Academic literature on the topic '1954-2012'
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Journal articles on the topic "1954-2012"
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Wilmut, I. "Keith Campbell (1954-2012)." Science 338, no. 6114 (December 20, 2012): 1553. http://dx.doi.org/10.1126/science.1233495.
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Campbell, Philip. "Maxine Clarke (1954-2012)." Nature 493, no. 7430 (January 2013): 13. http://dx.doi.org/10.1038/493013b.
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Olivier, Gerrit. "Colin Richards (1954–2012)." de arte 48, no. 87 (January 2013): 4–6. http://dx.doi.org/10.1080/00043389.2013.11877177.
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Hetherington, Stephen, and Mark Colyvan. "Alan Saunders (1954–2012)." Australasian Journal of Philosophy 90, no. 4 (December 2012): 823–24. http://dx.doi.org/10.1080/00048402.2012.726505.
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Darling, Eliza Jane. "Neil Smith 1954–2012." Dialectical Anthropology 36, no. 3-4 (November 29, 2012): 353–68. http://dx.doi.org/10.1007/s10624-012-9285-7.
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Bomfim, Paulo, Clarissa Maciel Cavalcante, and Rosana de Campos Fernandes. "Neil Smith, 1954-2012." Revista Geografias 17, no. 1 (April 15, 2022): 145–94. http://dx.doi.org/10.35699/2237-549x.2021.34402.
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Smith, Angela K. "Mary Elizabeth Jacobs, 1954-2012." Journal of the Sylvia Townsend Warner Society 13, no. 1 (December 1, 2012): 51–54. http://dx.doi.org/10.14324/111.444.stw.2012.05.
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Long, D. Stephen. "Ralph Del Colle† 1954–2012." Pro Ecclesia: A Journal of Catholic and Evangelical Theology 22, no. 3 (August 2013): 249–54. http://dx.doi.org/10.1177/106385121302200302.
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Trounson, Alan. "Keith H. Campbell (1954–2012)." Nature 491, no. 7423 (November 2012): 193. http://dx.doi.org/10.1038/491193a.
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Edwards, Kevin J., Rowan Ellis, and Lorna J. Philip. "An Appreciation: Neil Smith (1954–2012)." Scottish Geographical Journal 129, no. 1 (March 2013): 54–56. http://dx.doi.org/10.1080/14702541.2012.739197.
Full textDissertations / Theses on the topic "1954-2012"
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Robic-Diaz, Delphine. "La guerre d'Indochine dans le cinéma français (1945-2006) : image(s) d'un trou de mémoire." Paris 3, 2007. http://books.openedition.org/pur/91438.
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La guerre d’Indochine n’est pas seulement le sujet de quelques films de guerre réalisés par d’anciens enrôlés du Service cinématographique des armées tels Pierre Schoendoerffer ou Claude Bernard-Aubert. Elle est également un phénomène de société, dont la présence, ténue mais récurrente, est notable dans les fictions françaises (tous genres confondus) tournées depuis plus d’un demi-siècle par des cinéastes aussi reconnus que Louis Malle, Claude Chabrol, Georges Lautner, Pierre Granier-Deferre, Yves Boisset, Gérard Corbiau, Bertrand Tavernier, Régis Wargnier, etc. La guerre d’Indochine n’est jamais clairement dite dans ces films, mais elle s’avère impossible à taire totalement, comme s’il s’agissait d’un refoulé cinématographique tentant perpétuellement d’apparaître à l’écran. Trou de mémoire cinématographique, le conflit devient l’objet d’une mythification héritée du cinéma colonial, renouvelée par les enjeux des représentations post-coloniales. Ainsi, les références à la guerre d’Indochine sont-elles souvent sibyllines et toujours lancinantes, signalant une défaillance, un manque tant chez les personnages qui la stigmatisent (les anciens d’Indo) qu’au sein des récits qui y font allusion sans la mettre en scène. Pour paraphraser le titre d’un ouvrage de Paul Ricoeur, la représentation de la guerre d’Indochine dans le cinéma français est sans doute exemplaire d’un lien possible entre l’Histoire et la Mémoire via l’OubliThe Indochina War is not merely the topic of several movies directed by former soldiers who enrolled in the “Army movie department” (Service cinématographique des armées) such as Pierre Schoenderffer or Claude Bernard-Aubert. For more than half a century, it has also been a mass phenomenon which tenuous but recurring presence can be felt in French fictions from all genres directed by such acclaimed filmmakers as Louis Malle, Claude Chabrol, Georges Lautner, Pierre Granier-Deferre, Yves Boisset, Gérard Corbiau, Bertrand Tavernier, Régis Wargnier, etc. The Indochina War is never clearly expressed in these films but it is never totally hushed as if it were a kind of cinematic repressed always attempting to return onscreen. As a cinematic blank mind, this conflict has been turned into a myth inherited from colonial cinema and renewed by the stakes of postcolonial representations. The many references to the Indochina War are thus often cryptic and always haunting. They point at a lapse or at a lack not only for the characters who tend to stigmatize this War (Indochina veterans) but also within the narratives that allude to it without staging it. To paraphrase the title of a book by Paul Ricoeur, the representation of the Indochina War in French cinema may be the perfect example of a potential link between History and Memory through Forgetfulness/Forgetting
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Roussel, Noëllie. "Mike Kelley, stéréotypes et "the uncanny" : vers une anti-esthétique." Paris 1, 2003. http://www.theses.fr/2003PA010670.
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Ce travail présente le rôle et l'influence de l'artiste américain Mike Kelley sur la scène internationale de l'art depuis la fin des années 70 jusqu'au début du XXIe siècle. Il présente un panorama de l'atmosphère artistique à Los Angeles, ville où est basé l'artiste, ainsi que des différentes tendances de la critique et de l'art contemporain américain au cours de la même période. Cette thèse présente diverses stratégies utilisées par l'artiste comme l'emploi et le détournement de stéréotypes, ainsi que l'utilisation du concept flou de " l'inquiétante étrangeté " théorisée par Freud pour interroger les débats critiques contemporains tournés vers l'abject art et l'informe. De même, l'artiste critique les tendances identitaires et autobiographiques à l'oeuvre dans l'art d'aujourd'hui et redéfinit la pratique de l'art comme une anti-esthétique, en utilisant la provocation, l'ironie et la distanciation afin de mettre en évidence la notion de l'art comme espace symbolique de réflexion.
