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Zeitschriftenartikel zum Thema "Jean-Claude (1930-....)"
Pays, J. F., und A. Chippaux. „Jean-Claude Petithory (1930–2013)“. Bulletin de la Société de pathologie exotique 106, Nr. 4 (Oktober 2013): 227–28. http://dx.doi.org/10.1007/s13149-013-0317-6.
Der volle Inhalt der QuelleValle, Ione Ribeiro. „Diálogos entre sociologia e história: suas contribuições à edificação de uma sociologia da educação no Brasil“. Perspectiva 38, Nr. 3 (27.10.2020): 1–15. http://dx.doi.org/10.5007/2175-795x.2020.e66334.
Der volle Inhalt der QuelleClaerr Stamm, Gabrielle. „Jean-Claude Hahn (1930-2020), président honoraire de la Fédération“. Revue d’Alsace, Nr. 147 (01.12.2021): 403–4. http://dx.doi.org/10.4000/alsace.5001.
Der volle Inhalt der QuelleDeveikienė, Vaiva, und Steponas Deveikis. „Jean-Claude Nicolas Forestier (1861–1930) ir Thomas H. Mawson (1861–1933) – du amžininkai, du Europos kraštovaizdžio architektūros ir urbanistikos sąveikos vedliai“. DARNIOS APLINKOS VYSTYMAS 20, Nr. 1 (10.05.2023): 26–44. http://dx.doi.org/10.52320/dav.v20i1.258.
Der volle Inhalt der QuelleHassler, Éric. „Recht (Roland) et Richer (Jean-Claude), dir., Dictionnaire culturel de Strasbourg, 1880-1930“. Revue d’Alsace, Nr. 144 (15.11.2018): 514–15. http://dx.doi.org/10.4000/alsace.3028.
Der volle Inhalt der QuelleADIL, FATHI. „Du papier à l’écran, la ville de Paris dans Le journal d’une femme de chambre“. LITERATURE AND FILM / LITTÉRATURE ET FILM / LITERATURĂ ȘI FILM 32, Nr. 2 (2024): 87–93. http://dx.doi.org/10.47743/aic-2023-2-0008.
Der volle Inhalt der QuelleLejeune, Jean-Francois, John Beusterien und Narciso G. Menocal. „The City as Landscape: Jean Claude Nicolas Forestier and the Great Urban Works of Havana, 1925-1930“. Journal of Decorative and Propaganda Arts 22 (1996): 150. http://dx.doi.org/10.2307/1504152.
Der volle Inhalt der QuelleCharland, Jean-Pierre. „Linteau, Paul-André, René Durocher, Jean-Claude Robert et François Ricard. Le Québec depuis 1930. Montréal : Boréal, 1986. Pp 740. Illustrations, cartes. $29.95“. Urban History Review 16, Nr. 1 (1987): 130. http://dx.doi.org/10.7202/1017955ar.
Der volle Inhalt der QuelleLaberge, Yves. „Jean-Claude Marcadé et Valentine Marcadé, L’Avant-Garde au féminin : Moscou, Saint-Pétersbourg, Paris (1907-1930), Paris, Artcurial (Centre d’art plastique contemporain), 1983, 64 p. Photos. Reproductions.“ Études littéraires 20, Nr. 3 (1988): 159. http://dx.doi.org/10.7202/500829ar.
Der volle Inhalt der QuelleThomas, Joël, und Paul Bretel. „Jean-Claude Aubailly (1935-1993)“. Cahiers de civilisation médiévale 36, Nr. 144 (1993): 437–38. http://dx.doi.org/10.3406/ccmed.1993.3002.
Der volle Inhalt der QuelleDissertationen zum Thema "Jean-Claude (1930-....)"
Beligné, Max. „Remise en questions d'une lecture kuhnienne de la géographie française : réflexions épistémologiques entre sciences sociales, humanités numériques et données massives“. Electronic Thesis or Diss., Lyon 2, 2023. http://www.theses.fr/2023LYO20094.
