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Books on the topic 'CE. Literacy'

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Published: 10 March 2023

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1

Consiglio nazionale delle ricerche (Italy), ed. Information literacy at the crossroad of education and information policies in Europe. [Roma]: Istituto di ricerca sull'impresa e lo sviluppo, 2008.

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2

Ai qing ji nian ce. Tianjin: Tianjin ren min chu ban she, 1997.

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3

Qu'est-ce qu'une oeuvre? Arles: Actes Sud, 1986.

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4

ʼOṅʻ, Caṃ Taṅʻ. Mraṅʻ camʻʺ ce khyaṅʻ, Mve Mi khaṅʻ. Camʻʺ khyoṅʻʺ, Ranʻ kunʻ: ʼOṅʻ mre Cā pe, 2006.

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5

Schaeffer, Jean-Marie. Qu'est-ce qu'un genre littéraire? Paris: Seuil, 1989.

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6

Jean-Baptiste-Édouard, Roland. Césaire, ce rebelle bien-aimé: Essai. Martinque]: K. Éditions, 2018.

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7

de Pee, Christian. Urban Life and Intellectual Crisis in Middle-Period China, 800–1100 CE. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721660.

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In the eleventh century, the cities of the Song Empire (960-1279) emerged into writing. Literati in prior centuries had looked away from crowded streets, but literati in the eleventh century found beauty in towering buildings and busy harbors. Their purpose in writing the city was ideological. On the written page, they tried to establish a distinction that eluded them in the avenues and to discern an immanent pattern in the movement of people, goods, and money. By the end of the eleventh century, however, they recognized that they had failed in their efforts. They had lost the Way in the city. Urban Life and Intellectual Crisis in Middle-Period China, 800-1100 reveals the central place of urban life in the history of the eleventh century. Important developments in literary innovation and monetary policy, in canonical exegesis and civil engineering, in financial reform and public health, converge in this book as they converged in the city.
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8

Qu'est-ce que la dramaturgie? Arles: Actes sud, 2010.

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9

Xi bu ce tu shu huai: Xibucetu shuhuai. Beijing Shi: Zhongguo she hui chu ban she, 2011.

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10

Senghor, Léopold Sédar. Ce que je crois: Négritude, francité et civilisation de l'universel. Paris: B. Brasset, 1988.

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11

Ivan Toulouse Miguel Angel Molina. THÉORIES DE LA PRATIQUE - Ce qu'en disent les artistes. Paris: Editions L'Harmattan, 2012.

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12

Bernard, Michel. De quoi parle ce livre?: Élaboration d'un thésaurus pour l'indexation thématique d'œuvres littéraires. Paris: Champion, 1994.

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13

Heirman, Jo. The Ideologies of Lived Space in Literary Texts, Ancient and Modern. Gent: Academia Press, 2013.

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14

Helmut, Gneuss, Korhammer Michael, Reichl Karl, and Sauer Hans, eds. Words, texts, and manuscripts: Studies in Anglo-Saxon culture : presented to Helmut Gneuss on the occasion of his sixty-fifth birthday. Cambridge: D.S. Brewer, 1992.

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15

Bemong, Nele. Bakhtin’s Theory of the Literary Chronotope: Reflections, Applications, Perspectives. Gent: Academia Press, 2010.

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16

Bemong, Nele. Bakhtin’s Theory of the Literary Chronotope: Reflections, Applications, Perspectives. Gent: Academia Press, 2010.

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17

Bemong, Nele. Bakhtin’s Theory of the Literary Chronotope: Reflections, Applications, Perspectives. Gent: Academia Press, 2010.

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18

Stein-Hölkeskamp, Elke. Die feinen Unterschiede. Berlin/Boston: De Gruyter, 2020.

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19

Ce que nos pratiques nous disent des œuvres: À travers poétique et esthétique. Paris: Hermann, 2014.

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20

Nele, Bemong, Borghart Pieter, De Dobbeleer Michel, and Demoen Kristoffel, eds. Bakhtin's theory of the literary chronotope: Reflections, applications, perspectives. Gent: Ginko, Academia Press, 2010.

