Academic literature on the topic 'Dominique (1930-....)'

Em Sergipe, as Escolas Isoladas eram instituições escolares onde a maioria dos sertanejos sergipanos cursava a educação primária. A professora Isabel Doraci Cardoso (86 anos), representando bem a tradição interiorana, fez o seu curso primário entre o final dos anos de 1930 e meados de 1940 nesse tipo de escola. Este trabalho – com base no conceito de experiência de Edward Palmer Thompson (1981), na noção de cultura escolar de Dominique Julia (2001) e a partir de uma abordagem da história vista de baixo, de Jim Sharpe (1992) – propõe-se tratar sobre o processo de formação escolar da referida professora, estabelecendo as fronteiras entre as condições materiais e educacionais experienciadas e reveladas por sua narrativa, que se constituiu fonte e objeto de análise. Os dados revelam, em termos conclusivos, que esse tipo de narrativa contribui para o entendimento de uma pluralidade de circunstâncias que configuram e colaboram com a escrita da história.Palavras-chave: Educação primária. Educação de mulheres. Experiência formativa e (auto)formativa.AbstractIn Sergipe, the Isolated Schools were school institutions where most Sergipean inlander attended elementary education. Professor Isabel Doraci Cardoso (86 years old), well representing the interior tradition, did her elementary course between the late 1930s and the mid-1940s in this type of school. This work – based on the concept of experience of Edward Palmer Thompson (1981), in the notion of school culture of Dominique Julia (2001) and from an approach of history seen from below, of Jim Sharpe (1992) – proposes to deal with the educational process of the said teacher, establishing the boundaries between the material and educational conditions experienced and revealed by her narrative, which was the source and object of analysis. The data reveal, in conclusive terms, that this type of narrative contributes to the understanding of a plurality of circumstances that shape and collaborate with the writing of history.Keywords: Elementary education. Education of women. Formative and (self) formative experience. ResumenEn Sergipe, las Escuelas Aisladas eran instituciones escolares donde la mayoría de los campesinos de Sergipe cursaban la educación primaria. La profesora Isabel Doraci Cardoso (86 años), representando bien la tradición interiorana, hizo su curso primario entre el final de los años 1930 y mediados de 1940 en ese tipo de escuela. Este trabajo – basado en el concepto de experiencia de Edward Palmer Thompson (1981), en la noción de cultura escolar de Dominique Julia (2001) ya partir de un abordaje de la historia vista desde abajo, de Jim Sharpe (1992) – propone tratar sobre el proceso de formación escolar de dicha profesora, estableciendo las fronteras entre las condiciones materiales y educativas experimentadas y reveladas por su narrativa, que se constituyó fuente y objeto de análisis. Los datos revelan, en términos concluyentes, que ese tipo de narrativa contribuye al entendimiento de una pluralidad de circunstancias que configuran y colaboran con la escritura de la historia.Palabras clave: Educación primaria. Educación de las mujeres. Experiencia formativa y (auto) formativa.

Neste trabalho efetua-se uma caracterização dos discursos da pedagogia e da psicologia sobre os problemas de rendimento escolar. A análise incide sobre o período de estruturação do sistema público de ensino e de difusão dos princípios da Escola Nova. São analisados artigos da Revista de Educação, também denominada Educação e Escola Nova, e manuais de psicologia educacional destinados à formação docente, publicados nas décadas de 1930 e 1940. A análise baseia-se em textos de Michel Foucault e Dominique Maingueneau sobre o discurso. O exame dos enunciados da psicologia e da educação indica que a melhoria do rendimento escolar era relacionada à possibilidade de produzir conhecimentos científicos sobre o aluno e controlar, rigorosamente, a organização do trabalho escolar, em especial as atividades docentes.

Dans les années 1930, le gouvernement du Québec ouvre des territoires à la colonisation pour favoriser l’établissement de familles touchées par la grande crise économique. Pour accompagner ces familles, le gouvernement crée des dispensaires qu’il confie à des « infirmières de colonie » pour faire les accouchements et fournir un service médical de première ligne, comme la vaccination et même de petites chirurgies. 174 postes furent ainsi créés dans la plupart des régions du Québec. Juliette Jourdain-Dumont fut l’une de ces infirmières qui exerça le métier à la dure dans le village de Saint-Dominique-du-Rosaire, près d’Amos, en Abitibi. De 1949 à 1952, elle y a fait 295 accouchements, sans en rater aucun. Elle raconte ici sa vie qui fut, à l’entendre et à la lire, une suite de joies que les inévitables difficultés aidaient simplement à préparer.

In March 1898 Abbé Jules Dominique (1838–1902; Bureau, 1903; Fig. 1) published an account of the bees collected by Constant Bar (1817–1884; Oberthür, 1888) and his family in French Guiana (Dominique, 1898). Jean M. Pérez (1833– 1914) had identified both the new and known species reported by Dominique and provided Dominique with manuscript names for the new species. While Pérez never published any of the proposed new species (Anonymous, 1917), Dominique in his account of the collection included both the manuscript names and a brief description in his own words for several of these species. Michener (1987) pointed out the taxonomic implications of this publication, in particular the potential instability to nomenclature when rediscovering names which have not been used for more than a century. While Michener considered several of Dominique’s new names valid, Moure (1967) had incorrectly regarded all of Dominique’s species of Euglossa and Eulaema as nomina nuda.