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Oltra, García Héctor. "EL COMPOSITOR VALENCIANO VICENTE RAMÓN RAMOS VILLANUEVA (1954-2012): BIOGRAFÍA, CATÁLOGO DE OBRA Y FUNDAMENTOS ESTÉTICOS A TRAVÉS DEL ANÁLISIS MUSICAL DE SU OBRA CAMERÍSTICA." Doctoral thesis, Universitat Politècnica de València, 2017. http://hdl.handle.net/10251/90471.
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The present Doctoral Thesis focuses his research monographically on the figure of the Valencian composer D. Vicente Ramón Ramos Villanueva (1954-2012), considered one of the most relevant composers of the contemporary musical Valencian panorama of the last thirty years.
Due to the lack of in-depth studies on the author, a short time after his premature death, the objectives of this work are focused on illuminating the different planes that make up the figure of the Valencian composer: biographical, catalographical and analytic-aesthetical.
The structure and content of the Thesis is defined as follows:
-I. INTRODUCTION: It includes the justification of the subject, the detailed study of the state of the question, the definition of the objectives and the planning of the methodology and sources for the research.
-II. RESULTS: Where the body of research is exposed, divided into three planes that interact about the author.
·Biographical plane: Where the human side of the composer is treated, situating ourselves in the understanding of the social, vital and personal conjunctures that conditioned his artistic development (formation, received influences, developed work and aesthetic evolution). For this, a brief description of the socio-musical contexts is presented, followed by an extensive chronological biography divided in artistic-vital stages, narrated in detail and illustrated, and exposing a final approximation to the personality of the author.
·Catalographical plane: Detailed cataloguing of the author's entire corpus, until now non-existent, is carried out, as well as the crucial recovery of the scores of his grave situation of dispersion, gathering them here in a Digital Archive.
·Analytical and musical aesthetic plane: From the scores recovered for the Digital Archive, a musical analysis of the author's chamber production is carried out first, addressing a total of 56 works analyzed that cover the 32 years of musical production of the author. Later on, based on the observation and global analysis of the analyzes, establish the aesthetic, stylistic and thematic foundations of the musical language of Ramón Ramos, being able also in the last instance to determine throughout its different artistic stages the evolutionary line of its Musical aesthetics.
-III. CONCLUSIONS: The final conclusions reached after the research carried out in the three levels about the author, as well as the reports on the results obtained, are presented. In addition, it points out the possible pending tasks and the research perspectives that are opened from this Doctoral Thesis.
The Thesis ends with the enumeration of IV. BIBLIOGRAPHY consulted, and followed by the documentary ANNEXES and in digital format.La presente Tesis Doctoral centra su investigación monográficamente en la figura del compositor valenciano D. Vicente Ramón Ramos Villanueva (1954-2012), considerado uno de los compositores más relevantes del panorama musical contemporáneo valenciano de los últimos treinta años. Ante la inexistencia de estudios profundos sobre el autor, escaso tiempo tras su prematuro fallecimiento, los objetivos del presente trabajo están enfocados a alumbrar los diferentes planos que componen la figura del compositor valenciano: biográfico, catalográfico y analítico estético. La estructura y el contenido de la Tesis se define del siguiente modo: -I. INTRODUCCIÓN: Incluye la justificación del tema, el estudio detallado del estado de la cuestión, la definición de los objetivos y la planificación de la metodología y fuentes para la investigación. -II. RESULTADOS: Donde se expone el cuerpo de las investigaciones, dividido en tres planos que interaccionan acerca del autor. ·Plano biográfico: Donde se trata el lado humano del compositor situándonos en la comprensión de las coyunturas sociales, vitales y personales que condicionaron su desarrollo artístico (formación, influencias recibidas, labor desarrollada y evolución estética). Para ello se expone una breve descripción de los contextos socio-musicales, seguido de una amplia biografía cronológica dividida en etapas artístico-vitales, narrada detalladamente e ilustrada, y exponiendo una final aproximación a la personalidad del autor. ·Plano catalográfico: Se lleva a cabo la catalogación detallada del corpus completo del autor, hasta ahora inexistente, así como la crucial recuperación de las partituras de su grave situación de dispersión, reuniéndolas aquí en un Archivo Digital. ·Plano analítico y estético musical: A partir de las partituras recuperadas para el Archivo Digital se realiza en primer lugar un análisis musical de la producción camerística del autor, abordando un total de 56 obras analizadas que abarcan los 32 años de producción musical del autor. Para posteriormente, a partir de la observación y estudio global de los análisis realizados, establecer los fundamentos estéticos, estilísticos y temáticos del lenguaje musical de Ramón Ramos, pudiendo además en última instancia determinarse a lo largo de sus diferentes etapas artísticas la línea evolutiva de su estética musical. -III. CONCLUSIONES: Se exponen las conclusiones finales alcanzadas tras las investigaciones llevadas a cabo en los tres planos acerca del autor, así como los informes sobre los resultados obtenidos. Además, se apuntan las posibles tareas pendientes y las perspectivas de investigación que se abren a partir de la presente Tesis Doctoral. La Tesis finaliza con la enumeración de la IV. BIBLIOGRAFÍA consultada, y seguida por los ANEXOS documentales y en formato digital.
