Relevant bibliographies by topics / Eugène Ricard

Academic literature on the topic 'Eugène Ricard'

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Published: 9 March 2023

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Journal articles on the topic "Eugène Ricard"

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Jirsa, Tomás. "Portrait of Absence." Zeitschrift für Medien- und Kulturforschung 7, no. 2 (2016): 13–28. http://dx.doi.org/10.28937/1000107546.

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"This article deals with the mediality of empty chairs in the works by Vincent van Gogh, Richard Weiner, Egon Schiele, Joseph Kosuth and Eugène Ionesco. These empty chairs are explored as aisthetic-affective figures pervading historical periods and cultural boundaries that offer a specific portrait of absence, which is able to intensify the subject despite its physical non-presence. The argument is based on the dialectic process of dis/appearing, posthermeneutics and the theory of the supplement. Der Beitrag behandelt die Medialität leerer Stühle in den Werken von Vincent van Gogh, Richard Weiner, Egon Schiele, Joseph Kosuth und Eugène Ionesco. Leere Stühle werden als ästhetisch-affektive Figuren untersucht, die historische Perioden und kulturelle Grenzen durch- und überschreiten; dabei präsentieren sie ein spezifisches Porträt von Abwesenheit, das das Subjet trotz seiner physischen Nicht- Gegenwart intensiviert. Die Argumentation gründet in dem dialektischen Prozess von Er- scheinen und Verschwinden, Posthermeneutik und der Theorie des Supplements. "
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Mrozowicki, Michał Piotr. "Tannhäuser rehabilitated (III) – Eugène d’Harcourt’s concert." Cahiers ERTA, no. 25 (2021): 81–104. http://dx.doi.org/10.4467/23538953ce.20.024.13548.

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In November and December 1894, a few months before the work’s reappearance on the Parisian stage, its very important selection (including especially the entire first and third acts) was presented by the count Eugène d’Harcourt, – by the way member of the elitist Jockey’s Club – during his “eclectic concerts” at the rue Rochechouart’s Salle de Concerts. The author of the article recalls juridical and artistic controversies provoked by these executions of Wagner’s opera. Tannhäuser’s fourth performance at Paris Opera’s stage was preceded, in the spring of 1895, by many publications, books and articles devoted to Wagner’s masterpiece. The most important, Étude sur « Tannhäuser » de Richard Wagner. Analyse et guide thématique, was written by Alfred Ernst and Élie Poirée who tried to show the value of Tannhäuser, considered already as a musical drama and an important stage of the composer’s evolution.
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Ozores-Hampton, Monica, Ramdas Kanissery, Eugene J. McAvoy, Richard N. Raid, and Julien Beuzelin. "2018 Vegetable Production Handbook Chapter 17: Sweet Corn Production." EDIS 2018 (December 17, 2018): 16. http://dx.doi.org/10.32473/edis-cv135-2018.

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This 16-page fact sheet is chapter 17 of the 2018 Vegetable Production Handbook. Written by Monica Ozores-Hampton, Ramdas Kanissery, Eugene J. McAvoy, Richard N. Raid, and Julien Beuzelin, and published by the Horticultural Sciences Department, 2018. HS737/CV135: Chapter 17. Sweet Corn Production (ufl.edu)
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Miller, Christian F., Qingren Wang, Ramdas Kanissery, Eugene J. McAvoy, Monica Ozores-Hampton, Richard N. Raid, Crystal A. Snodgrass, et al. "2018 Vegetable Production Handbook Chapter 10: Minor Vegetable Crop Production." EDIS 2018 (December 17, 2018): 34. http://dx.doi.org/10.32473/edis-cv294-2018.

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This 34-page fact sheet is chapter 10 of the 2018 Vegetable Production Handbook. Written by Christian F. Miller, Qingren Wang, Ramdas Kanissery, Eugene J. McAvoy, Monica Ozores-Hampton, Richard N. Raid, Crystal A. Snodgrass, Julien Beuzelin, Dakshina R. Seal, Alicia J. Whidden, and Shouan Zhang, and published by the Horticultural Sciences Department, 2018. CV294/CV294: Chapter 10. Minor Vegetable Crop Production (ufl.edu)
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Dittmar, Peter J., Eugene J. McAvoy, Monica Ozores-Hampton, Richard Raid, Hugh A. Smith, Bonnie Wells, Julien Beuzelin, et al. "2018 Vegetable Production Handbook Chapter 15: Root Crop Production." EDIS 2018 (December 17, 2018): 35. http://dx.doi.org/10.32473/edis-cv300-2018.