In 1930 to 1931, the British Museum expedition to Nineveh included among its activities there a stratigraphical sounding which resulted in the establishment of a sequence of prehistoric and early historic remains in northern Mesopotamia over a considerable chronological period (on the deep sounding of Nineveh see now Gut 1995; Gut 2002, esp. pp. 17–22, and also Gut 1999). This sequence, comprising five broadly defined phases, extends from the Neolithic (Ninevite 1) to the early third millennium BC (Ninevite 5).In 1989 I had the opportunity to study archaeological materials deposited in the British Museum in London. I was interested in the earliest Mesopotamian sealings — those of Tell Arpachiyah and Nineveh — and was provided not only with Ninevite 2–3 sealings which I had requested, but also with those of Ninevite 5, so I documented the latter as well. After publishing the Ninevite 2–3 items (Charvát 1994), I had no opportunity to publish the remainder.However, in 2001 Dominique Collon published an analysis of the seal impressions found in the Ninevite 5 archaeological strata documented by the Thompson and Mallowan expedition (Collon 2001; see also Collon 2003). When “Nineveh” was announced as the theme of the 49e Rencontre Assyriologique Internationale, I decided to present a paper on the detailed information I had recorded for a number of the backs of the sealings studied by Collon. My work builds upon Collon's art-historical analysis of the obverse of the sealings, but here I am concentrating on the “hidden faces” of the seal impressions in order to extend my study of the character of socially engineered exchange practices in the protohistorical period of early Mesopotamia.

Dominique Marie Philippe Barbé (Domingos, entre nós) nasceu em Paris no dia 13 de dezembro de 1931. Sua família tem raízes na Bretanha. Ingressou ainda jovem no seminário, ordenando-se em 29 de junho de 1960. Trabalhou sete anos numa paróquia operária na periferia de Paris (Aubervilliers). Chamado à missão de partilhar a vida de pobreza no Terceiro Mundo, veio para o Brasil em 1968, tornando-se padre-operário...

La femme et le mot dans la poésie de Dominique Fourcade constituent un langage qui permet le passage d’une rive à l’autre. Ce langage aspire à construire l’homme, et à traduire le visible au moyen de l’invisible. C’est un langage profond, lyrique et philosophique, solide, vulnérable, mais au fond, impénétrable, abyssal et énigmatique. La poésie de Fourcade est une méditation sur la douleur humaine qui surgit dans la nuit comme un soleil et demande le pourquoi de l’obscurité. La femme et le mot dans la poésie de Fourcade sont la métaphore de l’homme qui a froid et dont l’âme a besoin de la peau féminine. La poésie de Fourcade est un miroir du réel. Elle ne recule pas. Elle ne redoute rien. Elle représente l’identité anatomique de notre temps. C’est en quoi cette poésie doit être pensante, philosophique et picturale, car elle fait paraître non seulement le réel, mais aussi son mystère, sa tristesse et son gouffre insondables. Au fond de ce mystère, le poète pleure l’homme et le monde sans plus d’identité, sans plus d’histoire. La poésie de Fourcade trouble nos esprits, car elle exprime les sentiments sous la forme d’un langage mouvant, fluide en expansion et en continuité, qui projette sur nous l’image de la réalité lourde, intense et funéraire. La poésie de Fourcade a sa place dans le cœur humain car elle est née auréolée du soleil de l’esprit pour montrer un monde tel que le poète aurait aimé le voir. C’est pourquoi la femme et le mot, dans sa poésie, installent un univers lumineux, une affection active, tonique et accentuée qui ne connaît que la passion créatrice qui pénètre tout grâce à sa sincérité et à sa pureté. Ils n’ont pour autre but que de réaliser l’équilibre entre la matière sombre et négative, et l’esprit pur. Rien n’est plus beau que lorsque nous partons de l’extrémité d’une image pour atteindre l’autre extrémité. La femme et le mot sont une lutte armée entre deux contraires lumière et ténèbre, esprit et matière. Chacun s’efforce d’imposer à l’autre sa volonté et de faire triompher sa cause. Entre la femme et le mot, dans la poésie de Fourcade, il y a un lien qui associe la réalité à la pensée, le ciel à la terre, le mortel à l’immortel. Ils semblent avoir été autant de moyens d’accéder à l’harmonie secrète de l’âme humaine. Mais la poésie de Fourcade est aussi cette mélancolie primitive, car dans l’obscure rêverie, le poète pleure toutes les valeurs brillantes qui ont été éteintes, laissant un homme blessé, solitaire et suspendu au milieu d’un espace intérieur clos
Woman and Word in Dominique Fourcade’s poetry constitute a language which permits the passage from one bank to another. This language aims at forming man and it translate the visible by the invisible. It is a deep language, Lyrical, philosophical, solid, vulnerable but deeply inpenetrable bottomeless and enigmatic. Fourcade’s poetry is a meditation of human suffering which gutters at night as a sum and looks for the reason of its obscurity. In fact, both woman and word are the metaphore of man who feek of cold whose soul is in need of his skin. This poetry is a mirror of the real, it never goes back. It reflets the analytical identity of our time. For this reason this poetry is philosophical full of images because it not only shows the real but also its mystry, its sadness and unfathomable depth. It the coreg this mystry the poet cries that man and world have no more identity, no more history. This kind of poetry shakes our thinking because it expresses the feelings in a movins language full of expansion and continuity reflecting the sound pisture of the intense and painful reality. Such a poetry has its place in human heart because it is born aureole of the spirit in order to show a world required by the poet himself. For this reason the woman and the word are within a lightening universe, it is an active, tonic and accentuated affection which knows no creative passion and penetrates into its sincerity and purity. No objective behind this but the realization of the balance between the sombre matter and the pure spirit. There is nothing beautiful when we pass from one extreme to another. The two abovementioned factors are an armed conflict between two opposing elements namely light and darkness, spirit and matter. Dun tries to impose his will and te gain victory for this cause. Between the woman and the word there is direct relation which associates the reality and thinking, heavne and earth, the mortal and the immortal. It seems that there are means to attain secret harmony of human soul. But this poetry has primitive melancoly because in the obscure revery the poet evoques all the brilliant values which have lost their glooming, leaving a solitary man suspended within a close setting

