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Expositions Personnelles
Jean Paul Riopelle Est né à Montréal en 1923. Il est décédé en 2002 à L’Isle-aux-Grues au Québec. EXPOSITIONS PERSONNELLES 1949 Riopelle à la Dragonne, Galerie Nina Dausset, Paris, cat. Texte : Aparté entre Elisa Breton, André Breton et Benjamin Péret 1951 Studio Paul Facchetti, Paris, exposition présentée par Michel Tapié 1953 Galerie Pierre et Galerie Craven, Paris, exposition présentée et préfacée par Pierre Loeb, cat., poème de Nicole Derlon 1954 Riopelle, First American Exhibition, Pierre Matisse Gallery, New York, cat., texte de Georges Duthuit, traduit par Samuel Beckett Galerie Marcel Évrard, Roubaix Riopelle, Galerie Rive droite, Paris, cat., texte de Georges Duthuit 1955 Jean Paul Riopelle, Exhibition of recent paintings and watercolors, Pierre Matisse Gallery, New York 1956 Jean Paul Riopelle, Paintings, Gouaches, Watercolours, (Paintings 1948-1956), Gimpel Fils Gallery, Londres Riopelle, Paintings, Gouaches, Watercolors, Pierre Matisse Gallery, New York, cat. Riopelle, Œuvres récentes, Galerie Jacques Dubourg, Paris, cat., texte de Pierre Schneider 1957 Galerie Dominion, Montréal. 1958 Riopelle, Kölnischer Kunstverein, Cologne, cat. Riopelle, Anne Abels Galerie, Cologne, cat. Riopelle, Kunst in Museumverein, Wuppertal, cat. Riopelle, Kestner Gesellschaft, Hanovre, cat. 1959 Svensk-Franska Konsgalleriet, Stockholm. Paintings 1949-1959, Arthur Tooth & Sons Gallery, Londres, cat., texte de Pierre Boudreau Riehentor Galerie, Bâle. Riopelle, Galerie Anne Abels, Cologne, cat., texte d’Edouard Trier 1960 Galerie Jacques Dubourg et Galerie Kléber, Paris, cat., texte de Pierre Schneider Galleria dell’Ariete, Milan, cat. Dipindi di Riopelle, Notizie Associazione Arte Figurative, Turin, cat., texte de Pierre Schneider 1961 Galerie Benador, Genève, cat. Riopelle, Roberts Gallery, Toronto 1962 Riopelle, Sculptures, Galerie Jacques Dubourg, Paris, cat., texte de Pierre Schneider Riopelle, Biennale de Venise, cat., textes de Franco Russoli, Guy Viau, J. -
Le Surrealisme Et Les Poetes Surrealistes Dans La Litterature Francaise
T.C. SELÇUK ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ FRANSIZ DİLİ VE EDEBİYATI ANABİLİM DALI LE SURREALISME ET LES POETES SURREALISTES DANS LA LITTERATURE FRANCAISE Ali UMUR YÜKSEK LİSANS Danışman Prof. Dr. GALİP BALDIRAN KONYA-2010 i BİLİMSEL ETİK SAYFASI Adı Soyadı ALI UMUR Numarası 084207002001 Ana Bilim / Bilim Dalı FRABSIZ DILI VE EDEBIYATI rencinin Programı Tezli Yüksek Lisans Doktora ğ LE SURREALISME ET LES POETES SURREALISTE Tezin Adı DANS LA LITERRATURE FRANÇAISE Ö Bu tezin proje safhasından sonuçlanmasına kadarki bütün süreçlerde bilimsel etiğe ve akademik kurallara özenle riayet edildiğini, tez içindeki bütün bilgilerin etik davranış ve akademik kurallar çerçevesinde elde edilerek sunulduğunu, ayrıca tez yazım kurallarına uygun olarak hazırlanan bu çalışmada başkalarının eserlerinden yararlanılması durumunda bilimsel kurallara uygun olarak atıf yapıldığını bildiririm. Öğrencinin imzası ii Avant de présenter ce travail qui était pour moi une occasion de connaitre les moyens d’études et de recherches littéraire, je tiens a remercier Prof.Dr.Galip BALDIRAN qui m’a orienté et qui m’a beaucoup aidée pendant la préparation de cette thése et je remercie aussi aussi Prof.Dr. Abdullah ÖZTÜRK et Yrd.Doç.Dr. Fuat BOYACIOĞLU. iii Adı Soyadı ALİ UMUR Numarası 084207002001 Ana Bilim / Bilim Dalı Programı Tezli Yüksek Lisans Doktora rencinin ğ Tez Danışmanı PROF.DR.GALİP BALDIRAN Tezin Adı Sürealism ve Fransız Edebiyatında Sürrealist Şairler Ö ÖZET Birinci Dünya Savaşı yıllarında psikiyatri bölümlerinde çalışmış ve Freud'un düşünceleriyle yakından İlgilenmiş olan Dr. Amire Breton tarafından sistemleştirilmiş; ilk bildirisi (Le Premier Manifeste du Surrealisme) yine onun tarafından 1924'te, bunu tamamlayıcı ikinci bildirisi (Le Second Manifeste du Surrealisme) ise 1930'da ilân edilmiştir. -