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21

"Ce mot qui m'avait surpris...": Conflits et décalages de langage : actes de la journée d'étude organisée en Sorbonne le 6 octobre 2012. Paris: Honoré Champion éditeur, 2015.

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22

Andenmatten, Anne-Angélique. Les « Emblèmes » d’André Alciat: Introduction, texte latin, traduction et commentaire d’un choix d’emblèmes sur les animaux. Bern: Peter Lang International Academic Publishers, 2017.

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23

Hallett, Judith P. A Roman women reader: Selections from the second century BCE through the second century CE. Mundelein, Illinois, USA: Bolchazy-Carducci Publishers, Inc., 2015.

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24

Association internationale de stylistique. Congress(. Poétique des énoncés inconvenants et paradoxaux: Ce que la fonction poétique fait à la pensée. Aix-en-Provence: Presses universitaires de Provence, 2020.

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25

Les langues de l'autre, ou Ce revenant étranger qui ne finira jamais de partir. Cagliari: AV, 2002.

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26

Richaudeau, François. Ce que révèlent leurs phrases: Une analyse stylistique quantitative de Aragon, Bergson, Bossuet, Cartland, Céline, Colette, Delly, Descartes, Duras, Ferniot, Flaubert, Gide, Giono ... Paris: Editions Retz, 1988.

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27

History of the Graeco-Latin fable. Leiden: Brill, 1999.

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28

Adrados, Francisco Rodríguez. History of the Graeco-Latin fable. Leiden: Brill, 2000.

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29

1941-, Geerlings Wilhelm, and Schulze Christian 1970-, eds. Der Kommentar in Antike und Mittelalter. Leiden: Brill, 2002.

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30

Biswajeet, Rath, and Takshashila Academia of Economic Research (Bombay, India), eds. Back to the future: Roots of commodity trade in India : a study of the archaeological, literary, and inscriptional sources (circa 7000 BCE to 1800 CE). Mumbai: Takshashila Academia of Economic Research, 2009.

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31

Létoublon, Françoise. Fonder une cité: Ce que disent les langues anciennes et les textes grecs ou latins sur la fondation des cités. [Grenoble]: Université des langues et lettres de Grenoble, 1987.

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32

Kalmthout, van. Beatrijs de wereld in. Vertalingen en bewerkingen van het Middelnederlandse verhaal. Gent: Academia Press, 2013.

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33

Wynn, Thomas M., ed. Conversations and reflections. Cardiff: University of Wales Press, 2002.

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34

Gheorghe, Hrimiuc-Toporaș, and Durnea Victor, eds. De ce scrieți?: Anchete literare din anii '30. Iași: Polirom, 1998.

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35

Olivelle, Patrick, ed. Social and Literary History of Dharmaśāstra. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198702603.003.0002.

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Who invented the Dharmaśāstra genre and for what reasons? Using the newly discovered semantic history of gṛhastha (householder), the chapter presents new insights into the origin of this literature and its social and literary history. The hypothesis proposed in the chapter is that, rivaling the theology of the āśramas, which presented a variety of lifestyles, especially the gṛhastha and the pravrajita, as alternative religious paths, a new theology appears to have been constructed, asserting the centrality of the gṛhastha. The gṛhastha theology provided the impetus to the creation of the Dharmaśāstric genre of literature. The central text of Manu was preceded by the Dharmasūtras and followed by the texts of Yājñavalkya and Viṣṇu. Some Dharmaśāstric scholars engaged in writing texts focused on specific topics, especially legal procedure, the most prominent of which are the texts of Nārada, Bṛhaspati, and Kātyāyana, in the second half of the first millennium CE.
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36

Sauer, Hans, Michael Korhammer, and Karl Reichl. Words, Texts, and Manuscripts: Studies in Anglo-Saxon Culture : Presented to Helmut Gneuss on the Occasion of His Sixty-Fifth Birthday. D.S. Brewer, 1992.

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37

Jane, Austen. Emma CE. Wordsworth Editions, Limited, 2020.

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38

Trimble, Jennifer. Communicating with Images in the Roman Empire. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780195386844.003.0007.