Cette recherche s'intéresse aux pratiques d'écritures des danseurs contemporains, à travers l'étude d'un corpus constitué de quatre ouvrages récemment publiés par Dominique Dupuy (2011), Enora Rivière (2013), Myriam Lefkowitz (2015), et Noé Soulier (2016). Leur parution manifeste autant qu'il participe d'un contexte perceptif et esthétique, mais aussi institutionnel et éditorial qui donne place à la voix des artistes chorégraphiques. En effet, ces textes ont pour point commun d'être élaborés à partir de la parole des danseurs, qu'elle soit recueillie lors d'entretiens, puisée dans une conférence performée ou qu'elle soit le motif par lequel s'éprouve l'imaginaire d'une instantanéité chorégraphique. Ainsi, l'élaboration de ces ouvrages engage pour leurs auteurs une réflexion sur les valeurs acquises par la verbalisation comme par la scription dans les pratiques de danse. Parce que l'écriture est envisagée comme un processus transversal, non spécifiquement textuel, qui introduit des effets d'écart dans la relation que le danseur entretient à l'acte de danse, nous convoquons pour analyser ce corpus la pensée de Derrida ; ceci nous conduit à qualifier les phénomènes d'enchâssement et de "différance" manifestés par ce corpus comme relevant des « écrits de danseurs ». Ceci permet d'interroger la fonction de ces discours, considérés comme des prises de parole face à la doxa d'un mutisme inhérent à la figure scénique du danseur : d'une part, l'écriture témoigne des expériences propres au métier de danseur, et contribue à alimenter voire à renouveler les représentations afférentes à leur statut artistique et professionnel. D'autre part, la publication d'un objet livresque requalifie l'auctorialité du danseur au regard du chorégraphe comme des œuvres qu'il interprète : ceci participe à circonscrire un régime discursif spécifique, que nous désignons, à la suite de Foucault, comme une « fonction-danseur » active dans l'écriture. Finalement, notre analyse considère les interactions entre énonciation du geste et imaginaire langagier, lorsque morphologie lexicale et corporelle viennent à se confondre. À la suite de trois propositions théoriques (Godfroy, Louppe, Bernard) qui postulent la réversibilité des expériences kinésiques et sémiotiques, nous interrogeons l'activité de réception de ces ouvrages, lorsque les analyses cherchent à y déceler l'empreinte d'une « gestualité du dire ». Notre hypothèse considère que celle-ci relève d'un mécanisme fictionnaire, déployé tant dans le processus sensoriel par lequel les danseurs élaborent une parole sur leur danse que dans l'activité de lecture. Ceci souligne le fonctionnement empathique qui soutient notre fréquentation des textualités en danse ; au regard de la place occupée par les imaginaires littéraires et scripturaires dans l'élaboration des récits de gestes, tout comme dans l'émergence de dynamiques métaphoriques. Celles-ci soutiennent l'élaboration de logiques corporelles (Bolens) qui façonnent la corporéité du danseur qui s'énonce autant que les modalités narratives par lesquelles elle s'écrit. Cette étude prend place à la croisée de préoccupations portées par des analyses kinésiques comme linguistiques, selon une approche poïétique qui s'insère dans des interactions disciplinaires, artistiques et méthodologiques nombreuses entre études en danse et études littéraires
This research focuses on the writing practices of contemporary dancers, through the study of a corpus made up of four works recently published by Dominique Dupuy (2011), Enora Rivière (2013), Myriam Lefkowitz (2015), and Noé Soulier (2016). Their publication manifests as much as it participates in a perceptual and aesthetic context, but also an institutional and editorial one which gives place to the voice of the artists. Indeed, these texts have in common to be elaborated from the words of the dancers, whether it is collected during interviews, drawn from a lecture performed or whether it is the reason by which the feeling is experienced. imaginary of a choreographic immediacy. Thus, the elaboration of these works engages for their authors a reflection on the values acquired by the verbalization as by the scription in the practices of dance. Because writing is respected as a transversal process, not judged textual, which introduced effects of gap in the relationship that the dancer maintains to the act of dance, we summon to analyze this corpus the thought of Derrida; this leads us to qualify the phenomena of embeddedness and differance affected by this corpus as relevant to “dancers' writings”. This makes it possible to question the function of these discourses, translated as speaking out against the doxa of a silence inherent in the scenic figure of the dancer: on the one hand, the writing bears witness to the experiences specific to the profession of dancer, and contributes to nourishing or even renewing the representations relating to their artistic and professional status. On the other hand, the publication of a bookish object requalifies the authorship of the dancer with regard to the choreographer as the works he interprets : this contributes to circumscribing a specific discursive regime, which we designate, following Foucault, as a “dancer-function” active in writing. Finally, our analysis considers the interactions between the enunciation of the gesture and the linguistic imagination, when the lexical and body morphology come to merge. Following three theoretical propositions (Godfroy, Louppe, Bernard) which postulate the reversibility of kinesic and semiotic experiences, we question the activity of reception of these works, when the analyzes seek to decelerate the imprint of a "gestuality to say”. Our hypothesis considers that this stems from a fictional mechanism, deployed both in the sensory process by which the dancers adopt a word about their dance and in the reading activity. This underlines the empathic functioning that supports our frequentation of textualities in dance; about the place occupied by literary and scriptural imaginaries in the elaboration of narratives of gestures, as well as in the emergence of metaphorical dynamics. These require the development of bodily logics (Bolens) that shape the corporeality of the dancer who is expressed as much as the narrative modalities by requiring it to be written. This study takes place at the crossroads of concerns carried by kinesic and linguistic analyses, according to a poietic approach which fits into numerous disciplinary, artistic and methodological interactions between dance studies and literary studies