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This 35-page fact sheet is chapter 15 of the 2018 Vegetable Production Handbook. Written by Peter J. Dittmar, Eugene J. McAvoy, Monica Ozores-Hampton, Richard Raid, Hugh A. Smith, Bonnie Wells, Julien Beuzelin, Johan Desaeger, Joseph W. Noling, Lincoln Zotarelli, Shouan Zhang, Christian F. Miller, and Qingren Wang, and published by the Horticultural Sciences Department, 2018. HS965/CV300: Chapter 15. Root Crop Production in Florida (ufl.edu)
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Dittmar, Peter J., Eugene J. McAvoy, Monica Ozores-Hampton, Richard N. Raid, Pamela Roberts, Hugh A. Smith, Xavier Martini, et al. "2018 Vegetable Production Handbook Chapter 12: Onion, Leek, and Chive Production in Florida." EDIS 2018 (December 17, 2018): 19. http://dx.doi.org/10.32473/edis-cv299-2018.

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This 19-page fact sheet is chapter 12 of the 2018 Vegetable Production Handbook. Written by Peter J. Dittmar, Eugene J. McAvoy, Monica Ozores-Hampton, Richard N. Raid, Pamela Roberts, Hugh A. Smith, Xavier Martini, Johan Desaeger, Joseph W. Noling, Shouan Zhang, and Lincoln Zotarelli, and published by the Horticultural Sciences Department, 2018. HS730/CV299: Chapter 12. Onion, Leek, and Chive Production in Florida (ufl.edu)
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Ciancio, Ralph A. "Richard Wright, Eugene O'Neill, and the Beast in the Skull." Modern Language Studies 23, no. 3 (1993): 45. http://dx.doi.org/10.2307/3195177.

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Zhamanova, Amina A. "Dream Collaborations: From the History of Eugene O’Neill’s Failed Projects." Literature of the Americas, no. 10 (2021): 25–45. http://dx.doi.org/10.22455/2541-7894-2021-10-25-45.

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This article is focused on Eugene O’Neill’s failed artistic collaborations with outstanding directors, actors and singers. It is the first attempt, in the Russian theatre studies, to get to the truth behind the playwright’s unrealized tandem with the legendary opera singer Feodor Chaliapin. The creative destiny of O’Neill’s play Lazarus Laughed (1927) is tracked from the attempts to stage it in New York, Chicago, Berlin and Moscow, all the way to the long-anticipated premiere at the Pasadena Playhouse in Pasadena, California. Special attention is paid to the Kamerny Theatre shows in Paris and Buenos Aires. Also under scrutiny is the American playwright’s private correspondence — in particular, with literary agent Richard Madden, translator Alexander Berkman and theatre producer Kenneth Macgowan. Particular emphasis is put on the playwright’s work behind the scenes and his active contribution to the translation of his ideas to the stage. The article reflects O’Neill’s approach to picking actors for lead roles in the stage productions of his plays, and also gives a logical conclusion to his failed meeting with two-time Academy Award winner Spencer Tracy at the Tao House in Danville, California. The paper provides a review of Ingrid Bergman’s acting performance in the Anna Christie production (Lobero Theatre, Santa Barbara, 1941) and in Jose Quintero’s Broadway production More Stately Mansions (Broadhurst Theatre, New York, 1967) based on Eugene O’Neill’s late unfinished play.
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Gudkov, Maxim M. "Leonid Snegoff as Vakhtangov’s follower in the USA and his Broadway production of Dmitry Scheglov’s play “The Blizzard”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2022): 10–33. http://dx.doi.org/10.35852/2588-0144-2022-2-10-33.