Representing the Algerian Civil War: Literature, History, and the State
Representing the Algerian Civil War: Literature, History, and the State By Neil Grant Landers A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in French in the GRADUATE DIVISION of the UNIVERSITY OF CALIFORNIA, BERKELEY Committee in charge: Professor Debarati Sanyal, Co-Chair Professor Soraya Tlatli, Co-Chair Professor Karl Britto Professor Stefania Pandolfo Fall 2013 1 Abstract of the Dissertation Representing the Algerian Civil War: Literature, History, and the State by Neil Grant Landers Doctor of Philosophy in French Literature University of California, Berkeley Professor Debarati Sanyal, Co-Chair Professor Soraya Tlatli, Co-Chair Representing the Algerian Civil War: Literature, History, and the State addresses the way the Algerian civil war has been portrayed in 1990s novelistic literature. In the words of one literary critic, "The Algerian war has been, in a sense, one big murder mystery."1 This may be true, but literary accounts portray the "mystery" of the civil war—and propose to solve it—in sharply divergent ways. The primary aim of this study is to examine how three of the most celebrated 1990s novels depict—organize, analyze, interpret, and "solve"—the civil war. I analyze and interpret these novels—by Assia Djebar, Yasmina Khadra, and Boualem Sansal—through a deep contextualization, both in terms of Algerian history and in the novels' contemporary setting. This is particularly important in this case, since the civil war is so contested, and is poorly understood. Using the novels' thematic content as a cue for deeper understanding, I engage through them and with them a number of elements crucial to understanding the civil war: Algeria's troubled nationalist legacy; its stagnant one-party regime; a fear, distrust, and poor understanding of the Islamist movement and the insurgency that erupted in 1992; and the unending, horrifically bloody violence that piled on throughout the 1990s. -
Sherlock Holmes
sunday monday tuesday wednesday thursday friday saturday KIDS MATINEE Sun 1:00! FEB 23 (7:00 & 9:00) FEB 24 & 25 (7:00 & 9:00) FEB 26 & 27 (3:00 & 7:00 & 9:15) KIDS MATINEE Sat 1:00! UP CLOUDY WITH A CHANCE OF MEATBALLS THE HURT LOCKER THE DAMNED PRECIOUS FEB 21 (3:00 & 7:00) Director: Kathryn Bigelow (USA, 2009, 131 mins; DVD, 14A) Based on the novel ‘Push’ by Sapphire FEB 22 (7:00 only) Cast: Jeremy Renner Anthony Mackie Brian Geraghty Ralph UNITED Director: Lee Daniels Fiennes Guy Pearce . (USA, 2009, 111 min; 14A) THE IMAGINARIUM OF “AN INSTANT CLASSIC!” –Wall Street Journal Director: Tom Hooper (UK, 2009, 98 min; PG) Cast: Michael Sheen, Cast: Gabourey Sidibe, Paula Patton, Mo’Nique, Mariah Timothy Spall, Colm Meaney, Jim Broadbent, Stephen Graham, Carey, Sherri Shepherd, and Lenny Kravitz “ENTERS THE PANTEHON and Peter McDonald DOCTOR PARNASSUS OF GREAT AMERICAN WAR BEST SUPPORTING ACTRESS MO’NIQUE FILMS!” –San Francisco “ONE OF THE BEST FILMS OF THE GENRE!” –Golden Globes, Screen Actors Guild Director: Terry Gilliam (UK/Canada/France, 2009, 123 min; PG) –San Francisco Chronicle Cast: Heath Ledger, Christopher Plummer, Tom Waits, Chronicle ####! The One of the most telling moments of this shockingly beautiful Lily Cole, Johnny Depp, Colin Farrell, and Jude Law Hurt Locker is about a bomb Can viewers who don’t know or care much about soccer be convinced film comes toward the end—the heroine glances at a mirror squad in present-day Iraq, to see Damned United? Those who give it a whirl will discover a and sees herself. -