Éminemment élégiaque, l’œuvre de Dominique Fourcade n’en est point moins évacuée de l’effusion lyrique. L’Orphée contemporain ne se retourne pas, le poème se décentre et accueille en sa langue des rapports mis en œuvre par des présences formellement diverses qui exposent le monde. Espace de la vulnérabilité, l’écriture fourcadienne pose la question du sens et de la représentation ; elle interroge jusque la légitimité poétique de ses questionnements dans une époque marquée par la violence et la mort. La poésie de Dominique Fourcade ne supporte plus d’autres sujets que le réel, la langue et l’écriture. Prise dans une interprétation systémique propre à l’œuvre, elle se fait envers et contre les images créant ainsi une nouvelle surface poétique faite d’interactions avec d’autres praxis artistiques. Le motif du dos est aussi un mode d’être au monde comme responsabilité pour autrui. L’envers est l’insoutenablement plus-que-visible du corps nu : un visage-vulve. L’un des aspects de la théorie sémiostylistique, celui qui ne sacrifie pas le corps et aboutit à une herméneutique matérialiste de la signification, est en affinité interprétative avec cette poésie et satisfait à la prendre en charge sur certaines questions. L’écriture de Dominique Fourcade se situe sur la ligne opaque des grandes voix poétiques modernes
Eminently elegiac, Dominique Fourcade’s corpus is not the less drained of lyrical effusion. Modern-day Orpheus would not look back, the poem is thrown off-center and hosts within its own language a number of connections which are implemented by strictly diverse presences, themselves uncovering the world. A location of vulnerability, Fourcadean writing raises the question of meaning and representation; it goes as far as doubting the very poetic legitimacy of its questioning in an era marked by violence and death. Dominique Fourcade’s poetry can no longer stand other subjects but the real, language and writing. Entangled in a systemic interpretation which is inherent to the corpus, such poetry turns itself inside out and against the images thus creating a new poetic surface made of interactions with other artistic praxes. The back motif is also a way of being in the world as a responsibility for others. The inside out is the unbearably more-than-visible of the naked body: a vulva-face. One of the aspects of semio-stylistic theory, that which does not sacrifice the body and leads to a materialist hermeneutics of meaning, has an interpretative affinity with this poetry and fulfillingly takes it in charge on certain questions. The writing of Dominique Fourcade places itself on the opaque line of the greatest modern poetic voices