La present Tesi Doctoral centra la seua investigació monogràficament en la figura del compositor valencià D. Vicente Ramón Ramos Villanueva (1954- 2012), considerat un dels compositors més rellevants del panorama musical contemporani valencià dels últims trenta anys. Davant de la inexistència d'estudis profunds sobre l'autor, escàs temps després de la seua prematura defunció, els objectius del present treball estan enfocats a il¿luminar els diferents plans que componen la figura del compositor valencià: biogràfic, catalogràfic i analític estètic. L'estructura i el contingut de la Tesi es definix de la manera següent: -I. INTRODUCCIÓ: Inclou la justificació del tema, l'estudi detallat de l'estat de la qüestió, la definició dels objectius i la planificació de la metodologia i fonts per a la investigació. -II. RESULTATS: On s'exposa el cos de les investigacions, dividit en tres plans que interaccionen sobre l'autor. ·Pla biogràfic: On es tracta el costat humà del compositor situant-nos en la comprensió de les conjuntures socials, vitals i personals que van condicionar el seu desenrotllament artístic (formació, influències rebudes, labor desenrotllada i evolució estètica). Per a això s'exposa una breu descripció dels contextos sociomusicals, seguit d'una àmplia biografia cronològica dividida en etapes artisticovitals, narrada detalladament i il¿lustrada, i exposant una final aproximació a la personalitat de l'autor. ·Pla catalogràfic: Es du a terme la catalogació detallada del corpus complet de l'autor, fins ara inexistent, així com la crucial recuperació de les partitures de la seua greu situació de dispersió, reunint-les ací en un Arxiu Digital. ·Pla analític i estètic musical: A partir de les partitures recuperades per a l'Arxiu Digital es realitza en primer lloc un anàlisi musical de la producció camerística de l'autor, abordant un total de 56 obres analitzades que comprenen els 32 anys de producció musical de l'autor. Per a posteriorment, a partir de l'observació i estudi global dels anàlisis realitzats, establir els fonaments estètics, estilístics i temàtics del llenguatge musical de Ramón Ramos, podent a més en última instància determinar-se al llarg de les seues diferents etapes artístiques la línia evolutiva de la seua estètica musical. -III. CONCLUSIONS: S'exposen les conclusions finals aconseguides després de les investigacions dutes a terme en els tres plans sobre l'autor, així com els informes sobre els resultats obtinguts. A més, s'apunten les possibles tasques pendents i les perspectives d'investigació que s'obrin a partir de la present Tesi Doctoral. La Tesi finalitza amb l'enumeració de la IV. BIBLIOGRAFIA consultada, i seguida pels ANNEXOS documentals i en format digital.
Oltra García, H. (2017). EL COMPOSITOR VALENCIANO VICENTE RAMÓN RAMOS VILLANUEVA (1954-2012): BIOGRAFÍA, CATÁLOGO DE OBRA Y FUNDAMENTOS ESTÉTICOS A TRAVÉS DEL ANÁLISIS MUSICAL DE SU OBRA CAMERÍSTICA [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90471
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Baechtold, Francis. "La violoncelliste est disparue : roman ; suivi de : La narration contrapuntique ou l'art de la fugue en littérature : essai." Master's thesis, Université Laval, 2012. http://hdl.handle.net/20.500.11794/23656.
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Résumé du roman: La fréquentation de l'horreur et de la violence ont épuisé Damien Martel, photographe de guerre. Après un tragique incident qui le touche de proche, il glisse lentement vers le désespoir. Le directeur de son agence de presse l'envoie se reposer à Québec, avec la mission d'écrire un roman dans lequel il réglera leur compte aux démons qui le hantent. Dès les premiers instants de son séjour, Damien rencontre des personnages bien réels qui se sont donné rendez-vous pour lui faire revisiter le passé. Certains pourraient s'être échappés d'une bande dessinée, d'autres d'un récit d'aventures. Heureusement, tout le monde finit par trouver sa place dans l'éternel roman de la vie. Résumé de l'essai: L'entrelacement de la musique et de la littérature romanesque n'est plus à découvrir. De nombreux auteurs ont pratiqué la musicalité dans la fiction, que ce soit sous forme de thématique musicale ou d'analogie formelle. L'usage de variations sophistiquées sur un thème initial et la composition en contrepoint propres à la fugue invitent à s'interroger sur les chemins communs parcourus par les deux arts. Le roman Auprès de moi toujours de Kazuo Ishiguro sert d'exemple dans cet essai pour étayer l'intuition de la narration contrapuntique. L'auteur de ce mémoire propose cet essai à la suite du roman intitulé La violoncelliste est disparue, qui ne prétend pas à la forme musicale, mais certainement à sa thématique.
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Fumagalli, Chiara. "Mito e allegoria nel racconto di fine millenio - Antonio Tabucchi, Pierre Michon e László Krasznahorkai." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030025.
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À la fin des années 70, lorsqu’on commence à s’interroger autour des changements historico-politiques qui intéressent les deux “moitiés” de l’Europe, la crise du bloc communiste et la fin des idéologies, la référence à la Modernité est inévitable : on discute la crise de la modernité, d’une modernité inaccomplie ou accomplie. Comment est-ce que le paradigme littéraire change en cette “période de mutation”? Comment s’exprime dans la littérature contemporaine la recherche du sens? On assiste, dans le panorama littéraire, au retour du sujet et du besoin anthropologique de la narration, à la fonction du narrateur comme témoin et médiateur d’histoires d’autrui. À travers la narration de récits de vie, des destins “fragmentés”, des biographies réinventées, on peut remarquer l’intention de ressusciter des “marginalia”, des traces oubliées par l’Histoire : on essaie de donner un sens à une vie ou de saisir une vie par le sens, de représenter la quête d’un centre métaphysique par le personnage qui revit le conflit et la dissociation entre “âme et forme”. Ce sont des récits de filiations, ils narrent des relations père-fils, de l’histoire de la faute et de l’origine du pouvoir, mais aussi des vies marginales, des traces de l’histoire et du rôle du narrateur en tant que témoin. Les auteurs ont recours au mythe : on s’interrogera alors sur le sens nouveau de la représentation du mythe dans ces récits en tant qu’interprétation allégorique du contemporain et d’une relation nouvelle au temps ; on questionnera son utilisation en tant qu’allégorie vide et énigmatiqueIn the late 70s, when one begins to wonder about the historical and political changes regarding the two “halves” of Europe, the crisis of the communist bloc and the end of ideology, the reference to Modernity is inevitable: the crisis of modernity is discussed – a modernity accomplished or unaccomplished. How does the literary paradigm change in this “time of mutation”? How is it expressed the search for meaning in the contemporary literature? We are the witnesses, in the literary scene, of the subject’s return and of the anthropological need of narration (the function of the narrator as a mediator of others’ stories). Through the narration of life stories, “fragmented” destinies, reinvented biographies, we can see the intention of resurrecting the “marginalia”, the traces forgotten by history: we try to give meaning to a life or to grasp a life by meaning, we try to represent the quest for a metaphysical centre through the character reliving the conflict and the dissociation between “soul and forms”. The authors use the myth: we will ask the new meaning of the representation of myth in these stories as an allegorical interpretation of contemporary and a new relationship to time; we will question its use as empty and enigmatic allegory
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Frackowiak, Jean-François. "Le roman symbolique : étude des œuvres romanesques de Sylvie Germain, Henry Bauchau et Philippe le Guillou." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA114/document.
