Edme Jean Leclaire Biography
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The Earful Tower's Bucket List: 100 Things to Do in Paris in 2021
The Earful Tower’s Bucket List: 100 things to do in Paris in 2021 1. Galeries Lafayette rooftop 34. Vincennes Human Zoo 68. Le Bar Dix 2. Vanves flea market 35. Georges V hotel 69. Serres d’Auteuil garden 3. Louis Vuitton Foundation 36. Vaux le Vicomte 70. Vie Romantique musuem 4. Grand Palais exhibition 37. Comédie Française 71. Le Meurice Restaurant 5. Sevres Ceramics Museum 38. Rungis market 72. Roland Garross 6. Cruise Canal St Martin 39. Surf in 15eme 73. Arts Décoratifs museum 7. Eat in Eiffel Tower 40. Jardins de Bagatelle 74. Montparnasse Tower 8. Watch PSG game 41. Bees at the Opera 75. Bois de Boulogne biking 9. Black Paris Tour 42. Saint Étienne du Mont 76. Richelieu library 10. Petit Palais Cafe 43. 59 rue de Rivoli. 77. Gravestone Courtyard 11. Lavomatic speakeasy 44. Grange-Batelière river 78. Piscine Molitor 12. L’As du Fallafel 45. Holybelly 19 79. Cafe Flore. 13. Pullman hotel rooftop 46. Musee Marmottan 80. Sainte Chapelle choir 14. Chapel on Rue du Bac 47. Grande Arche 81. Oldest Paris tree 15. Jardin des Plantes 48. 10 Rue Jacob 82. Musée des Arts Forains 16. Arago medallions hunt 49. Grande Chaumière ateliers 83. Vivian Maier exhibit 17. National France Library 50. Moulin de la Galette 84. Chess at Luxembourg 18. Montmartre Cemetery cats 51. Oscar Wilde’s suite 85. André Citroën baloon 19. Bustronome Bus meal 52. Credit Municipal auction 86. Dali museum 20. Walk La Petite Ceinture 53. Seine Musicale 87. Louxor cinema 21. Maxims de Paris 54. Levallois street art 88. -
André Derain Stoppenbach & Delestre
ANDR É DERAIN ANDRÉ DERAIN STOPPENBACH & DELESTRE 17 Ryder Street St James’s London SW1Y 6PY www.artfrancais.com t. 020 7930 9304 email. [email protected] ANDRÉ DERAIN 1880 – 1954 FROM FAUVISM TO CLASSICISM January 24 – February 21, 2020 WHEN THE FAUVES... SOME MEMORIES BY ANDRÉ DERAIN At the end of July 1895, carrying a drawing prize and the first prize for natural science, I left Chaptal College with no regrets, leaving behind the reputation of a bad student, lazy and disorderly. Having been a brilliant pupil of the Fathers of the Holy Cross, I had never got used to lay education. The teachers, the caretakers, the students all left me with memories which remained more bitter than the worst moments of my military service. The son of Villiers de l’Isle-Adam was in my class. His mother, a very modest and retiring lady in black, waited for him at the end of the day. I had another friend in that sinister place, Linaret. We were the favourites of M. Milhaud, the drawing master, who considered each of us as good as the other. We used to mark our classmates’s drawings and stayed behind a few minutes in the drawing class to put away the casts and the easels. This brought us together in a stronger friendship than students normally enjoy at that sort of school. I left Chaptal and went into an establishment which, by hasty and rarely effective methods, prepared students for the great technical colleges. It was an odd class there, a lot of colonials and architects. -
June 26, 1995
Volume$3.00Mail Registration ($2.8061 No. plusNo. 1351 .20 GST)21-June 26, 1995 rn HO I. Y temptation Z2/Z4-8I026 BUM "temptation" IN ate, JUNE 27th FIRST SIN' "jersey girl" r"NAD1AN TOUR DATES June 24 (2 shows) - Discovery Theatre, Vancouver June 27 a 28 - St. Denis Theatre, Montreal June 30 - NAC Theatre, Ottawa July 4 - Massey Hall, Toronto PRODUCED BY CRAIG STREET RPM - Monday June 26, 1995 - 3 theUSArts ireartstrade of and andrepresentativean artsbroadcasting, andculture culture Mickey film, coalition coalition Kantorcable, representing magazine,has drawn getstobook listdander publishing companiesKantor up and hadthat soundindicated wouldover recording suffer thatKantor heunder wasindustries. USprepared trade spokespersonCanadiansanctions. KeithThe Conference for announcement theKelly, coalition, nationalof the was revealed Arts, expecteddirector actingthat ashortly. of recent as the a FrederickPublishersThe Society of Canadaof Composers, Harris (SOCAN) Authors and and The SOCANand Frederick Music project.the preview joint participation Canadian of SOCAN and works Harris in this contenthason"areGallup the theconcerned information Pollresponsibilityto choose indicated about from.highway preserving that to He ensure a and alsomajority that our pointedthere culturalthe of isgovernment Canadiansout Canadian identity that in MusiccompositionsofHarris three MusicConcert newCanadian Company at Hallcollections Toronto's on pianist presentedJune Royal 1.of Monica Canadian a Conservatory musical Gaylord preview piano of Chatman,introducedpresidentcomposers of StevenGuest by the and their SOCAN GellmanGaylord.speaker respective Foundation, and LouisThe composers,Alexina selections Applebaum, introduced Louie. Stephen were the originatethatisspite "an 64% of American the ofKelly abroad,cultural television alsodomination policies mostuncovered programs from in of place ourstatisticsscreened the media."in US; Canada indicatingin 93% Canada there of composersdesignedSeriesperformed (Explorations toThe the introduceinto previewpieces. -
