Lilou est là? Lilou: Moi, c’est Lilou. Inès: Salut, Lilou. C’est Inès, ta camarade de classe. Lilou: Salut, Inès. Ça va? Inès: Pas mal, merci. Dis Lilou, tu fais quoi*? Lilou: Moi, je suis à la maison avec Fatima, ma copine française. Inès: On visite le Vieux Carré avec ta copine? Lilou: Non, ça ne marche pas. Je dois bientôt aller au centre commmerical avec mon père pour faire du shopping. Inès: D’accord. Lilou: Mais Fatima et moi, on va au café dans le Vieux Carré demain avec des copains. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title The Algerian War of Independence in Algerian bande dessin�e Permalink https://escholarship.org/uc/item/2tk6g7bg Author Dean, Veronica Publication Date 2020 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Algerian War of Independence in Algerian bande dessinée A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in French and Francophone Studies by Veronica Katherine Dean 2020 Copyright by Veronica Katherine Dean 2020 ABSTRACT OF THE DISSERTATION The Algerian War of Independence in Algerian bande dessinée by Veronica Katherine Dean Doctor of Philosophy in French and Francophone Studies University of California, Los Angeles, 2020 Professor Lia N. Brozgal, Chair “The Algerian War of Independence in Algerian bande dessinée” is animated by the question of how bande dessinée from Algeria represent the nation’s struggle for independence from France. Although the war is represented extensively in bande dessinée from France and Algeria, French texts are more well-known than their Algerian counterparts among scholars and bédéphiles alike. Catalysts behind this project are the disproportionate awareness and study of French bande dessinée on the war and the fact that critical studies of Algerian bande dessinée are rare and often superficial. This project nevertheless builds upon existing scholarship by problematizing its assumptions and conclusions, including the generalization that Algerian bande dessinée that depict the war are in essence propagandistic in nature. Employing tools of comics analysis and inflecting my research with journalistic work coming out of Algeria, this project attempts to rectify the treatment of Algerian bande dessinée in critical scholarship by illustrating ii the rich tradition of historical representation in the medium. -
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. -
THE RELIGIOUS OPPOSITION in ALGERIA August 21, 2011 Gloria-Center.Org
http://www.gloria-center.org/2011/08/the-religious-opposition-in-algeria-2/ THE RELIGIOUS OPPOSITION IN ALGERIA August 21, 2011 gloria-center.org This article provides an analytical discussion on the religious opposition in Algeria, exploring the conditions and conflict-prone effects of the movement. Through historical analysis, the study reveals that the Islamist opposition in Algeria is to some extent value-driven, but it is mostly a reaction to undesirable local conditions, especially economic distress, widespread poverty, and unjust distribution of national wealth. Thus, the article suggests that positive actions be taken to deal with these issues if the religious opposition is to be successfully managed in Algeria. INTRODUCTION One of the clearest aspects of the post-Cold War era is the rise of religion as a social and political movement around the globe, and, by extension, the growing number of religiously-driven conflicts. This trend appears to be more evident in the Middle East, although it is not limited to this particular region. The secular governments in the Middle East have been frequently challenged, sometimes quite seriously, by Islamist oppositions that want to establish a state based on religious rules. The clash between government forces and militant Islamists often resulted in severe casualties, in which many innocent people, foreigners, as well as fighting sides themselves became victims. In order to manage religious opposition and cope with its conflict-prone effects, it is necessary to understand the nature of such opposition. Algeria offers a valuable case study, since although the country–unlike many Middle Eastern countries–has no tradition of early Islamic revivalism, the secular government was seriously challenged by political Islamism in the 1990s and only survived with the help of the military. -
Isabelle Monin Et Cabu