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La thèse s'attache à aborder, par le prisme de la notion de roman symbolique, un corpus de romans choisis parmi les œuvres de Sylvie Germain, Henry Bauchau et Philippe Le Guillou. La démarche de ces trois auteurs, investissant pleinement les ressources de la narration et du romanesque, permet de les situer dans une lignée littéraire qui rencontre le roman mythologique, initiatique, ou la démarche psychanalytique ; la notion de symbole se situe à la confluence de ces orientations, sans que l'on puisse résumer la démarche des trois romanciers à un seul de ces modèles. Le roman symbolique est ainsi situé dans le cadre des interrogations modernes et contemporaines, portant sur la représentation par l'écriture. Celle-ci apparaît comme symbolique dans le corpus, car la figuration se fait signification, et appel à l'interprétation : elle est aussi configuration et transfiguration. Une vision du monde ressort par conséquent de ces œuvres, renouvelant l'approche de questions, à dimension philosophique et spirituelle, qui sous-tendent tout système symbolique, celle de la situation de l'homme dans le monde, perçu comme une totalité avec laquelle on peut entrer en relation, et celle de la figuration de l'invisible, qu'il s'agisse d'une autre dimension de la réalité ou des profondeurs de l'intériorité. La thématique de la confrontation de l'homme à ce qui le dépasse ou lui échappe, ainsi présente dans les œuvres, a des conséquences sur la poétique du roman : c'est l'écriture elle-même qui manifeste un dépassement ou une inadéquation avec son objet, et se fait ainsi révélation d'une transcendance en creux, dont la présence paradoxale se réalise dans le langage romanesqueThrough the notion of symbolism in the novel, this thesis deals with a corpus of works written by Sylvie Germain, Henry Bauchau and Philippe Le Guillou. Thanks to fictional and narrative techniques, these authors' approach belongs to a literature between the mythological novel, the initiation rite genre or the psychoanalytical approach. The notion of symbol fits into the directions mentioned above ; however, the three novelists' approach cannot be restricted to one of these notions. The symbolic novel identifies with modern and contemporary questionings about representation in writing which appears through symbolism in the novels, for figuration turns into signification and appeals interpretation : it is both construction and metamorphosis. As a consequence, in these works the world is perceived with its philosophical and spiritual dimensions that are inherent in symbolism : the one of the man in the world seen in his entirety with whom communication is possible and the one of the figuration of the invisible whether it is another dimension of reality or deep inwardness. In these works, the theme of the man confronted to what is beyond him or what escapes from his reality impacts on the poetry of the novel : it is the writing itself that expresses an appearance or an inadequation with its topic and thus reveals an empty transcendance which paradoxal figuration exists in fictional language
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Mohand-Amer, Amar. "La crise du front de libération nationale de l'été 1962 : indépendance et enjeux de pouvoirs." Paris 7, 2010. http://www.theses.fr/2010PA070012.
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La crise du FLN de l'été 1962 est l'aboutissement logique des mutations que le FLN a connu depuis sa création à l'automne 1954. Au cours des sept années et demie qu'a duré le conflit armé, de graves dissensions ont couvé en son sein. L'objectif de l'indépendance atteint, la course à la direction du pays est devenue une autre guerre à gagner pour de nombreux dirigeants du FLN et de FALN (Armée de libération nationale). Chronologiquement, c'est la suspension, dans la nuit du 5 au 6 juin 1962, des travaux de la cinquième et dernière session du Conseil national de la Révolution algérienne (CNRA) de Tripoli qui marque le début de la crise. Celle-ci s'achève le 5 septembre 1962, au moment ou le Bureau politique (BP) du FLN et le conseil de là Wilâya 4 (celle de l'Algérois) concluent un cessez-le-feu. La crise de l'été 1962 se solde par des centaines de victimes. Les enjeux politiques de la crise du FLN à l'été 1962 sont considérables. La constitution du nouvel État algérien est étroitement liée à cet événement historique. Les premiers dirigeants de l'Algérie indépendante sont les vainqueurs de cette confrontation politique et militaire. Les vaincus, quant à eux, se sont retirés de la vie publique, ou ont constitué une opposition politique au nouveau régimeThe FLN's crisis in the summer of 1962 was the logical result of the changes that it had undergone since its creation in the autumn of 1954. During the seven and half years of the armed conflict, serious discords had brewed within the organization. Once the goal of Independence had been achieved, the race for control of the country became another war to win for many of the leaders of the FLN or ALN (National Liberation Army). Chronologically, it was the suspension of the National Council of the Algerian Revolution's (CNRA) fifth and last session in Tripoli, during the night between June 5th and 6th 1962, that marked the beginning of the crisis, which ceased on September 5th, when the FLN's political bureau (BP) and the 4th Wilâya's council declared a ceasefire. The crisis of the summer of 1962 ended with hundreds of victims. The political stakes were significant. The setting up of the new Algerian state was closely tied to this historical event. The first leaders of independent Algeria were the winners of this political and military confrontation. As for the vanquished, they either retired from public life or built up political opposition to the new regime
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Chéron, Bénédicte. "Le cinéma de Pierre Schoendoerffer, entre fiction et histoire." Electronic Thesis or Diss., Paris 4, 2010. http://www.theses.fr/2010PA040023.