Realism in Paris: a Partnership Between Guy De Maupassant and Baron Georges Haussmann Julie M. Patterson a SENIOR THESIS For
Realism in Paris: A Partnership Between Guy de Maupassant and Baron Georges Haussmann by Julie M. Patterson A SENIOR THESIS for the UNIVERSITY HONORS COLLEGE Submitted to the University Honors College at Texas Tech University in partial fulfillment of the requirement for the degree designation of HIGHEST HONORS December 2001 Approved by: L2. - /~>- o I Dr."we~dell M·. KycocV ' Date Associate Dean, Graduate School 9 ;, ~~~ ~I Dr. Gary ~ell Date Dean, Uni rsity Honors College The author approves the photocopying of this document for educational purposes. %0^ P Teddle of Contents Acknowledgements 2 Notes on Text 3 Section I I. Introduction 5 II. Baron Georges Haussmann And His Public Works Progreuns For Paris 7 A. ^^Les Reseaiix" 10 B. Haussmann, Realism, and Nineteenth-Century Paris...l3 Section II. Discussion of Short Stories I. Guy de Maupassant 17 II. Haussmannization and Maupassant's Female Characters...21 III. Cemeteries and Parisians 29 IV. Women's Roles and Haussmannization. 36 V. Tradi t ion v. Haus smanni z at ion 41 Conclusion 52 Bibliography 54 Acknowledgements I would like to extend my deepest appreciation to several individuals who have helped me with this project. Dr. Wendell Aycock acted as my mentor professor for this project. He helped me formulate many of my ideas, potential research avenues, and acted as my main editor. He introduced me to Guy de Maupassant and lent me anything I needed out of his own resource materials for this project. Dr. Jill Patterson acted as my reviewing professor and did wonders with the editing process. I would also like to thank the Texas Tech Honors College for giving me the opportunity to undergo this kind of project at the undergraduate level. -
The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-Century Urban Public Space—London, Paris, Brussels
Marjan Sterckx The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-century Urban Public Space—London, Paris, Brussels Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008) Citation: Marjan Sterckx, “The Invisible ‘Sculpteuse’: Sculptures by Women in the Nineteenth- century Urban Public Space—London, Paris, Brussels,” Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008), http://www.19thc-artworldwide.org/autumn08/90-the-invisible- sculpteuse-sculptures-by-women-in-the-nineteenth-century-urban-public-spacelondon-paris- brussels. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2008 Nineteenth-Century Art Worldwide Sterckx: Sculptures by Women in the Nineteenth-Century Urban Public Space–London, Paris, Brussels Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008) The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-century Urban Public Space—London, Paris, Brussels[1] by Marjan Sterckx Introduction The Dictionary of Employment Open to Women, published by the London Women’s Institute in 1898, identified the kinds of commissions that women artists opting for a career as sculptor might expect. They included light fittings, forks and spoons, racing cups, presentation plates, medals and jewelry, as well as “monumental work” and the stone decoration of domestic facades, which was said to be “nice work, but poorly paid,” and “difficult to obtain without -
The Werewolf of Paris
The Werewolf of Paris Guy Endore The Werewolf of Paris Table of Contents The Werewolf of Paris........................................................................................................................................1 Guy Endore..............................................................................................................................................1 INTRODUCTION..................................................................................................................................2 CHAPTER ONE.....................................................................................................................................9 CHAPTER TWO..................................................................................................................................15 CHAPTER THREE..............................................................................................................................20 CHAPTER FOUR.................................................................................................................................25 CHAPTER FIVE..................................................................................................................................37 CHAPTER SIX.....................................................................................................................................42 CHAPTER SEVEN..............................................................................................................................51 CHAPTER EIGHT...............................................................................................................................64 -