De Montréal : Le Sacré Et Le Profane
JÉSUS DE MONTRÉAL : LE SACRÉ ET LE PROFANE Danielle Conway Mémoire présenté à l'École des Études Supérieures comme exigence partielle de la Maîtrise ès Arts en Études françaises Département d'Études françaises et hispaniques Université Mernorial Saint-Jean, Terre-Neuve août 1998 National Library Bibliothèque nationale 191 of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wellington OttawaON KtAW Ottawa ON KIA ON4 Canada Canada The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distriiute or seU reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm. de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts £kom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. RÉs& Ce mémoire consiste essentiellement en une analyse intention sémiotique de Jésus de Montréal, film du cinéaste québécois Denys Arcand sorti en 1989. Ce film est basé sur la confrontation du Sacré et du Profane, comme l'indique le titre du film même (Jésus/Montréal), qui résulte en la folie et la mort du Sujet, le personnage principal, Daniel Coulombe. -
French (08/31/21)
Bulletin 2021-22 French (08/31/21) evolved over time by interpreting related forms of cultural French representation and expression in order to develop an informed critical perspective on a matter of current debate. Contact: Tili Boon Cuillé Prerequisite: In-Perspective course. Phone: 314-935-5175 • In-Depth Courses (L34 French 370s-390s) Email: [email protected] These courses build upon the strong foundation students Website: http://rll.wustl.edu have acquired in In-Perspective courses. Students have the opportunity to take the plunge and explore a topic in the Courses professor’s area of expertise, learning to situate the subject Visit online course listings to view semester offerings for in its historical and cultural context and to moderate their L34 French (https://courses.wustl.edu/CourseInfo.aspx? own views with respect to those of other cultural critics. sch=L&dept=L34&crslvl=1:4). Prerequisite: In-Perspective course. Undergraduate French courses include the following categories: L34 French 1011 Essential French I Workshop Application of the curriculum presented in French 101D. Pass/ • Cultural Expression (French 307D) Fail only. Grade dependent on attendance and participation. Limited to 12 students. Students must be enrolled concurrently in This course enables students to reinforce and refine French 101D. their French written and oral expression while exploring Credit 1 unit. EN: H culturally rich contexts and addressing socially relevant questions. Emphasis is placed on concrete and creative L34 French 101D French Level I: Essential French I description and narration. Prerequisite: L34 French 204 or This course immerses students in the French language and equivalent. Francophone culture from around the world, focusing on rapid acquisition of spoken and written French as well as listening Current topic: Les Banlieues. -
Rebooting Roseanne: Feminist Voice Across Decades