Der volle Inhalt der QuelleThis thesis chronicles a research journey that necessitated a throrough problem formulation to substantiate the chosen corpus (Annales de Géographie and L'Espace Géographique journals) and methodological approach (utilizing word embeddings). The crux of the problem revolved around addressing the 'socio-semantic hypothesis' postulated by Olivier Orain in his thesis (2003) to validate the pertinence of his kuhnian perspective on French geography.The ensuing results show this socio-semantic hypothesis does not withstand scrutiny. Most notably, the notions of 'space' and 'environment' exhibit distinct semantic foundations within french geography during the 1960s. In the tumultuous years of the 1970s, 'space' does not acquire a singular new meaning but rather multiple interpretations. Furthermore, these nuanced meanings extend beyond the confines of the theoretical-quantitative paradigm. Lastly, the 1980s do not usher in a newfound stability or clear semantic shift.Still, it is worth stressing that these findings do not directly impugn Olivier Orain's kuhnian interpretation. Jean-Claude Passeron's developments in Le raisonnement sociologique (2006, 1991) provide an in-depth understanding of this situation : the experimental framework is rarely sufficient in social sciences. One consequence of this situation is an outright opposition to any kuhnian reading of these sciences. This perspective from Passeron has led to a meticulous evaluation of various other arguments advanced by Olivier Orain, revealing several shortcomings when compared to the original kuhnian schema.In the final phase of the thesis, this critical perspective is extrapolated to contemporary discourse, namely the realms of digital humanities and big data. A deconstruction of the narratives that frequently assert themselves as heralding paradigmatic shifts is carried out, supplemented by an introspective analysis of the conditions governing production and, ultimately, pedagogy of social sciences
Rebouh, Sabrina. „L'exotisme postcolonial dans l'oeuvre de Jean-Claude Eloy“. Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0199.
Der volle Inhalt der QuelleJean-Claude Eloy is a French composer. He is passionately fond of extra-European music, especially Japanese music. He calls for muticulturalism and refuses his works to be associated with exoticism. Even so - and without questionning Eloy’s intellectual honesty - it is possible to find out some ambiguities in his works. For instance, even though superficial exoticism, typical of XIXth century, no longer appears in his music, several themes of this exoticism can be found in some of this works. We will analyze this paradox and suggest some explanations. Our thinking is based on the proposition that exoticism comes from anthropoligical imagination and takes a variety of forms depending on the era. According to this proposition, colonialism has made the development of exoticism easier but didn’t create it. As a result, exoticism could not completely disappear with the end of colonial empires and still exists as a human reality. Postcolonial studies, semiotics and hermeneutics will be used as a background approach to explain the existence of exoticism in Eloy’s works
Renaud, Aurélie. „L' Espagne dans la pensée de Georges Bataille, Jean Genet et Claude Simon : reprise et remaniements des stéréotypes“. Paris 7, 2011. http://www.theses.fr/2011PA070113.
Der volle Inhalt der QuelleSpain noticeably figures prominently in the works of Georges Bataille, Jean Genet and Claude Simon. It is first and foremost the object of a private experience that is both brief and intense. However, the registering of such an experience - the attempt at turning it into thought -then encounters and intersects the images through which the country has customarily been perceived for centuries. They notably turn to two traditions: the heroic mythology of the Civil War, on the one hand, the exotic and picturesque imagination that has characterised the romantic generation, on the other hand. They have patiently and carefully deconstructed such an inheritance. Yet, these stereotypes are not cast away altogether as deceitful conceptions. They are much rather exhibited, taken up, displaced. Hence, in the works of the three authors that are of concern here and despite everything that might distinguish them otherwise, the elaboration of a new Spain, at once recognizable and unrecognizable. A strong alterity springs forth from a conventional alterity, and myth emerges from stereotypes. Indeed Spain eventually opens onto the truth which matters to them and which stands at the core of their respective thought: an anthropological truth in the cases of Simon and Bataille, an intimate truth in the case of Genet. Che aut
Viri, Federico. „La nozione di « événement » nella fenomenologia francese contemporanea“. Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040205.