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Pierre Schoendoerffer fait irruption dans le paysage médiatique en 1965 avec La 317ème section ; ce film met en scène une section locale supplétive à la fin de la guerre d’Indochine. Avec ses œuvres suivantes, jusqu’à Là-haut, sorti en 2004, le cinéaste poursuit un récit qui va de l’Indochine à l’Algérie, du Vietnam en guerre aux mers du grand Nord. C’est le destin d’une génération que Pierre Schoendoerffer porte à l’écran, de ces officiers qui, adolescents sous l’Occupation, sont devenus des hommes dans la guerre d’Indochine et ont dû faire des choix décisifs en Algérie. Alors qu’aucun imaginaire national n’émerge vraiment sur cette période, son œuvre occupe une place originale. Le parcours du réalisateur lui-même fascine les critiques et le public : né en 1928, Pierre Schoendoerffer est entré dans le cinéma par la guerre, en devenant caméraman pour le Service Presse-Information des Armées en Indochine en 1952. Fait prisonnier à Dien Bien Phu, c’est avant tout pour ceux qu’il a vu mourir à ses côtés qu’il dit vouloir témoigner. La manière dont son œuvre est reçue et comprise est révélatrice des évolutions de la mémoire sur ces guerres de décolonisation. L’œuvre de Pierre Schoendoerffer marque incontestablement son public, même si certains films remportent un succès mitigé. Dans le vide de représentations sur la guerre d’Indochine et alors que la guerre d’Algérie demeure une blessure ouverte dans l’imaginaire nationale, sa fresque contribue à l’édification d’une mythologiePierre Schoendoerffer burst into the media landscape in 1965 with La 317ème section (The 317th platoon), a film about a local auxiliary platoon at the end of the First Indochina War. In his next works, till the last one Là-haut – a movie released in 2004 –, the movie maker carried on a tale from Indochina to Algerian, from Vietnam at war to the Arctic Seas. Thus, the destiny of a whole generation has been screened by Pierre Schoendoerffer : officers who were in their teens during the Occupation have become men in Indochina War and, as such, faced decisive choices in Algerian. While no national mythe really emerged during this period, his work takes a special meaning. The very development of the director’s art fascinates critics as well as the audience: war led Pierre Schoendoerffer (he was born in 1928) to cinema as he was a cameraman for the Service Presse-Information des Armées en Indochine, i.e. the Military Information Department in Indochina, in 1952. Captured in Dien Bien Phu, he pledged above all those who were killed around him to testimony. The way his work was welcome and understood is a good illustration of how memory on decolonization evolved. Pierre Schoendoerffer’s cinema undoubtedly reached its audience, even though some movies happened to meet a lesser/minor success. In the context of lack of representations of Indochina War, and while Algerian War remained an open wound in the imagined community, his fresque contributed to build a mythology
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Blancard, Marie. "Les spectacles intérieurs de Leonora Carrington, Frida Kahlo, Gisèle Prassinos, Dorothea Tanning et Unica Zürn. : Dialogue entre écriture et arts plastiques." Cergy-Pontoise, 2006. http://biblioweb.u-cergy.fr/theses/06CERG0296.pdf.
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Cette thèse se propose d’étudier les imaginaires créatifs de cinq artistes du XXe siècle liés au mouvement surréaliste : Leonora Carrington, Frida Kahlo, Gisèle Prassinos, Dorothea Tanning et Unica Zürn. En se centrant sur leur double pratique, littéraire et plastique, notre étude vise à circonscrire l’originalité de leurs « spectacles intérieurs ». Axées autour de l’auto-représentation, leurs œuvres interrogent la question du reflet, de l’identité et de l’appartenance à un genre. En s’imprégnant de codes et de modèles traditionnels – ou convenus – ces artistes soulignent leurs difficultés à se positionner dans un monde encore très dominé par une pensée patriarcaleThis dissertation intends to study the creative imaginative worlds of five twentieth-century artists linked to the Surrealist movement : Leonora Carrington, Frida Kahlo, Gisèle Prassions, Dorothea Tanning and Unica Zürn namely. By focalizing on their double practice, i. E. Their literary and visual art practice, our study aims to define the originality of their “inscapes”. Their works, which are focused on self-representation, question the notions of reflection and identity and the fact of belonging to a particular gender. Deeply influenced by traditional or conventional codes and models, these artists emphasize the difficulties to define one’s position in a world still largely dominated by patriarchal discourses
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Jugé, Cédric. "Espaces, mythes et récits de la conquête du Nouveau Monde dans la trilogie de l’Amazone de William Ospina : Ursúa (2005), El País de la Canela (2008) et La serpiente sin ojos (2012)." Thesis, Nantes, 2019. http://www.theses.fr/2019NANT2049.
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En 2005, quand William Ospina publie Ursúa, son intérêt pour la conquête de l'Amérique n'est pas nouveau. Mais avec El País de la Canela et La serpiente sin ojos, qui viennent compléter la trilogie de l'Amazone en 2008 et 2012, les récits de l'écrivain colombien prennent une autre dimension. En effet, derrière cette approche historique, William Ospina interprète l'événement. L'histoire est un prétexte pour repenser les fondements de la nation colombienne, redessiner son imaginaire et réorienter son identité et sa conscience collective. La trilogie de l'Amazone devient donc l'espace de son engagement poétique et politique. Le mythe de l'El Dorado en est la clé de compréhension essentielle et, en lui conférant une pérennité transcendante, il devient même le symbole d'un projet historique et culturel national métamorphosé. Cette image est l’aboutissement d’un processus qui s'échelonne sur les trois romans. Dans cette optique, William Ospina recompose d'abord, sous l'égide de Juan de Castellanos, une tradition littéraire capable de réformer la mémoire colombienne. Puis, il revient aux sources de l'histoire et la réécrit, afin de fonder historiquement un mythe métis de l'Amérique. Enfin, dans un rapport très étroit à la terre et à l’Amazone, « naturalisant » la langue espagnole, William Ospina s'essaie à rénover poétiquement l'univers symbolique colombien. Il fusionne les traumatismes du passé avec les défis du présent et légitime ainsi l'affirmation d'un idéal national métis, auquel il assigne ses rêves humanistes et écologiques. Son but est en fait la création d'une sensibilité spécifique à la Colombie, susceptible de transformer l’esprit occidentalIn 2005, when William Ospina published Ursúa, his interest in the conquest of America was not new. But with El País de la Canela and La serpiente sin ojos, which completed the trilogy of the Amazon in 2008 and 2012, the stories of the Colombian writer take on another dimension. Indeed, behind this historical approach, William Ospina interprets the event. History is a pretext for rethinking the foundations of the Colombian nation, recreating its imagination and reorienting its identity and collective consciousness. The trilogy of the Amazon thus becomes the space of his poetic and political commitment. The myth of El Dorado is the essential key to its understanding and, by giving it transcendent durability, it even becomes the symbol of a metamorphosed national, historical and cultural project. This image is the culmination of a process that spans onto the three novels. With this in mind, William Ospina first recomposes, under the auspices of Juan de Castellanos, a literary tradition capable of reforming Colombian memory. Then, he returns to the sources of history and rewrites it, in order to lay historical actions on a mixed myth of America. Finally, in a very close relationship to the land and the Amazon, "naturalizing" the Spanish language, William Ospina tries to poetically renovate the Colombian symbolic universe. He fuses the traumas of the past with the challenges of the present and thus legitimizes the affirmation of a mixed national ideal, to which he assigns his humanistic and ecological dreams. Its purpose is in fact the creation of a sensibility specific to Colombia, able of transforming the Western mind
Books on the topic "1954-2012"
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Wirkner, Michael, and Lance Anderson. Michael Wirkner 1954-2012: Erinnerungslandschaften = Landscapes of memory. Neubrandenburg: Kunstsammlung Neubrandenburg, 2014.