Les écrits sur l’art forment une partie très importante de l’œuvre de Dominique Fourcade : une cinquantaine de textes publiés en préface dans des catalogues d’exposition ou dans des revues, principalement entre 1971 et 1990. Beaucoup d’entre eux sont consacrés à l’œuvre de Matisse, dont Dominique Fourcade est un spécialiste éminent. D’autres examinent la création française contemporaine, en particulier les productions des plasticiens proches du galeriste parisien Jean Fournier. Certains étudient, enfin, le travail des artistes anglo-saxons, essentiellement celui des sculpteurs, mais aussi celui des peintres du mouvement expressionniste abstrait. La plupart de ces textes sont majoritairement méconnus même par des spécialistes de la poésie contemporaine. Or, ils sont le lieu où se forge véritablement la vision poétique de l’auteur, car c’est sur les arts plastiques que Dominique Fourcade prend appui pour penser le monde et trouver la modernité. Dans son travail critique le poète réunit deux approches habituellement opposées : d’un côté, la théorie formaliste qui met en valeur les matériaux et les procédés plastiques, de l’autre, la recherche d’un profond message spirituel des œuvres. Ainsi, les aspects formels (le rythme, la structure, la surface, la lumière, la couleur et d’autres encore) comprennent de multiples implications poétiques, dans leurs valeurs éthique, politique ou gnoséologique. Dans ses écrits sur l’art, Dominique Fourcade met en place une poétique complexe dans laquelle la sagesse est inséparable de la beauté et l’esthétique de l’éthique. C’est cette même poétique qui réside au cœur de ses poèmes des années 1980-2010
Art publications are an important part of Dominique Fourcade’s writing: representing about 50 texts published as prefaces for exhibition catalogues or in the magazines, mainly between 1971 and 1990. A large number of these publications are dedicated to Matisse’s work, Dominique Fourcade being an eminent specialist of his work. Others examine contemporary French creation, and especially plastic artists close to Parisian art dealer Jean Fournier. Finally, some of them study Anglo-Saxon artists work, especially that of sculptors, but also of painters belonging to the abstract expressionist movement. The majority of these texts remain unknown, even by the specialists of contemporary poetry. Though, they are the place where the author’s poetic vision has been build up, as Dominique Fourcade bases his ideas on plastic art in order to think about world and find modernity. In his critical work, the poet gets together two usually opposite approaches: on the one hand, a formalist theory highlighting materials and plastic methods, on the other, a search for the profound spiritual message of works. Thus, formal aspects (such as rhythm, structure, surface, light, color and others) include multiple poetic implications in their ethical, political or epistemological values. In his art essays, Dominique Fourcade puts in place an intricate poesy where wisdom is inseparable from beauty and aesthetics from ethics. The same poetic language lies in the heart of his poems dating from 1980-2010