U.S. Policy Toward Eurasia and the Role of the U.S. Congress
U.S. POLICY TOWARD EURASIA AND THE ROLE OF THE U.S. CONGRESS May 27 – June 2, 2019 | Prague, Czech Republic U.S. POLICY TOWARD EURASIA AND THE ROLE OF THE U.S. CONGRESS The Aspen Institute Congressional Program May 27 – June 2, 2019 Prague, Czech Republic TABLE OF CONTENTS Rapporteur’s Summary Matthew Rojansky .............................................................................................................. 3 U.S. Policy Toward Eurasia and the Role of the U.S. Congress Thomas Graham ...............................................................................................................17 Getting America Off the Backfoot in Eurasia Evan A. Feigenbaum .........................................................................................................23 Does BRI Really Exist? Robert Daly ......................................................................................................................29 China’s Rise as a Geo-Economic Influencer in Eurasia Philippe Le Corre ...............................................................................................................39 It’s Time to Rethink Russia’s Foreign Policy Strategy Dimitri Trenin ...................................................................................................................47 Is Russia a U.S. 'Adversary' or Just a 'Competitor'? Developing a Sustainable, Realistic U.S. Policy Towards Russia Nikolas K. Gvosdev ............................................................................................................59 The -
PLU Class of 1968 Memory Book
PLU Class of 1968 Memory Book 1964-65: Freshman Year Our freshman year began in early September 1964. The bewilderment of college classes, new living quarters, and new roommates was quickly replaced by the inevitable—beanies! Did you wear a bib? Or carry a pillow around all day? Or play some dumb part in the freshman initiation skits in Eastvold? PLU's campus was in transition to what it would later become. Many old buildings on lower campus, since demolished, were still in place then. Remember Clover Creek Hall? It sat where Tinglestad does now. Pflueger Hall was about the newest thing on campus. Later that year, what would eventually be Foss Hall first took shape as a muddy swamp on lower campus. Elsewhere on lower campus, the swimming pool was completed during the school year and opened for student use. On upper campus, a street still ran in front of the Administration Building and the CUB. Many of today's large trees were just being planted. And other than Harstad, the main women's dorms still sported their old nondescript directional names—North, South, and West. We went to chapel, where attendance was required four days a week. Many of us began our chapel careers in the balcony of Eastvold, where we liked the first chapel talks so much we applauded for them. About a week later, a note signed by Dr. Mortvedt, PI-I-I's President, appeared in the daily chapel bulletin. The note pointed out in no uncertain terms that applause was not part of chapel. -
Board of the Main Facts Regarding Allan Kardec and the Origins of Spiritism
Board of the main facts regarding Allan Kardec and the origins of Spiritism Written by Dr Silvio Seno Chibeni, P.hD. 1. Introduction In this work we will try to gather some important data from the history of Spiritism, especially those referring to Allan Kardec and nascent Spiritism. Our basic source will be the work Allan Kardec, in three volumes, by Zêus Wantuil and Francisco Thiesen, given to the public by the Brazilian Spiritist Federation in 1979/80. Any scholar of Spiritism will readily recognize that it represents the most complete and rigorous study ever published on Kardec's life and work. Volumes 2 and 3, by Thiesen, also contain analyzes and comments of great accuracy and depth on many topics related to the spiritist doctrine and movement. The three volumes of this work present a very dense mass of information. They have anthroponomic indices, but they do not have analytical indices. In the last two volumes, the chapters are of wide proportions, containing many sections. Thiesen chose, certainly with reasonable reasons, not to make a chronological presentation of the facts. All of this makes it very difficult to locate subjects. For these reasons, we find it useful to compile here, in a simpler and more direct way, some of the most important events. We were motivated by our personal experience, of often wanting to quote precise dates and places and not being able to find references right away. It may also be of some use to have a succinct panel of facts, which allows a global view. Of course, we know that what matters most are not names, dates and places, but their historical, scientific and philosophical significance. -