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Paloque, Gérard. Northrop F-5: From the NF-156 to the Tigershark, 1954-2012. Paris: Histoire & Collections, 2013.
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Rīḥ, Ḥaydar Bābakr. al-Iqtiṣād al-Sūdānī fī (58) ʻāman, 1953-1954-2011-2012 M. [al-Kharṭūm]: [Ḥaydar Bābakr al-Rīḥ Ḥāmid], 2012.
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García, Héctor Oltra. La expresión estructurada: Trayectoria vital y creativa del compositor valenciano Ramón Ramos Villanueva (1954-2012). Valencia (España): EdictOràlia, 2019.
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Béranger, Bertrand. Le patrimoine, un homme, une passion: Hommage à Dominique Éraud, 1954-2012 : conservateur du patrimoine, chercheur à l'Inventaire, conservateur des antiquités et objets d'art de la Mayenne. Laval: Société d'archéologie et d'histoire de la Mayenne, 2014.
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Liyanagama, Jinadari Deepthi. Bribery Act, no. 11 of 1954: Incorporating amendments up to 2012, April (English & Sinhala) : with Commission to Investigate Allegations of Bribery, or, Corruption Act, no. 19 of 1994, and case law references. [Colombo]: [Jinadari Deepthi Liyanagama], 2012.
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C, Oellers Adam, Schaefler Christoph, Heymann Bernard, Suermondt-Ludwig-Museum Aachen, and Germany Botschaft (Great Britain), eds. Fritz Schaefler (1888-1954): Verfemt, vertrieben, zurückgekehrt : Fritz Schaeflers wiederentdeckte Werke und die Sammlung Heymann London : Suermondt-Ludwig-Museum Aachen, 7. Juli-7. Oktober 2012 : Embassy of the Federal Republic of Germany, London 2003, 20th March-17th April 2012 [i.e. 2013] = Outlawed, displaced and reinstated : rediscovered works of Fritz Schaefler and the Heymann Collection, London. Petersberg: Michael Imhof Verlag, 2012.
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India. Law relating to drugs and cosmetics: Containing Drugs & Cosmetics Act, 1940, Drugs and Cosmetics rules, 1945 alongwith Drugs (Prices Control) Order, 2013, National Pharmaceuticals Pricing Policy, 2012 (NPPP-2012), Pharmacy Act, 1948, Poisons Act, 1919, Drugs and Magic Remedies (Objectionable Advertisements) Act, 1954 and other allied acts, rules etc, with information on herbal formulations, cosmetics and extracts, etc. 2nd ed. Delhi: Eastern Book Company, 2013.
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Fred, Wilson. Fred Wilson: Works 2004-2011 : December 22, 2012-May 5, 2013, the Cleveland Museum of Art. Cleveland, Ohio: Cleveland Museum of Art, 2012.
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biugke, zahoratne. Real Legends Are Born In 1954 2012: The Real Legends Are Born In 1954 2012. Independently Published, 2021.
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1
Hansen, Annette Skovsted. "Developing Globalization: How Japanese ODA Created Channels for Globalization Processes, 1954–2012." In Globalization, 527–43. Berlin, Heidelberg: Springer Berlin Heidelberg, 2017. http://dx.doi.org/10.1007/978-3-662-49502-5_21.
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Rédei, Miklós, and Michael Stöltzner. "Amsterdam Talk about “Problems in Mathematics” September 2, 1954." In John von Neumann and the Foundations of Quantum Physics, 247–48. Dordrecht: Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-017-2012-0_17.
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Manning, Jane. "JOHN MUSTO (b. 1954)Summer Stars (2012)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 163–64. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0051.
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This chapter highlights John Musto’s Summer Starts (2012). Just a brief, but tempting, sample of Musto’s work, this beautiful song clearly demonstrates his instinctive sensitivity to vocal timbre and comfort. Its glowing, broad-spun phrases flatter the voice and exploit its most rewarding colours. An example of classic vocal writing, as demonstrated by past masters of the art, is his device of having relatively short phrases prepare the way for more expansive passages, allowing stamina to build cumulatively. Musto is aware that a soprano is perfectly able to encompass notes below the stave as long as the approach is unforced, enabling lines to undulate smoothly through all registers. This ‘elasticized’ sensation when cruising over large intervals is beneficial to vocal health and progress. The song’s attractively lyrical, chromatic idiom is cohesive and disciplined as to pitches and intervals, yet it all feels fresh and spontaneous. A rapt, magical atmosphere is instantly captured, with the piano’s light, silvery texture cushioning the voice’s floating, rhapsodic lines.
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Johnson, David S. "A brief history of NP-completeness, 1954–2012." In Optimization Stories, 359–76. EMS Press, 2012. http://dx.doi.org/10.4171/dms/6/36.
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"Afterword. Birdsongs: In Memory of Neil Smith (1954–2012)." In Dispossession and the Environment, 141–52. Columbia University Press, 2016. http://dx.doi.org/10.7312/west17878-008.
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"The Alton Estate, Roehampton, London (1954–8)/2012–15." In The Architecture of Psychoanalysis. I.B.Tauris, 2016. http://dx.doi.org/10.5040/9781350988453.part-003.
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"In remembrance of Keith Henry Stockman Campbell (23 May 1954–5 October 2012)." In Principles of Cloning, xvii. Elsevier, 2014. http://dx.doi.org/10.1016/b978-0-12-386541-0.00048-5.
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"In Place of a Roman Catholic Assessment: Amos Yong, Pentecostal Scholarship, and Ralph Del Colle (1954–2012)." In The Theology of Amos Yong and the New Face of Pentecostal Scholarship, 259–65. BRILL, 2013. http://dx.doi.org/10.1163/9789004251762_015.