Der volle Inhalt der QuelleThe purpose of this work is to provide a theoretical and historical reconstruction of the notion of« event » in the field of French contemporary phenomenology and as it is developed in the worksof three main authors, notably J. Derrida, J.-L. Marion et C. Romano. The starting point of thework is in the attempt to reform French phenomenology from 80’s till nowadays through theconcept of event. Accordingly, the heritage of French contemporary phenomenology is identifiedin the tangle of Heidegger’s inapparent phenomenology as well as in post-structuralism. Thequestions cornering the definition of anthropos and the future of phenomenology are thereby inbackground
Morgan, Harry. „Formes et mythopoeia dans les littératures dessinées“. Paris 7, 2008. http://www.theses.fr/2008PA070103.
Der volle Inhalt der QuelleOur thesis elaborates upon a previous scholarly work (Harry Morgan, Principes des littératures dessinées, Editions de l'an 2, 2003). Our aim is to contribute to an empirical theory of comics (a stripology), which places the rhetorical devices found in comic book or comic strip stories in the wider context of visual narrative but also in the narrower context of the relevant editorial form, such as a book, a print, a daily newspaper, a periodical publication (such as a weekly), etc. The analysis is centered on the interaction between the physical, semiotical, and editorial constraints of the comic narrative and the contents of the stories. This leads not onty to an examination of the peculiarities of the fictional worlds of comics, but to a wider understanding of the laws that govern such worlds. It is suggested that such a definition of an imaginary world by the formal characteristics and the narrative mechanisms of the comic form is a function of a mythopoetic potentiality of comics. The Sunday page of Zig et Puce by Alain Saint-Ogan, the newspaper strip Little Orphan Annie by Harold Gray, thé comic book The Fantastic Four by Jack Kirby and the entire œuvre of Jean-Claude Forest are examined in detail
Kim, Sae-Jung. „L'interaction de l'Orient et de l'Occident dans les oeuvres de Jean-Claude Eloy : une approche analytique“. Paris 4, 2007. http://www.theses.fr/2007PA040096.
Der volle Inhalt der QuelleThis analysis explores the tight relationship between Jean-Claude Eloy’s apparently dissociated universes of Orient and Occident, particularly over the 1962-1996 period. Although Western music started being exposed to oriental influences in the nineteenth century, and although some instruments and themes got adapted to an oriental climate, this influence remained superficial and affected the sensitivity and the psychology of the composer more than the music itself. While impressionism integrated some of the oriental heritage in its own harmonic structure, serious musicological research wouldn’t start until recently. Jean-Claude Eloy is certainly one of the most stimulating composers with regards to this. His creations are neither mere copies nor artificial syncretism : they respond to a strong internal demand when facing well-mastered pallets of images and meanings of both Western and Eastern origins. Today, Eloy introduces traditional instruments and musicians to the electroacoustic music. It is not only to be listened to : it has got to be visualised. Each creation is a complete and self sufficient piece of art. Moreover, beyond the music, Eloy knows how to assimilate the fundamental spirits of Asia. He is one of today’s few composers of Asian music. His music is neither an imitation of the oriental music nor a rejection of the western music. It is the ultimate bridge between them
Parent, Sabrina. „"Poéthiques" de l'événement : dans les œuvres de Claude Simon, Jean Rouaud, Jean Follain, Jacques Réda, François Jacqmin et Eugène Savitzkaya“. Toulouse 2, 2006. http://ezproxy.normandie-univ.fr/login?url=https://www.classiques-garnier.com/numerique-bases/garnier?filename=sptMS01.