Home > Vol 21, No 5 (2018) > Ford Rebooting Roseanne: Feminist Voice across Decades Jessica Ford In recent years, the US television landscape has been flooded with reboots, remakes, and revivals of “classic” nineties television series, such as Full/er House (1987-1995, 2016- present), Will & Grace (1998-2006, 2017-present), Roseanne (1988-1977, 2018), and Charmed (1998-2006, 2018-present). The term “reboot” is often used as a catchall for different kinds of revivals and remakes. “Remakes” are derivations or reimaginings of known properties with new characters, cast, and stories (Loock; Lavigne). “Revivals” bring back an existing property in the form of a continuation with the same cast and/or setting. “Revivals” and “remakes” both seek to capitalise on nostalgia for a specific notion of the past and access the (presumed) existing audience of the earlier series (Mittell; Rebecca Williams; Johnson). Reboots operate around two key pleasures. First, there is the pleasure of revisiting and/or reimagining characters that are “known” to audiences. Whether continuations or remakes, reboots are invested in the audience’s desire to see familiar characters. Second, there is the desire to “fix” and/or recuperate an earlier series. Some reboots, such as the Charmed remake attempt to recuperate the whiteness of the original series, whereas others such as Gilmore Girls: A Life in the Year (2017) set out to fix the ending of the original series by giving audiences a new “official” conclusion. The Roseanne reboot is invested in both these pleasures. It reunites the original cast for a short-lived, but impactful nine-episode tenth season. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
French Department Faculty 33 - 35 French Department Awards 36 - 38 French House Fellows Program 39
Couverture: La Conciergerie et le Pont au Change, Paris TABLE OF CONTENTS Page Course Descriptions 2 - 26 French 350 27 French 360/370 28 - 29 Linguistics and Related Course Descriptions 30 French Advanced Placement Policies & Language Requirements 31 Requirements for the Major 31 The French Cultural Studies Major 31 Maison Française/French House 32 Wellesley-in-Aix 32 French Department Faculty 33 - 35 French Department Awards 36 - 38 French House Fellows Program 39 French Department extensions: Sarah Allahverdi (781) 283-2403 Hélène Bilis x2413 Venita Datta x2414 Sylvaine Egron-Sparrow x2415 Marie-Cecile Ganne-Schiermeier x2412 Scott Gunther x2444 Andrea Levitt x2410 Barry Lydgate, Chair x2404/x2439 Catherine Masson x2417 Codruta Morari x2479 Vicki Mistacco x2406 James Petterson x2423 Anjali Prabhu x2495 Marie-Paule Tranvouez x2975 French House assistantes x2413 Faculty on leave during 2012-2013: Scott Gunther (Spring) Andrea Levitt (Spring) Catherine Masson Vicki Mistacco (Fall) James Petterson (Spring) Please visit us at: http://web.wellesley.edu/web/Acad/French http://www.wellesley.edu/OIS/Aix/index.html http://www.facebook.com/pages/Wellesley-College-French- Department/112088402145775 1 FRENCH 101-102 (Fall & Spring) Beginning French I and II Systematic training in all the language skills, with special emphasis on communication, self- expression and cultural insight. A multimedia course based on the video series French in Action. Classes are supplemented by regular assignments in a variety of video, audio, print and Web-based materials to give students practice using authentic French accurately and expressively. Three class periods a week. Each semester earns 1.0 unit of credit; however, both semesters must be completed satisfactorily to receive credit for either course. -
Une Bibliographie Commentée En Temps Réel : L'art De La Performance