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This chapter explores how the size, diversity, and connectivity of the Roman Empire in the first centuries CE fostered developments in image communication in a civilization in which levels of visual literacy, especially among city populations, should be considered quite well developed. At the same time, a full grasp of a monument’s iconography was not essential for effective communication at a range of levels. A remarkable, seemingly modern phenomenon of the period is the proliferation and stability of image use, enabling complex, varied interplays of empire and place to be articulated in all segments of society, with or without the involvement of the authorities.
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39

Moi, ce que j'aime, c'est les monstres - Livre premier. Monsieur Toussaint Louverture, 2018.

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40

Agopian, Ana. Scenariul ca specie literara. Editura Universitara, 2022. http://dx.doi.org/10.5682/9786062813819.

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Teoreticieni de film, scriitori sau profesionisti activi in lumea filmului au scris despre posibilitatea de a privi scenariul ca forma literara. George Garrett, poet si romancier, noteaza in introducerea unui volum de scenarii: „Aceasta remarcabila colectie de scenarii ar putea foarte bine sa reprezinte o veritabila manifestare a literaturii secolului 20”. Scriitorul Sam Thomas considera ca este important sa „recunoastem si sa admitem ca scenariul pentru film, in cele mai reusite forme ale sale, poate si ar trebui sa fie considerat literatura in aceeasi masura ca un roman sau o piesa de teatru de mare insemnatate”. Regizorul rus Andrey Tarkovsky afirma exact contrariul: „Nu privesc scenariul ca pe un gen literar. Intr‑adevar, cu cat un scenariu este mai cinematografic, cu atat mai putin poate pretinde un statut literar de sine statator, in maniera in care o piesa de teatru o poate face atat de des. Si noi stim ca in practica niciun scenariu nu a fost vreodata la nivelul literaturii”. Paul Schrader, scenarist la „Raging Bull” si „Taxi Driver”, celebrele filme regizate de Martin Scorsese, a insistat spunand ca „eu nu sunt un scriitor. Sunt scenarist, adica jumatate de regizor”. Iar regizorul suedez Ingmar Bergman admitea ca „Filmul nu are nicio legatura cu literatura”. In 1984, Gary Davis, teoretician de film, citat de Stevan Maras, scrie: „desi anumite sectii de critica si de literatura engleza incep sa studieze filmul dintr‑o perspectiva literara, nimeni nu prea stie ce sa faca cu scenariul”.
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41

Hezser, Catherine. Classical Rabbinic Literature. Edited by Martin Goodman. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199280322.013.0006.

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Classical rabbinic literature comprises all those ancient Jewish literary compilations which transmit the traditions of tannaitic (70–200 ce) and amoraic (third-to fifth-century ce) rabbis in Palestine and Babylonia: the Mishnah, the Tosefta, the Palestinian and the Babylonian Talmud, and various midrashim. Accordingly, rabbinic literature must be seen as a collective rather than an authorial literature, transmitting a wide variety of partly divergent and contradictory views and teachings rather than providing a linear systematic outline of a particular individual's point of view. The critical study of rabbinic literature began in the nineteenth century with the so-called Wissenschaft des Judentums (Science of Judaism), whose representatives began to apply to rabbinic texts historical and philological methods which were also used in other fields of the humanities. The application of methods and theories from related fields such as literary theory allows one to see the texts from a new perspective.
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42

Chatterjee, Paroma. Ancient Statues, Christian City. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190278359.003.0013.

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This chapter examines some of the public statues of Constantinople between the 4th and sixth centuries CE, and their significance to a Christian audience as illuminated in literary records pertaining to the city. The Parastaseis Syntomoi Chronikai account dated to the eighth century CE, which not only describes the statues in their historical urban settings, but also details various encounters of viewers with them. Roman Empire perception was perpetuated into the future and encapsulated by the statues. The statues proved themselves to be superior to Christian images, which, up until the ninth century CE, were repeatedly debated concerning their very validity. The statues, however, never suffered the official interrogation and violence their Christian counterparts did—adding to their charisma and appeal over generations. Constantinopolitan public statuary offers critical insights into the ways a controversial ancient heritage imbricated itself into the very fabric of Christian material infrastructure and endured.
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43

Potter, David S. Inscriptions and the Narrative of Roman History. Edited by Christer Bruun and Jonathan Edmondson. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780195336467.013.017.