L'horizon de cette thèse sur la poésie moderne est de sonder le mouvement dansant du texte et de dégager des critères sémiotiques pour rendre compte des implications théoriques d'une métaphore plus surprenante à première vue que celle de « musicalité littéraire ». Dans la mesure où les trois auteurs ne peuvent pas être appréhendés sur le seul plan littéraire puisqu'ils ont collaboré avec des chorégraphes, voire exercé l'activité de danseur-chorégraphe, la perspective historique est mobilisée, afin de saisir la similitude du rapport qu'ils entretiennent avec le moderne en danse. C'est finalement son élection comme un art-source pour l'écriture, qui unit les trois écrivains. Absorbant les leçons du moderne chorégraphique, l'écriture poétique enrichit les structures du langage d'une qualité corporelle et gestuelle. Pareillement, le mode de composition poétique se rapproche de la danse, agençant les constituants de la phrase et du vers, comme s'ils étaient des kinèmes. Par-delà la parcellisation des courants chorégraphiques au XXe siècle, le contemporain est appréhendé dans la thèse comme une continuation du moderne. Présente en poésie, la danse officie une totalisation des arts et du réel, et affiche le programme de la poétique à laquelle aspire l'écrivain. La deuxième partie de la thèse s'intéresse donc aux modes de présence de la danse à travers le texte poétique, envisagé comme objet polysémiotique. Les acquis de la danse moderne sont remodelés littérairement et transférés au poème. Le poète, ayant assisté aux pièces de danse, cherche à recréer ce qu'il a vu, incluant sa perception transformatrice de spectateur. Au sein de l'examen du transfert intersémiotique vers le texte, nous prenons pour outils les notions de « figure » et d' « ekphrasis ». Déjà, R. Barthes, notait dans les Fragments d'un discours amoureux le caractère chorégraphique de la « figure » textuelle. La danse ne s'apparente véritablement à une figure que lorsque le motif devient l'emblème d'une poétique. Nous restreignons l'« ekphrasis » à une danse théâtrale, réellement vue sur scène par l'auteur, et qui structure de manière cohérente un poème. L'ekphrasis implique une description au second ou au premier degré, selon que la danse est médiatisée ou non par la peinture. L'analyse permet, dès lors, d'établir une évolution d'une logique de la représentation, encore marquée, avec V. Parnakh, par le mimétisme des sons et des mouvements, à celle de la présentation, avec W. C. Williams et D. Fourcade. La présence textuelle de la danse est toujours étayée par une mention explicite (vocabulaire chorégraphique, du mouvement ou du corps, référence à tel danseur, tel chorégraphe, telle pièce...). Le plan de l'expression ou du contenu sémiotiques, seuls, ne suffisent pas à établir avec précision la dimension dansante. C'est donc le mode de lecture adopté, et le type de perceptions qui en découle, qu'il convient en définitive d'envisager pour fonder le caractère dansant de la poésie moderne. Le texte fonctionne comme une matrice pour l'interprétation-incarnation du lecteur, qui peut éventuellement déboucher sur son transfert en danse. Aussi établissons-nous une méthode originale, en vue de légitimer une approche de la textualité, déplacée du côté de l'acte de lecture. Ce dernier est envisagé comme une performance unique, celle d'un « autre lecteur », dont rendent compte trois situations d'auto-explicitation. Il existe un mode de lecture chorégraphique des textes, attentif à la dimension cinétique et kinesthésique des mots et des phrases, que nous examinons, après avoir constaté la difficulté à séparer l'étude du mouvement dansant et du mouvement dansé, en nous contentant d'une approche sémiotique. En revanche, si l'on adopte le point de vue du lecteur, les associations sont moins directement tributaires de la sémantique. [...]
The perspective of this thesis on modern poetry is to probe the dancing movement of the text and to identify semiotic criteria to account for theoretical implications of an apparently more surprising metaphor than that of "literary musicality". Since the three authors can not be assessed solely on the literary plane since they collaborated with choreographers, or were even practioners of the art of dancer-choreographer, the historical perspective is used, in order to understand the common character of their relationship with modern dance. It is ultimately the election of dance as an art-source for writing, which unites the three writers. Absorbing the lessons of choreographic modernity, poetic writing enriches the structures of language with a corporeal and gestural quality. Similarly, the mode of poetic composition becomes close to dance, arranging the componentents of sentence and line, as if they were kinemes. Beyond the dissemination of choreographic currents, the contemporary is conceived in the thesis as a continuation of the modern. In poetry, dance achieves a synthesis of the other arts and the real, and displays the program of poetics to which the writer aspires. The second part of the thesis focuses on the modes of presence of dance through the poetic text considered as a polysemiotic object. The achievements of modern dance are literarily remodeled and transferred to the poem. The poet, having witnessed the dance pieces, seeks to recreate what he has seen, including his transformative viewer perception. In the examination of the intersemiotic transfer, we take as tools the notions of "figure" and "ekfrasis". Already, R. Barthes noted in A Lover's discourse : Fragments the choreographic character of the textual "figure". The dance is not really akin to a figure until the motif becomes the emblem of poetics. We limit the use of the term "ekfrasis" to a theatrical dance, really seen on stage by the author, and which brings a given poem a unitary structure. Ekfrasis implies a description in the second or first degree, depending on whether the dance is mediated or not by painting. The analysis allows, therefore, the evolution of a logic of representation, still strongly marked by the mimicry of sounds and movements, with V. Parnakh, with that of the presentation, with W. C Williams and D. Fourcade. The textual presence of dance is always supported by an explicit mention (vocabulary of dance, movement or the body, reference to a dancer, a choreographer, a piece ...). Expression or semiotic content are not sufficient to establish precisely the dancing dimension of the poem. Eventually, it is the mode of reading, and the type of perception that results from it, which founds the dancing character of modern poetry. The text functions as a matrix for the interpretation-embodiment of the reader, which can eventually lead to its transfer into dance. That's why we establish an original method, in order to legitimize an approach of textuality, that shifts to the reading act. It is considered as a unique performance of a "different reader", expressed through three self-explication situations. There is a mode of choreographic reading of the texts, attentive to the kinetic and kinesthetic dimension of the words and sentences, which we examine, after having noted the difficulty to separate the study of the dancing movement and the danced movement, when we settle with a semiotics of the text. On the other hand, if we take the reader's point of view, associations are less directly dependent on semantics. When he's reading, he develops from the text a kinetic perception, which may eventually lead to finding retrospectively in the form of the poem structures of movement. The notion of the inner world argues that the dance takes place inside the reader, even before its translation into dance

Dans « La littérature franco-ontarienne à la recherche d’une nouvelle voie : enjeux du particularisme et de l’universalisme » (2002), Lucie Hotte signale que les artistes francophones minoritaires, ayant longtemps puisé dans l’esthétique particulariste, optent maintenant pour une esthétique de l’univeralisme. Jane Moss confirme l’hypothèse de Hotte dans son article, « Francophone Theatre in Western Canada : Dramatic Tales of Disappearing Francophones » (2009). Moss observe qu’au sein du théâtre francophone dans l’Ouest canadien s’opère une transition quant à la représentation de l’identité francophone minoritaire vers un courant postmoderne où les dramaturges, mettant de côté les récits mémoriels nostalgiques, se penchent plutôt sur des thématiques plus universelles. Tout de même, le questionnement identitaire demeure latent à travers ces pièces. Par ailleurs, dans La distance habitée (2003) François Paré remarque que les énonciateurs minoritaires retiennent souvent une mémoire de migration et d’itinérance; que cette distance métaphorique les « habite »; et qu’ils se voient constamment forcés de négocier cette « distance » entre eux et la communauté majoritaire où ils vivent. Partant du constat du Moss, ce mémoire analyse l’énonciation de trois personnages/énonciateurs dans trois monologues fransaskois contemporains, soit Il était une fois Delmas, Sask... mais pas deux fois! d’André Roy, Elephant Wake de Joey Tremblay et Rearview de Gilles Poulin-Denis. Nous examinerons leur identité complexe, riche et problématique. Pour analyser l’énonciation de chacun des personnages, nous nous appuyons sur l’analyse de discours telle que développée par Dominique Maingueneau. Ce faisant, nous visons à combler une lacune importante dans la recherche sur le théâtre fransaskois.