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"Aldurazyme." In Drugs Handbook 2012–2013. Bloomsbury Academic, 2011. http://dx.doi.org/10.5040/9781350363595.art-1954.
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Reimold, Wolf Uwe, and Christian Koeberl. "Dedication of Large Meteorite Impacts and Planetary Evolution VI to Álvaro Penteado Crósta." In Large Meteorite Impacts and Planetary Evolution VI. Geological Society of America, 2021. http://dx.doi.org/10.1130/2021.2550(001).
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ABSTRACT This paper does not have an abstract. Originally, Álvaro Penteado Crósta (born on 7 August 1954) intended to be one of the volume editors of this GSA Special Paper. He was also looking forward to participating in the Large Meteorite Impacts and Planetary Evolution VI conference in October 2019, for which he had long served on the organizing committee. Unfortunately, a long and serious illness derailed both these plans. Therefore, we are instead honoring our dear friend and valued colleague, Álvaro Crósta, for his longstanding and successful impact cratering work, as the mainstay of impact cratering studies in Brazil and indeed in South America, by dedicating this Special Paper to him. Álvaro Crósta has been a Full Professor (Professor Titular) of Geoscience in the fields of remote sensing, mineral exploration, and planetary geology at the Instituto de Geociências of the Universidade Estadual de Campinas (UNICAMP) in Brazil. He has had a highly distinguished academic career, culminating in his tenure (2012–2017) as vice-rector of his university. In 2017, Álvaro was inducted as a Full Member (Membro Titular) into the Academia Brasileira de Ciências...
Conference papers on the topic "1954-2012"
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"Dedication: In memory of Luigi Ciminiera 1954-2012 [includes "In memory of Luigi Dadda 1923-2012"]." In 2013 IEEE 21st Symposium on Computer Arithmetic (ARITH). IEEE, 2013. http://dx.doi.org/10.1109/arith.2013.11.
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Delebinski, Thaddaeus, Joern Seebode, Lars Henning, Andreas Pfeifer, Adrian Lindner, Claude Kolly, Regis Vonarb, Thorben Philipp, Peter Bauer, and Karsten Pietschmann. "Calibration Process for SCR Only TIER4i Engine for Construction Equipment." In SAE 2012 Commercial Vehicle Engineering Congress. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2012. http://dx.doi.org/10.4271/2012-01-1954.
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Pearson, Ryan M., Jin Woo Bae, Niladri Patra, Suhair Sunoqrot, Sayam Uddin, Lela Vukovic, Petr Kral, and Seungpyo Hong. "Abstract 1954: Synthesis and self-assembly of highly PEGylated dendron-coils: A potential nanocarrier platform." In Proceedings: AACR 103rd Annual Meeting 2012‐‐ Mar 31‐Apr 4, 2012; Chicago, IL. American Association for Cancer Research, 2012. http://dx.doi.org/10.1158/1538-7445.am2012-1954.
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Sen, Millan, Steven Bott, Amanda Kulhawy, and Saheed Akonko. "Case Study on Management of a Pipeline Exhibiting Challenging Crack ILI Performance." In 2016 11th International Pipeline Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/ipc2016-64552.
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This case study describes the crack management program for a pipeline that is NPS26, 7.1 mm wall thickness, Grade X52, flash welded and was constructed from 1954–1957. It transports light crude oil, and experiences pressure cycling though start-stop operations. Excavations have revealed that the pipeline’s flash welded seam contains a variety of manufacturing anomalies. While the majority of these anomalies are benign and stable, some exhibit the potential to grow due to the pressure cycling of the line. Furthermore, in 2010, the pipeline experienced a rupture and leak that were caused by cracks in the longitudinal seam weld. Correspondingly, the cracking threat has been actively managed using in-line inspection (ILI), excavation, and repair programs. The most recent ILI runs were conducted with ultrasonic crack detection (USCD / UTCD) and ultrasonic phased array crack detection (DUO) tools in 2009, 2012 and 2013. As a part of these ILIs, a comprehensive excavation program comprised of over 300 excavations was conducted to validate the ILI data and mitigate the cracking threat. Unity plots comparing the measurements from each excavated ILI feature with the corresponding field Non-Destructive Examination (NDE) measurements were evaluated to support quantification of the Probabilities of Identification, Detection, and Sizing for these inspections. The results revealed that the ILI results were not repeatable when comparing the data from the three inspections, and not meeting target specifications. Furthermore, advanced analysis was completed to combine the data and evaluate the tool performance reliability for the pipeline. The results showed that the crack ILI tools were not achieving the required reliability targets for the pipeline. Considering that ILI is often successfully used to support the crack management of pipelines for the vast majority of conditions, the 2010 failures were investigated to determine the causes for the unacceptable ILI performance. The investigation revealed that the distinct peaking, misalignments, and pipe mill grinding associated with the pipelines flash weld, caused challenges for the tool’s detection and sizing capabilities. Therefore in order to ensure the safety of this pipeline, mitigation in addition to crack ILI programs was deemed to be required. Some options included operating at a reduced pressure, hydrostatic testing, or pipeline replacement. Hydrostatic testing was selected as the preferred option for implementation. This was successfully completed in October 2015 and there were no leaks or ruptures that occurred during the hydrostatic testing. This demonstrated that the pre-test excavation programs, which targeted features exhibiting burst pressures below that of the hydrotest pressure, had mitigated the cracking threat on the pipeline. The results of the reliability analysis showed that the uncertainties associated with the ILI were higher than acceptable. However as there were no failures during the hydrotest the reliability analysis was conservative for this case in consideration that the pre-test excavation program was able to mitigate the cracking threat. Nonetheless, the process of reviewing and assessing the ILI-field comparisons and evaluating the ILI tool performance remains a critical component of crack ILI management. Conducting alternative mitigation to ILI for crack management, if required, also remains a critical component of crack ILI management. For this pipeline the cracking threat will be re-assessed within 5 years of the hydrostatic test to support continued safe and reliable operation.
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Cotrell, D. L., R. Wood, D. Stanley, S. Chaudhary, M. Chavez, R. Hill, R. Hollier, and D. Alonso. "Lessons Learned During Sand Control Operations in the Gulf of Mexico where Bridging is a Strong Possibility." In SPE International Conference and Exhibition on Formation Damage Control. SPE, 2024. http://dx.doi.org/10.2118/217880-ms.