Der volle Inhalt der QuelleAlthough our study does not reject a narrative perspective on the event, it claims that a literary approach to the event should not be limited to that angle. The concept of event is therefore considered in the extended field of human sciences (historiography, analytical philosophy, phenomenology, etc. ) in order to gather tools to better capture its specificities in literary texts. The questions regarding the writing of events –historical or natural– are asked in both poetic and narrative texts : what is considered to be an event for a novelist (Simon, Rouaud, Savitzkaya) or a poet (Follain, Réda, Jacqmin) ? What are the linguistic means our authors resort to in order to write those events ? How can literary works reflect the author's vision of the world and how can they be ethically interpreted ? Our ultimate goal is indeed to give an ethical interpretation to our authors' works, a " poethics " (Pinson)
Parent, Sabrina. „"Poéthiques" de l'événement dans les oeuvres de Claude Simon, Jean Rouaud, Jean Follain, Jacques Réda, François Jacqmin et Eugène Savitzkaya“. Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210813.
Der volle Inhalt der QuelleDoctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished
Baudouin, Olivier. „Problématiques musicales du recours aux techniques de synthèse sonore numérique aux États-Unis et en France de 1957 à 1977“. Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040117.
Der volle Inhalt der QuelleThe musical repertoire generated by digital sound synthesis during the first twenty years of development of these techniques (1957-1977) had never been fully studied by musicologists, in spite of the importance of this field regarding evolution of contemporary sonic world, and the availability of numerous documents. Our method, based on Leigh Landy and Marc Battier’ideas, consisted of giving credit to pieces often dealt in an insulated or illustrative manner, by reconstructing around them a story combining historical, analytical, technical, aesthetical, and cultural elements. Thus, links that bound music, science, and digital technology in the 1960s and 1970s clearly appear, renewing comprehension of sound-based repertoires
Chauvin, Cédric. „Statuts et fonctions de la référence épique en France depuis la Seconde Guerre mondiale“. Toulouse 2, 2008. http://www.theses.fr/2008TOU20088.
Der volle Inhalt der QuelleProperly speaking, epics have not been written in France for two centuries, but the genre continues to influence contemporary literature. In particular, the “double image” of the epic as the Romantic thinkers construed it still informs both the reinterpretation of classical epics and the contemporary novel. On the one hand, it legitimizes the present by condemning the epic to the past, but without ceasing to perpetrate it as a universal monument. The works of numerous philologists such as Georges Dumézil or Madeleine Biardeau bear witness to this disparity. For their part, translators of epic literature such as Philippe Jaccottet or Pierre Klossowski criticize in diverse ways the philological paradigm and its paradoxes. On the other hand, the romantics invented an epic register which tries to retain the essence of the epic as a genre, transferring it to the novel. However, the texts of Jean Giono, Julien Gracq and Claude Simon indicate that this “epic style” inherits the difficulties of the epic genre itself when it comes to the modern age, even calling into question the modern understanding of literature. Finally, modern adaptations seem to constitute an alternative to the modern paradigm of the epic. However, in France they are often limited to simple rewriting and thus remain faithful to the idealized conception of the epic as a universal utterance (Jean-Claude Carrière). As far as the genres of fantasy and “space opera” are concerned, their narrative rewriting of “the myth of the death of epic” serves their own aim of self-legitimization; their specificity is therefore constructed in the very terms of modern literature that they re-appropriate and put into question
Bücher zum Thema "Jean-Claude (1930-....)"
1886-1940, Martet Jean, Hrsg. Regards français sur le Togo des années 1930: Jean Martet, Claude Lestrade, Laurent Péchoux, Jacques Massu. Lomé: Editions HAHO, 1994.
Den vollen Inhalt der Quelle findenColloque international sur J.C.N. Forestier (1990 Paris, France). Jean Claude Nicolas Forestier, 1861-1930: Du jardin au paysage urbain : actes du Colloque international sur J.C.N. Forestier, Paris, 1990. Paris: Picard, 1994.
Den vollen Inhalt der Quelle findenMattogno, Carlo. Auschwitz: The end of a legend : critique of Jean-Claude Pressac. Newport Beach, CA: Institute for Historical Review, 1994.
Den vollen Inhalt der Quelle findenMeyer, Claude. Etre juif, à Saint-Jean de Luz, pendant les années noires 1939-1945: Claude Meyer se souvient--. [Urrugne]: M. Mottay, 2004.