This investigation searches for a better understanding of what really occurs in a session of Philosophy with Children, how it develops regarding the nature of the object in discussion (written text or work of art) and how the connivance of the space where it occurs manifests. From the understanding of the resulting phenomena, this research anticipates the possibility os re-defining the approach to Philosophy with Children established by Matthew Lipman (1922-2010), in order to integrate the same qualities that emerge from that John Dewey (1859-1952) understand by aesthetic experience. In order to achieve this investigação, the participation of children with traits that would positively responde to the needs of this research were considered, meaning children having a structured linguistc knowledge and for whom a philosophical discussion did not constitute a novelty to wich they would have to adapt to. We proceed organising sessions of Philosophy with Children, starting with discussion of written work in their regular classroom, wich allowed us to establish a baseline; and sessions debating art work in several museums (or culturl venues), in order to observe how the Philosophy with Children adapts accordingly with the nature of a sensible object. The importance of participation of children in a discussion of an art work allows them an enrichment resulting from the aesthetic experience, not as a separated activity from the educational context, but as something integrated and integrator of ideas and stimuli, in a cared for perspective of other languages and meanings. In this context, the observing child’s perception will invoke the construction of a visual thought process that will reveal itself in individual shared narratives and re-integrated in a context wich is identical to the one they have been practice on, meaning, a research community. Therefor, Philosophy with Children with discussion of art works, not only promotes a thougt that is intended to be a superior order, but also can be educational for citizenship which, in the context designed by this investigation, will signify the effective education of an aesthetic human beign

Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2012
Partindo da ideia enraizada da semelhança como critério de figuração, recupera-se o debate entre o que há de convencional, de natural, de inato e de cultural nas representações tendo como eixo director o desenho enquanto disciplina primordial nas artes visuais. O estudo centra-se nos paradigmas da figuração e de semelhança que têm vigorado na tradição pictórica ocidental, sobretudo balizados entre dois marcos históricos fundamentais: da invenção da perspectiva à invenção da fotografia. O enfoque explora com particular relevância as relações entre a praxis do desenho e os modelos de representação assentes na ideia seminal de projecção. Destaca-se o arquétipo da imagem projectada, consubstanciada nas visões da perspectiva e da óptica, pela sua relevância enquanto paradigma de representação que acabaria por vigorar na nossa cultura visual. Neste contexto, elege-se a relação entre desenho e dispositivos ópticos, nomeadamente a câmara obscura e a câmara lúcida, enquanto modelo paradigmático do desejo de verosimilhança, legitimada pela ideia neutral de “olho artificial”. A investigação das ligações entre arte e óptica passa em revista certos aspectos do debate levantado por David Hockney (2001), discutindo e sublinhando pontos ainda não explorados. Abordando as questões da vista e do retratar, os dois casos de estudo de fundo, centrados nos desenhos de Antonio Canaletto e de Jean-Auguste-Dominique Ingres, são sintomáticos das flutuações da semelhança entre aquilo que designamos por “visão objectiva” e “olhar subjectivo”. Do confronto entre conceitos de ponto de vista, conformidade, precisão ou invenção, consequentes da relação entre imagem óptica e desenho de observação, a tese procura demonstrar a relatividade e os paradoxos da semelhança na representação, nas suas dimensões de verdade, credibilidade, fidelidade, ilusão, imitação, informação ou inculcação. Este confronto é explorado com o complemento de trabalho prático aplicado no desenho com dispositivos ópticos, disponibilizando dados de pesquisa originais e material de reflexão inédito
Starting from the deep-rooted idea of resemblance as a criterion for the figure, we recall the debate between what is conventional, natural, innate and cultural in representations, taking drawing as a primary discipline in the visual arts. The study focuses on the paradigms of figuration and likeness that have prevailed in the Western pictorial tradition, particularly marked out between two key milestones: from the invention of perspective to the invention of photography. The approach exploits with particular relevance the relations between the praxis of drawing and the models of depiction based on the seminal idea of projection. We emphasize the archetype of the projected image, embodied in the views of perspective and optics, as a relevant paradigm of representation witch becomes a standard in our visual culture. In this frame view, we elect the relationship between drawing and optical devices, specifically the camera obscura and the camera lucida, as paradigmatic models for the ambition of verisimilitude, legitimized by the idea of a neutral "artificial eye". Research on the basis of art and optics review certain aspects of the debate raised by David Hockney (2001), discussing and highlighting some cases that have not yet been explored. Putting in question the subject of view and portraiture, the two main case studies, focused on the drawings of Antonio Canaletto and Jean-Auguste-Dominique Ingres, are symptomatic of the balance on the similarity between what we call "objective view" and "subjective look." From the confrontation between the possible concepts of conformity, point of view, accuracy or invention, arising from the relationship between optical image and drawing from observation, the thesis seeks to demonstrate the paradoxes and the relativity of similarity in depiction, in its dimensions of truth, credibility, fidelity, imitation, illusion, information or inculcation. This confrontation is explored with the complement of a practical fieldwork applied in the drawing with optical devices, providing original research data and new material for reflection
Fundação para a Ciência e a Tecnologia (FCT)