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The study focuses on the export of Eugene Vakhtangov’s theatrical methodology to American stage practices. The problem is specifically discussed based on the the acting and directing activities of Vakhtangov’s follower Leonid Snegoff. He staged the play by the Soviet playwright Dmitry Scheglov “The Blizzard” (“Purga”) on Broadway in 1929. The deep interest in Russian theatrical ideas and systems (Konstantin Stanislavsky, Eugene Vakhtangov, Vsevolod Meyerhold and Michael Chekhov) of the US practitioners in the interwar period are explained. The main two reasons are the absence of national acting school and thus theatre pedagogy. The characteristic of the main ways for exporting Vakhtangov’s ideas overseas are provided. Among them – the theatre tours abroad, translation and publication of Soviet theatrical literature about Vakhtangov and his method, the stage activities of Russian emigrant actors who studied with the Master or by him (Richard Boleslavsky, Rouben Mamulyan, Benno Schneider, Miriam Goldina). Theatre activities of Snegoff are analyzed along with the organicity of the poetics and the idea of “The Blizzard” play according to stage realization in the course of the Vakhtangov school. A brief analysis of the main productions of Scheglov’s play on the Soviet stage of the 1920s – in the Leningrad studio “Proletarian Actor”, Leningrad State Bolshoi Dramatic Theatre – BDT, Moscow Drama Theatre (former Korsh Theatre) and Studio of the Moscow State Maly Theatre – allows us to make a conclusion about the most successful of them. They were presented not in a ultra-realistic and naturalistic way, but in a Vakhtangov way – theatrically and conditionally. The author presents the analysis of Vakhtangov theatre ideas overseas on the basis of materials from the collections of the New York Public Library for the Performing Arts, the Houghton Library (Harvard University), the Russian State Archive of Literature and Arts, as well as documents from the Museums of the Eugene Vakhtangov State Academic Theatre and the Chekhov Moscow Art Theatre.
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Jurak, Mirko. "Slovene immigrants in Australia in Richard Flanagan's novel The sound of one hand clapping." Acta Neophilologica 34, no. 1-2 (December 1, 2001): 17–29. http://dx.doi.org/10.4312/an.34.1-2.17-29.

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The core of this article presents a structural and thematic analysis of a novel The Sound of One Hand Clapping (1979) written by a contemporary Australian novelist Richard Flanagan (1961-). The novel deals mainly with the life of a Slovene family, which immigrated to Australia in 1954. The story centres on the life of the heroine, Sonja Bulah, who finds herself at the end of the 1980ies in a severe mental crisis. Besides, the author of this article uses information about immigrants' life in Australia obtained from reports and sketches of a Slovene psychiatrist who treated immigrants in Melbourne. The author of this paper also calls the reader's attention to various literary allusions, which appear in the novel (e.g. Eugene O'Neill, John Keats, W. B. Yeats). It also appears that Flanagan was under a strong spiritual influence of the Indian philosopher Osho(= Bhagwan Shree Rajneshi) and his meditations upon life as published in Osho's book bearing the same title as Flanagan's novel and which first appeared in 1981. The novel is particularly interesting for Slovene readers, because it uncovers the emotional and spiritual life of Slovene immigrants in Australia.
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Dissertations / Theses on the topic "Eugène Ricard"

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Owen, J. Judd. "Religion and the demise of liberal rationalism : the foundational crisis of the separation of church and state /." Chicago, Ill. [u.a.] : Univ. of Chicago Press, 2001. http://www.loc.gov/catdir/toc/uchi051/00012232.html.

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Univ., Diss--Toronto.
Includes bibliographical references and index. If liberalism is a faith, what becomes of the separation of church and state? -- Pragmatism, liberalism, and the quarrel between science and religion -- Rorty's repudiation of epistemology -- Rortian irony and the "de-divinization" of liberalism -- Religion and Rawls's freestanding liberalism -- Stanley Fish and the demise of the separation of church and state -- Fish, Locke, and religious neutrality -- Reason, indifference, and the aim of religious freedom -- Appendix : a reply to Stanley Fish.
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Bacon, Bradley Brehman. "The work week of the senior pastor in mid-sized churches of the EFCA." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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LEGE', ALICE SILVIA. "LES CAHEN D'ANVERS EN FRANCE ET EN ITALIE. DEMEURES ET CHOIX CULTURELS D'UNE LIGNÉE D'ENTREPRENEURS (I CAHEN D'ANVERS IN FRANCIA E IN ITALIA. DIMORE E SCELTE CULTURALI DI UNA DINASTIA DI IMPRENDITORI)." Doctoral thesis, Università degli Studi di Milano, 2020. http://hdl.handle.net/2434/726976.