Isabelle monin et cabu Continue Ujourd'hui c'est la paralysie g'no- For You Sanders Show Cabu also released political cartoons for his rival Le Canard encha'n and other magazines. His most famous characters were Mont Bof (My Shunya), the embodiment of bullish French provincial complacency. Charlie Hebdo published the cartoons in solidarity with the Danish newspaper and make a point about freedom of expression in France, which has the largest Muslim population in Europe. But his experience in Algeria turned him into a fierce anti-militarist, and he remained a tireless campaigner for non-violence and a critic of the French political establishment. The boy became better known in France as a punk singer and songwriter Mano ... In the 1960s, Cabu had a son, Isabelle Monin, co-founder of the environmental magazine La Gueule. Isabelle Monin nous exit le 26 dechembre. The boy became better known in France as punk singer-songwriter Mano Solo, who died of AIDS in 2010. The philanthropist and heir to the Littlewoods Empire, who became the generous patron of Mano Solo, was born Emmanuel Cabut, was a French singer. In the 1960s, Cabu had a son, Isabelle Monin, co-founder of the environmental magazine La Gueule. Cabu also produced political cartoons for his rival Le Canard encha'n and other magazines. But his experience in Algeria turned him into a fierce anti-militarist, and he remained a tireless campaigner for non-violence and a critic of the French political establishment. BORN En 1986, il apprend sa s'ropositivit. However, in March 2007, after a hearing that was considered a trial case on freedom of expression, Val was acquitted by a Paris court. -
Philippe Lançon, Cinq Ans Après « Charlie » : « Les Tueurs Passent, La Création Continue »
Philippe Lançon, cinq ans après « Charlie » : « Les tueurs passent, la création continue » Philippe Lançon à Paris, le 5 novembre 2018. (Denis ALLARD/REA) Plusieurs fois récompensé pour son poignant récit « le Lambeau », l’écrivain et journaliste Philippe Lançon, rescapé du 7 janvier 2015, livre avec finesse son sentiment sur les années écoulées depuis l’attentat. Propos recueillis par Caroline Michel-Aguirre et Maël Thierry Publié le 07 janvier 2020 à 07h00 Le 3 janvier, « le Lambeau » (prix Femina et prix spécial Renaudot 2018) est sorti en Livre de Poche. Qu’est-ce que le succès de ce livre vous a apporté que vous n’attendiez pas ? Et qu’est-ce que le livre a, d’après ce qu’ils vous en disent, apporté à ses nombreux lecteurs ? « Le Lambeau » m’a apporté un succès paisible, des centaines de lettres, des échanges surprenants, des disques envoyés par des lecteurs musiciens ou mélomanes et la possibilité, pour la première fois de ma vie, de m’endetter pour acheter un appartement. Il m’a aussi permis de mieux comprendre ce que j’attends d’un récit, comme lecteur et comme auteur : un mélange de tension, d’introspection et de simplicité. Si je m’en tiens aux lettres reçues, l’histoire que je raconte est souvent devenue l’histoire personnelle, intime, de ceux qui l’ont lue. Parmi eux, beaucoup de patients ou d’anciens patients, de soignants ou d’anciens soignants. Je viens encore d’apprendre qu’une lectrice, atteinte d’un cancer, avait donné mon prénom à sa potence hospitalière, un instrument avec lequel le patient ne cesse de se déplacer ! Je n’avais ni voulu ni prévu ces réactions, mais je m’en réjouis. -
MEDIA POLARIZATION “À LA FRANÇAISE”? Comparing the French and American Ecosystems
institut montaigne MEDIA POLARIZATION “À LA FRANÇAISE”? Comparing the French and American Ecosystems REPORT MAY 2019 MEDIA POLARIZATION “À LA FRANÇAISE” MEDIA POLARIZATION There is no desire more natural than the desire for knowledge MEDIA POLARIZATION “À LA FRANÇAISE”? Comparing the French and American Ecosystems MAY 2019 EXECUTIVE SUMMARY In France, representative democracy is experiencing a growing mistrust that also affects the media. The latter are facing major simultaneous challenges: • a disruption of their business model in the digital age; • a dependence on social networks and search engines to gain visibility; • increased competition due to the convergence of content on digital media (competition between text, video and audio on the Internet); • increased competition due to the emergence of actors exercising their influence independently from the media (politicians, bloggers, comedians, etc.). In the United States, these developments have contributed to the polarization of the public square, characterized by the radicalization of the conservative press, with significant impact on electoral processes. Institut Montaigne investigated whether a similar phenomenon was at work in France. To this end, it led an in-depth study in partnership with the Sciences Po Médialab, the Sciences Po School of Journalism as well as the MIT Center for Civic Media. It also benefited from data collected and analyzed by the Pew Research Center*, in their report “News Media Attitudes in France”. Going beyond “fake news” 1 The changes affecting the media space are often reduced to the study of their most visible symp- toms. For instance, the concept of “fake news”, which has been amply commented on, falls short of encompassing the complexity of the transformations at work. -
The Battle Between Secularism and Islam in Algeria's Quest for Democracy