This book offers a clearer understanding of the nouvelle théologie, an influential French reform movement that flourished during the 1930s and 1940s, championed ressourcement, or, a ‘return to the sources’, and hoped to build a certain rapprochement with modernity by appropriating the historical method, aspects of phenomenology, and social engagement. Comprised of theologians and philosophers from the Jesuit theologate Fourvière in Lyon and the Dominican house at Le Saulchoir in Belgium, they were led by such figures as Henri de Lubac, Jean Daniélou, Marie Dominique Chenu, and Yves Congar. After identifying a lacuna in the secondary literature, the book remedies certain historical deficiencies by constructing a history more sensitive to the wider intellectual, political, economic, and cultural milieu of the French interwar crisis, that establishes continuity with the Modernist crisis and the First World War. It examines the modern French avant-garde generations that shaped intellectual and political thought in France. The historical narrative examines various stages of older generational influence on the development of the nouveaux théologiens, including the influence of the Modernists as well as older generations of Jesuit and Dominican mentors. Moreover, the effects of the First World War are examined, as is their religious formation in the 1920s, the emergence of their wider generation during the crisis years of the 1930s, and their own participation in the wider intellectual thirst for revolution. It explores the 1940s, when the generation of 1930 rose to prominence and the global triumph of their thought during the 1960s.

Volume 4 (1952–1955) is introduced by the distinguished Canadian analyst, Dominique Scarfone. It contains texts of further BBC broadcasts and papers on Winnicott’s contribution to the psychoanalytic study of psychosis and the meaning of regression in analysis. There are letters to members of the British Society and reviews of contemporary books, including a review, with Masud Khan, of Ronald Fairbairn’s Psychoanalytic Studies of the Personality. This volume contains the first published version of ‘Transitional Objects and Transitional Phenomena’ and the whole case history Holding and Interpretation, first published posthumously in 1972 and then in 1986, but based on detailed case notes for a patient seen 1940–1941 and from 1953, and written between January and July 1955.

The EHS issues are thematic. Each issue features a selection of peer-reviewed research articles, which offer novel perspectives on the main theme. Includes: - Andrea Löw and Kim Wünschman: Film and the Reordering of City Space in Nazi Germany: The Demolition of the Munich Main Synagogue - Michal Frankl: Cast out of Civilized Society. Refugees in the No Man`s Land between Slovakia and Hungary in 1938 - Beate Meyer: Foreign Jews in Nazi Germany - Protected or Persecuted? Preliminary Results of a New Study - Dominique Schröder: Writing the Camps, Shifting the Limits of Language: Toward a Semantics of the Concentration Camps? - Tal Bruttmann, Stefan Hördler, and Christoph Kreutzmüller: A Paradoxical Panorama: Aspects of Space in Lili Jacob’s Album - Irina Rebrova: Jewish Accounts of Soviet Evacuation to the North Caucasus - Malena Chinski: A New Address for Holocaust Research: Michel Borwicz and Joseph Wulf in Paris, 1947–1951 - Anna Engelking: »Our own traitor« as the Focal Point of Belarusian Folk Narrative on Local Perpetrators of the Holocaust - Hannah Wilson: The Memoryscape of Sobibór Death Camp: Commemoration and Materiality Der Band erscheint vollständig in englischer Sprache.

Cynthia Laborde investigates the representation of sports in children’s literature, especially in the stories about le Petit Nicolas and his friends, published as a series of books from 1960 to 1965 by author René Goscinny and illustrator Jean-Jacques Sempé. Her analysis focuses both on gender roles and on differences between adults’ and children’s views of athletic activities, using Barthes’ Mythologies and Of Sports and Men as reference points, and situating the stories within the social and cultural context of post-World War II France. She suggests that during this period—when urbanization produced rapid and dramatic changes in French society, as traditional communities were dismantled with families relocating to city centres in search of employment—sports provided a means of establishing a sense of community for children and adults alike. Sports also reflected and reinforced binary gender roles, and Laborde shows how Nicholas learns these gender performances through his parents’ actions and assertions about sports. She argues that the representation of sports throughout the Le Petit Nicolas series is characterized by a tension between two views: that of adults, for whom sports are a serious endeavour; and that of children, who do not distinguish between the game and real life.

Chapter 2 continues with the theme of conversion and shifts to a discussion of Dominique de Menil’s aesthetico-religious development. The first section of the chapter focuses on de Menil’s conversion to Catholicism in the early 1930s and her immersion in the renouveau catholique. Mrs. de Menil’s adoption of ideals of the renouveau was mediated through the friendship and spiritual direction of Fr. Marie-Alain Couturier. He was a leader of L’Art Sacré, a group seeking to enroll the best modernist artist in the service of the church. Working from a discussion of his collection of essays Art et Catholicisme, the chapter argues that Couturier identifies a formal affective structure of intuitive revelation that is capable of translating aesthetic experience into religious experience through abstraction. The reproduction of this formal structure lies at the heart of de Menil’s patronage aesthetics.