Une bibliographie commentée en temps réel : l’art de la performance au Québec et au Canada An Annotated Bibliography in Real Time : Performance Art in Quebec and Canada 2019 3e édition | 3rd Edition Barbara Clausen, Jade Boivin, Emmanuelle Choquette Éditions Artexte Dépôt légal, novembre 2019 Bibliothèque et Archives nationales du Québec Bibliothèque et Archives du Canada. ISBN : 978-2-923045-36-8 i Résumé | Abstract 2017 I. UNE BIBLIOGraPHIE COMMENTÉE 351 Volet III 1.11– 15.12. 2017 I. AN ANNOTATED BIBLIOGraPHY Lire la performance. Une exposition (1914-2019) de recherche et une série de discussions et de projections A B C D E F G H I Part III 1.11– 15.12. 2017 Reading Performance. A Research J K L M N O P Q R Exhibition and a Series of Discussions and Screenings S T U V W X Y Z Artexte, Montréal 321 Sites Web | Websites Geneviève Marcil 368 Des écrits sur la performance à la II. DOCUMENTATION 2015 | 2017 | 2019 performativité de l’écrit 369 From Writings on Performance to 2015 Writing as Performance Barbara Clausen. Emmanuelle Choquette 325 Discours en mouvement 370 Lieux et espaces de la recherche 328 Discourse in Motion 371 Research: Sites and Spaces 331 Volet I 30.4. – 20.6.2015 | Volet II 3.9 – Jade Boivin 24.10.201 372 La vidéo comme lieu Une bibliographie commentée en d’une mise en récit de soi temps réel : l’art de la performance au 374 Narrative of the Self in Video Art Québec et au Canada. Une exposition et une série de 2019 conférences Part I 30.4. -
Écrire Une Génération Symbolique Féministe Et Lesbienne
UNIVERSITÉ DU QUÉBEC À MONTRÉAL « LIEU(X) POSSIBLE(S) »: ÉCRIRE UNE GÉNÉRATION SYMBOLIQUE FÉMINISTE ET LESBIENNE MÉMOIRE CRÉATION PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN THÉÂTRE PAR MARIE-CLAUDE GARNEAU DÉCEMBRE 2016 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.03-2015). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» REMERCIEMENTS Mes remerciements vont d'abord au Conseil de recherches en sciences humaines du Canada (CRSH) pour la bourse de maîtrise qui m'a été octroyée, ainsi qu'au Centre de recherche interuniversitaire sur la littérature et la culture québécoise de l'UQÀM (CRILCQ-UQÀM), pour la bourse de fin de rédaction. -
Stories in Selected 20Th-Century Texts by Québécois Women Writers Jessica Mcbride University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-1-2017 Alternative Biographies: (Re)telling Feminine (Hi)stories in Selected 20th-Century Texts by Québécois Women Writers Jessica McBride University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation McBride, Jessica, "Alternative Biographies: (Re)telling Feminine (Hi)stories in Selected 20th-Century Texts by Québécois Women Writers" (2017). Doctoral Dissertations. 1655. https://opencommons.uconn.edu/dissertations/1655 Alternative Biographies: (Re)telling Feminine (Hi)stories in Selected 20th-Century Texts by Québécois Women Writers Jessica A. McBride, PhD University of Connecticut, 2017 The objective of this dissertation is to examine the tendency on the part of several québécois women authors from the 20th century to create alternative feminine biographies for forgotten, undervalued, or misrepresented women from the past. Given the complex relationship the Québécois have with their provincial history, and the central role chauvinistic representations of women and the “Québec national text” play in safeguarding the québécois cultural identity, contemporary women writers from Québec are singularly poised to resurrect, recreate, revive, and rewrite the feminine historical experience into the traditional discourse of History. From Québec’s most famous woman writer, Anne Hébert, to a lesser known militant lesbian playwright, Jovette Marchessault, and other québécois women writers along the spectrum, there exists a common trope: plays and novels in which homo- or heterodiegetic women narrators feel compelled to (re)tell another woman’s feminine (hi)story. Some examples of this practice appear initially to be somewhat traditional works of historical fiction, others ignore almost entirely the referential world beyond the confines of their pages.