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Sand, or fines as some may call it, entering currently producing wells is one of the earliest problems faced by the Oil and Gas Industry in hydrocarbon recovery [Rogers, 1954; Carlson et al. 1992; McLeod 1994; JPT Staff 1995; Barrilleaux et al. 1996], and one of the toughest to solve in general [McLeod 1997]. Every year the petroleum industry spends significant capitol in cleaning and disposal costs, repair problems related to sand production, and lost revenues due to lower production rates due to mitigation efforts [Mathis 2003; Palmer et al. 2003]. Thus, sand control is, and should be, an integral part of well planning [Guerrero 2014] in unconsolidated reservoirs [Willson et al 2002; Chang 2006; Jaimes 2012], i.e., reservoirs where the rock has little or no natural inter-grain cementation. Sand production [Veeken et al. 1991; Subbiah et al. 2021] is caused by structural failure of the borehole wall rock due to drilling, degree of consolidation (very low compressive strength), the interaction between the rock and flowing fluids (production creates pressure differential and frictional drag forces that can combine to exceed the formation compressive strength), excessive drawdown causing fines and sand grain movement to the wellbore, or reduction of reservoir pressure. Sand production leads to adverse effects on various components in the wellbore and near wellbore area [Zamberi et al. 2014], such as tubing, casing, flowlines, and pumps, as well as surface equipment [Peden et al. 1984; Lidwin et al. 2013]. In addition, sand production may allow for the creation of downhole cavities [Peden et al. 1985] resulting in loss of structural integrity of the reservoir around the wellbore and ultimately possible collapse of the wellbore. Along with these possible issues, there is an additional economic impact in that sand must be separated out and disposed of at the surface and can be a few liters to several hundred cubic meters [Lidwin et al. 2013]. Decisions around sand production are not purely economic these days because regulatory and environmental restrictions have come to play a significant role in the decisions of how sand production will be handled. In general, what constitutes an acceptable level of sand production depends on operational constraints such as the ability to use erosion resistant materials, fluid separator capacity, sand disposal capability, and artificial lift equipment's capability to remove slurry from the well, but with that said, sand control methods that allow unconsolidated reservoirs to be exploited often reduce production efficiency. Thus, an effective design is always a balance between keeping formation sand in place without unduly restricting current and future productivity [Saucier 1974; Mathis 2003; Palmer et al. 2003; Lastre et al. 2013]. There are two primary methods of sand control these days, namely passive and active, where passive sand control uses perforation orientation and placement to try and mitigate sand production, while active sand control uses a more intrusive approach utilizing downhole filters [Tibbles et al. 2020]. Currently, the most popular and successful method of negating sand production is gravel packing around a downhole filter. In this method, gravel is deposited downhole by pure beta wave deposition in slightly deviated wellbores, i.e., wellbores having a deviation angle in the screen section less than about 50 degrees, or by what is normally referred to as alpha/beta wave deposition in highly deviated wellbores, i.e., wellbores where the screen section maximum deviation is greater than 50 degrees.
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Schleicher, Dean M. "Bringing Science and Technology to the Waterfront - Donald L. Blount." In SNAME Chesapeake Power Boat Symposium. SNAME, 2012. http://dx.doi.org/10.5957/cpbs-2012-001.
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Donald Blount is recognized around the world for his contributions to high-speed marine vehicles of various types for more than 50 years. A highlight of his career has been the revolutionary high-speed craft, DESTRIERO, which holds the combined east- and west-bound Atlantic crossing elapsed time record and the fastest east-bound crossing record for which its development history has been presented in numerous forums. An in-depth look at his career beyond this singular achievement will be shared in honor of his numerous contributions to the marine industry during his lifetime of bringing science and technology to the waterfront. Donald Blount began his formal career in 1954 as an intern at David Taylor Research Center while a student at Virginia Polytechnic Institute. He was hired by DTRC and worked in the model test basin and in the tests and trials branch. In 1959 he successfully tested into a naval architecture position. He concluded his degree in Mechanical Engineering at George Washington University in 1963. Also in 1963, Gene Clement and Donald published "Resistance Tests of a Systematic Series of Planing Hull Forms" in SNAME Transactions which concluded two years of testing in Tank 3 at DTRC and of the subsequent analysis of Model Series 62. He worked in Jacques Hadler's division conducting individual research and directing engineering programs relating to emerging technology in the field of hydrodynamics. He served as Project Engineer in the ship powering, small craft, propeller and full-scale trials branches. He volunteered and served two years as a civilian with NRDUV (Naval Research and Development Unit, Viet Nam) including being in Viet Nam during the summer of 1968. Throughout 1967 while acting as branch head, he received casualty reports from the field for trend monitoring. During his in-country tour in 1968, he personally participated in nine missions on the rivers of the Mekong Delta and offshore. Upon returning from his service he found that his position as Trials Branch Head at DTRC was no longer available and he chose to transfer to the Combatant Craft Engineering Department in Norfolk, Virginia as Technical Manager in 1969. He was responsible for planning, organizing and monitoring research and development programs for small craft and their systems. He also evaluated technological trends and selected promising approaches to achieve significant advances in performance. Department of Defense and other governmental agencies. He was promoted to Department Head in 1981 where he was responsible for design, engineering and testing of all non-commissioned navy craft. He supervised 80 government employees and an additional 45 contracted technical staff. The department developed contract plans and specifications used to procure navy boats and craft. He served as advisor to all levels of the Department of Defense on issues relating to state-of-the-art technologies required for producing high-speed small craft. Throughout his civil service tenure he maintained a small, private consulting practice for the recreational boating industry and when he retired from the Civil Service in 1990, he took his consulting practice full time as a naval architect and professional engineer providing hydrodynamic expertise with an emphasis on sea-keeping, propulsion, maneuvering, control and dynamic stability for high speed and special purpose commercial, military and recreational craft. Donald has published numerous papers and has received several honors in recognition of his contributions. He maintains several professional society memberships, is a professional engineer registered in Virginia and North Carolina and has professional interests including marine archaeology and the collection of antiquarian naval architectural books about boat and yacht design. He is currently writing a book regarding the technical design of small craft. An attempt is made here to present Donald's many contributions in bringing science and technology to the waterfront.