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This chapter offers an analysis of how inscriptions can complement the narratives of Roman history from the third century BCE to the third century CE provided in literary sources. They reveal certain historical events or details that would otherwise be unknown, and they supplement the information offered by the surviving Roman historians .
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44

Fujiwara, Saitaro. Qing ni po an: Qu wei tui li zhi li zi ce. Zhongguo ren min gong an da xue chu ban she, 1989.

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45

Dickens, Charles. Great Expectations CE. Wordsworth Editions, Limited, 2020.

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46

Owen, Stephen. Periodization and Major Inflection Points. Edited by Wiebke Denecke, Wai-Yee Li, and Xiaofei Tian. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199356591.013.2.

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Periodization is a function of a virtual literary historical story, organizing selective evidence to support a particular narrative of change. In the Chinese case, the contested variable is the degree to which literary history has autonomy or is one kind of document in a unified narrative of political and cultural history. For macroperiods, technological change is essential, namely, the gradual spread of paper during the second and third centuries ce and the larger adoption of an already existing technology of printing in the tenth century. Large decline and revival narratives were popular, and interpreting literary history in the context of the dynastic cycle became the norm.
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47

Qu'est-ce que les littératures à contraintes? Agnès Viénot Editions, 2000.

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48

Puett, Michael. Text and Commentary. Edited by Wiebke Denecke, Wai-Yee Li, and Xiaofei Tian. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199356591.013.8.

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This essay traces the notions of text, authorship, and commentary in the early Chinese literary tradition, exploring how the notions were debated and redefined from the fourth century bce to the fourth century ce in an endless process of accretion, in which poetic lines were utilized in new ways and stories were constantly varied according to context. The analysis shows how the texts of the classical period emerged together with the commentaries to them and literary production in the early period developed out of contested visions of how to define text and commentary, author and interpreter; it opens up comparative possibilities for thinking through the development of other early literary traditions as well.
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49

Sinner, Alejandro G., and Javier Velaza, eds. Palaeohispanic Languages and Epigraphies. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198790822.001.0001.

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At least four writing systems—in addition to the Phoenician, Greek, and Latin ones—were used between the fifth century BCE and the first century CE to write the indigenous languages of the Iberian peninsula (the so-called Palaeohispanic languages): Tartessian, Iberian, Celtiberian, and Lusitanian. In total over three thousand inscriptions are preserved in what is certainly the largest corpus of epigraphic expression in the western Mediterranean world with the exception of the Italian peninsula. The aim of this book is to present a state of the question that includes the latest cutting-edge scholarship on these epigraphies and the languages that they transmit. To do so, the editors have put together a volume that from a multidisciplinary perspective brings together linguistic, philological, epigraphic, numismatic, historical, and archaeological aspects of the surviving inscriptions. The study of these languages is essential to achieve a better understanding of the social, economic, and cultural history of Hispania and the ancient western Mediterranean. They are also the key to our understanding of colonial Phoenician and Greek literacy, which lies at the root of the spread of these languages and also of the diffusion of Roman literacy, which played an important role in the final expansion of the so-called Palaeohispanic languages.
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50

Gold, Barbara K. Perpetua. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780195385458.001.0001.

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This book is an overview of the Christian martyr Perpetua’s life and the cultural, religious, political, literary, social, and physical contexts in which she lived. It does not attempt to be a full biography of Perpetua because we do not have enough information about her. It discusses the narrative work in Latin, the Passio Sanctarum Perpetuae et Felicitatis, composed by her and by her editor while she was awaiting execution, and its authenticity. It also discusses the descriptions of martyrs as athletes and the gendering of martyrs in early Christian writers; the social milieu in which Perpetua lived in ancient Carthage; the conditions in Roman Africa in the third century CE; the conditions for Christians and pagans in the third century CE; Perpetua’s family, education, and social status; the social and physical conditions of martyrdom in the third century CE; and the legacy of Perpetua and her text among later writers. The book aims to discuss in depth such contested issues as whether Perpetua herself wrote the part of the text attributed to her, how fictionalized the accounts of martyrdom accounts were, and what the status of these martyrs and their stories were during the pre-Constantinian period.
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