Pluralism Betrayed: The Battle Between Secularism and Islam in Algeria's Quest for Democracy Peter A. Samuelsont I. INTRODUCTION ...................................................... 309 f1. BACKGROUND TO THE ELECTIONS AND THE COUP ................................ 311 A. Algeria's Economic Crisis ......................................... 311 B. Algeria's FirstMultiparty Elections in 1990 for Local Offices ................ 313 C. The FIS Victory in the 1991 ParliamentaryElections ...................... 314 D. The Coup dt& tat ................................................ 318 E. Western Response to the Coup ...................................... 322 III. EVALUATING THE LEGITIMACY OF THE COUP ................................ 325 A. Problems Presented by Pluralism .................................... 326 B. Balancing Majority Rights Against Minority Rights ........................ 327 C. The Role of Religion in Society ...................................... 329 D. Islamic Jurisprudence ............................................ 336 1. Islamic Views of Democracy and Pluralism ......................... 337 2. Islam and Human Rights ...................................... 339 IV. PROBABLE ACTIONS OF AN FIS PARLIAMENTARY MAJORITY ........................ 340 A. The FIS Agenda ................................................ 342 1. Trends Within the FIS ........................................ 342 2. The Process of Democracy: The Allocation of Power .................. 345 a. Indicationsof DemocraticPotential .......................... 346 -
The Ideological Origins of the French Mediterranean Empire, 1789-1870
The Civilizing Sea: The Ideological Origins of the French Mediterranean Empire, 1789-1870 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Dzanic, Dzavid. 2016. The Civilizing Sea: The Ideological Origins of the French Mediterranean Empire, 1789-1870. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33840734 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Civilizing Sea: The Ideological Origins of the French Mediterranean Empire, 1789-1870 A dissertation presented by Dzavid Dzanic to The Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History Harvard University Cambridge, Massachusetts August 2016 © 2016 - Dzavid Dzanic All rights reserved. Advisor: David Armitage Author: Dzavid Dzanic The Civilizing Sea: The Ideological Origins of the French Mediterranean Empire, 1789-1870 Abstract This dissertation examines the religious, diplomatic, legal, and intellectual history of French imperialism in Italy, Egypt, and Algeria between the 1789 French Revolution and the beginning of the French Third Republic in 1870. In examining the wider logic of French imperial expansion around the Mediterranean, this dissertation bridges the Revolutionary, Napoleonic, Restoration (1815-30), July Monarchy (1830-48), Second Republic (1848-52), and Second Empire (1852-70) periods. Moreover, this study represents the first comprehensive study of interactions between imperial officers and local actors around the Mediterranean. -
La Caricature Et Le Dessin De Presse
#je dessine kit pédagogique La caricature et le dessin de presse Les dessinateurs de presse, à la fois artistes et journalistes, forgent des armes de concision et s’appuient sur une connivence avec le public. Les élèves peuvent avoir du mal à comprendre ce genre très codé. En France, la caricature est une tradition républicaine, protégée par la loi sur la liberté de la presse de 1881 et par la jurisprudence des tribunaux. LA CARICATURE ET LE DESSIN DE PRESSE Historique Le mot caricatura (de l’italien caricare : charger, exagérer) a été employé pour la première fois dans la préface d’un album d’Annibal Carrache en 1646. Il donnera les mots français « charge » et « caricature », ce dernier mot apparaissant pour la première fois dans les Mémoires de d’Argenson en 1740. Mais le traitement déformé de la physionomie s’inscrit dans la tradition de la satire visuelle et on en trouve des traces dans l’Antiquité égyptienne, grecque et romaine. Historiquement, en France, l’essor de la caricature politique a toujours correspondu à des périodes de crises sociales et politiques : mouvement de la Réforme, Révolution française, monarchie de Juillet, affaire Dreyfus. Au XIXe siècle, le développement de la presse et l’invention de la lithographie vont donner naissance à un grand nombre de journaux et, de 1901 à 1914, L’Assiette au Beurre, hebdoma- daire de seize pages en couleurs à tendance anarchiste, peut être considéré comme un ancêtre de publications issues des mouvements sociaux ou étudiants des années 1960 comme Hara-Kiri (1960) et Charlie Hebdo (1970). 1 1 : Honoré Daumier (1808-1879), Les Poires, caricature d’après un dessin original de Charles Philippon (1806-1862), La Caricature, janvier 1832, Paris, musée Carnavalet.