Den vollen Inhalt der Quelle findenJean Claude Nicolas Forestier, 1861-1930: Du jardin au paysage urbain : Actes du Colloque international sur J.C.N. Forestier, Paris, 1990. Picard, 1994.
Den vollen Inhalt der Quelle findenRegards francais sur le Togo des annees 1930: Jean Martet, Claude Lestrade, Laurent Pechoux, Jacques Massu (Les Chroniques anciennes du Togo). Karthala, 1995.
Den vollen Inhalt der Quelle findenBaal-Teshuva, Jacob. Christo and Jean-Claude. TASCHEN, 2005.
Den vollen Inhalt der Quelle findenBaal-Teshuva, Jacob. Christo and Jean-Claude. TASCHEN, 2005.
Den vollen Inhalt der Quelle findenBaal-Teshuva, Jacob. Christo and Jean-Claude. TASCHEN, 2005.
Den vollen Inhalt der Quelle findenBaal-Teshuva, Jacob. Christo and Jean-Claude. TASCHEN, 2005.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Jean-Claude (1930-....)"
Forsythe, Alexandra. „Jean Claude Piaget (1896–1980)“. In Fifty Key Thinkers in Psychology, 247–52. 2. Aufl. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003229179-41.
Der volle Inhalt der Quelle„Grumberg, Jean-Claude (b.1939)“. In Encyclopedia of Modern Jewish Culture, 357–58. Routledge, 2004. http://dx.doi.org/10.4324/9780203494356-47.
Der volle Inhalt der QuelleAmmons, Elizabeth. „Jumping Out the Window: Nella Larsen’s Passing and the End of an Era“. In Conflicting Stories, 183–200. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780195060300.003.0011.
Der volle Inhalt der QuelleJefferson, Ann. „A Gaggle of Geese or Technical Rigour“. In What Forms Can Do, 39–52. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620658.003.0003.
Der volle Inhalt der Quelle„Marin Karmitz is a phenomenon: one of the most prolic French producers of his generation. Alongside his production activities, he has also set up MK2, a successful distribution, exhibition, and sales company. Louis Malle, Alain Resnais, Claude Chabrol, Jean-Luc Godard—he has worked with them all. Karmitz has also branched further aeld, producing movies by Iranian master Abbas Kiarostami, by great Polish director Krzysztof Kieslowski, and by American auteur Gus Van Sant. Notable lms on the producer’s lmography include the Three Colors trilogy with Kieslowski (1993 to 1994), Chabrol’s version of Madame Bovary (1991), Resnais’ Mélo (1986), Kiarostami’s The Wind Will Carry Us (1999), and Jonathan Nossiter’s Signs & Wonders (2000). He also co-produced Van Sant’s Paranoid Park (2007). He was associate producer on Godard’s Every Man for Himself (1980), and his company produced Malle’s classic, Au Revoir Les Enfants (1987). There are several paradoxes about Karmitz. He is a gure of the 1960s, a radical leftist who fell foul of the lmmaking establishment in the turbulent post-1968 years. His directorial career was stopped in its tracks in the early 1970s and he was blacklisted. At the same time, this idealistic lmmaker with close links to the revolutionary movement proved to be an astute cinema owner and businessman. To outsiders, his lmmaking model seems akin to that of the Hollywood studios. His company is vertically integrated, handling everything from production to exhibition. He suggests his business is more in the tradition of the Lumière brothers. There is, of course, one very big difference between Karmitz and the Hollywood majors. Karmitz only produces lms by auteurs. Karmitz is nothing if not international in outlook. He came to France as a refugee. Born in 1938, Karmitz spent his early years in Romania. Once established as a producer, he has worked with lmmakers all over the world, but that leads to another surprising fact about him. He doesn’t much like to travel. His passport, he says, is the cinema.“ In FilmCraft: Producing, 73–74. Routledge, 2013. http://dx.doi.org/10.4324/9780240823881-25.
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