CONTENT Using Art and Music to Enhance Ministry a History of Using Visuals to Teach the Gospel by Richard Roos, Mdiv……….……………………………....…………………………………………………………………………………
November/December 2013 Volume 23, No. 6 CONTENT Using Art and Music to Enhance Ministry A history of using visuals to teach the Gospel By Richard Roos, MDiv……….……………………………....…………………………………………………………………………………. 4 From singing at the bedside to commissioning the CEO By Carey Landry, BCC…………………………………………….…………….…………………………….………………………………… 6 In Seattle, holiness revealed in song and through artwork By Jennifer W. Paquette, DMin, BCC………………………………………………………..……………………………………………………9 Hymns’ meaningful words speak volumes to dying By Sister Susan Pohl, OSB……...………………………………………………………..………………………………………………………10 Playing it by ear By Maggie Finley, MAPS, BCC…………………………………….…………………………………………………………………………… 11 Therapeutic effects of Native American flute evident in older adults By Carole R. DiZeo, MPS…………………………………….……………………………………………………………………………………14 Song, guided meditations, perseverance lead to God in psychiatric unit By Patricia Regan, BCC…………………………………….…………………………………………………………………………………… 16 The Voice: Not just a TV show By Maggie Finley, MAPS, BCC…………………………………….…………………………………………………………………………… 17 Chaplain uses iPad to calm, soothe and educate By Judy Eugenio…………………………………….…………………….……………………………………………………………………… 18 Former music therapist sees power of music to provide insights, but cautious about its use with patients By Rosemary Hoppe, OP, BCC…………………………………….……………………………………………………………………………15 Beyond a sequence of sounds: Healing music reaches ‘secret places of the soul’ By Isabelita Q. Boquiren, BCC…………………………………….………………………………………………………………………………19 News & Views Advent is time to -
The Adventure Zone: Live in Nashville! Published on December 14Th, 2017 Listen on Themcelroy.Family
The Adventure Zone: Live in Nashville! Published on December 14th, 2017 Listen on TheMcElroy.family Griffin: Hey, everybody. This is Griffin McElroy, your best friend, your all that other stuff. Real quick, I wanted to talk about something before we get into the episode, which is our live show that we performed in Nashville. If you were at our The The Adventure Zone Zone at PodCon last weekend, then you already know about this. But if you don‘t, there‘s a bit of a programming change that you should know about. And that is that, starting in January, for the rest of the time that we are doing these sort of experimental mini arcs like TAZ: Commitment, which we wrapped up a couple weeks ago, we are going to go weekly. We are going to have weekly episodes, starting in January, for the experimental episodes. Once we get to season two, we‘re gonna probably go back to biweekly so that we can continue to put the amount of polish and effort that we need to put to make the show as good as we want it to be. But in the meantime, we‘re gonna go weekly. And the reason we‘re doing that is because we really loved doing Commitment, and we‘re really happy with it, but if each of us takes some time to work on one of those mini arcs and we go biweekly, it‘s just gonna take forever before we get to season two, and we are all sort of ready and raring to go to start building out this big, big story like we did with Balance. -
New Music Audiences: the Generative Impulse
Edith Cowan University Research Online ECU Publications Pre. 2011 11-2010 New Music Audiences: the Generative Impulse David Tham Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/ecuworks Part of the Music Commons Tham, D. (2010). New music audiences: the generative impulse. In Papandrea, F., & Armstron, M. (Eds.) Record of CPRF Communications Policy and Research Forum 2010, (pp. 41-56). Sydney, N.S.W.: Network Insight. Available here This Conference Proceeding is posted at Research Online. https://ro.ecu.edu.au/ecuworks/6211 NEW MUSIC AUDIENCES: THE GENERATIVE IMPULSE DAVID CHRISTOPHER THAM (Refereed) Edith Cowan University 2 Bradford Street, Mount Lawley, WA 6050 Tel: 0432 448 463 Email: [email protected] Abstract This paper looks at how the net neutrality debate relates to the music recording industry and considers how new media audiences consume music as social experience and with generative impulse. As the Internet appears to force the music recording industry to re-evaluate its function and change its approach to distributing music and making money, music artistes seem to no longer need to rely on ‘record deals’ to launch or build a music career; and music audiences no longer have to rely on Top-40 radio to be told what is popular listening. This phenomenon has serious implications for new and emerging Internet social networking audiences that are interested in new and innovative forms of music experiences. This paper explores the issues of corporate control on new forms of music consumption and commoditisation, where a dichotomous relationship has emerged involving the recording industry (which seeks to monetise and control access to music) and generative audiences (which seek to consume ‘music on tap’).