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Founding member of a banking network related to the actual BNP Paribas Group, Meyer Joseph Cahen (1804-1881), adopted the “d’Anvers” when he settled in Paris in 1849. Born in Bonn, of an Ashkenazi family, he made his fortune in the Belgian city to which he associated his name, and he continued his career in France. Owner of Nainville’s castle (Essonne) and of the Petit Hôtel de Villars (Paris), he became a naturalized French citizen in 1865. The next year, he obtained the title of Count, bestowed upon him by the King of Italy Victor-Emmanuel II, thanks to the economic support he offered to the Italian Unification. Nineteen years later, King Humbert I surpassed his predecessor and raised Meyer Joseph’s eldest son, Édouard (1832-1894), to the status of Marquis of Torre Alfina. If his siblings – Emma (1833-1901), Louis (1837-1922), Raphaël (1841-1900) and Albert (1846-1903) – enrooted their pathways in the French capital, the eldest lived between Florence, Naples and Rome: he was one of the great investors involved in the urban renovation of the Italian capital, after the fall of the papacy. In France, as well as in Italy, art, and especially architecture, served to legitimize the recent nobility of a family that wished to express the fullness of its civil rights. As targets of the anti-Semitic press, the Cahen d’Anvers family experienced the consequences of the Dreyfus Affair and the horrors of the racial laws. Before the latter, they adopted what could be defined as a “top-down model of integration”. This thesis focuses on its mechanisms and development. After tracing the patriarch’s origins, it analyses the family’s matrimonial policies and it continues with an exploration of Cahen d’Anvers’ “choices” in the vast field of culture. In their salons, the readers will meet Guy de Maupassant, Paul Bourget, Marcel Proust and Gabriele D’Annunzio, as well as Auguste Renoir and Léon Bonnat. Twelve mansions offered a perfect stage for these intellectual gatherings. As a public manifestation of the family’s economic and social power, the historicist eclecticism of these properties aimed to represent the owners as a new phalanx of the old nobility. While Forge-Philippe’s manor (Wallonia), Gérardmer’s chalet (Vosges) and Villa della Selva (Umbria) expressed a certain openness to the twentieth century novelties, the three residences rented by the family (Hôtel du Plessis-Bellière, Paris; Palazzo Núñez-Torlonia, Rome; Château de la Jonchère, Yvelines) and the two properties of Meyer Joseph, as well as Rue de Bassano’s mansion (Paris) or the castles of Champs (Seine-et-Marne), Bergeries (Essonne) and Torre Alfina (Latium) dressed up their nineteenth century spaces with Ancien Régime motifs. Thanks to their historical knowledge and taste, the architects Destailleur, Giuseppe Partini and Eugène Ricard, as well as the landscapers Henri and Achille Duchêne, were able to bend the Middle Age, the Renaissance and the 18th century’s “grammars” to their patrons’ taste and ambitions.
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Mitchell, Randall T. (Randall Thomas). "The use of Selected Vocalises of Marco Bordogni in the Develpment of Musicianship for the Trombonist, a Lecture Recital, together with Three Recitals of Selected works by Eugene Bozza, Jacques Casterede, Pierre Max Dubois, Christian Gouinguene, Axel Jorgensen, Richard Monaco, Lars-Erik Larsson, Erhard Ragwitz, and Others." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330589/.

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This dissertation consists of three solo recitals and one lecture recital. The repertoire of all programs is composed of music written specifically for the trombone plus two transcriptions of works for voice. The purpose of this paper is to investigate the use of selected vocal pedagogical material as a means of developing musicianship for the trombonist. The historical relationship of the voice and the trombone is traced through written documentation and musical composition. Similarities between the development of legato technique for the vocal student and the trombonist are examined. A brief history of the vocalise and its pedagogical function is presented. The development of expressive musical performance for the trombonist is explored through the use of examples from three different vocalises of Marco Bordogni.
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Williams, Nicholas Mark. "A study on performing the Hungarian Rhapsodies in the Liszt tradition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2360.

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Franz Liszt’s Hungarian Rhapsodies (1851, 1853) have long been among the most popular collections of piano music. They have also long garnered a reputation for “superficial brilliance and effect” which seems to have influenced the way that famous pianists play the works in public. But would a performer immersed in the Liszt tradition have approached them differently? This dissertation aims to promote a re-evaluation of the Hungarian Rhapsodies from this perspective: considering Liszt’s own ideas on music and performance, the writings and recordings of his pupils, and Liszt’s book Des Bohémiens et de leur musique en Hongrie (1859).
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Noordhuis-Fairfax, Sarina. "Field | Guide: John Berger and the diagrammatic exploration of place." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154278.

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Positioned between writing and drawing, the diagram is proposed by John Berger as an alternative strategy for articulating encounters with landscape. A diagrammatic approach offers a schematic vocabulary that can compress time and offer a spatial reading of information. Situated within the contemporary field of direct data visualisation, my practice-led research interprets Berger’s ‘Field’ essay as a guide to producing four field | studies within a suburban park in Canberra. My seasonal investigations demonstrate how applying the conventions of the pictorial list, dot-distribution map, routing diagram and colour-wheel reveals subtle ecological and biographical narratives.
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Books on the topic "Eugène Ricard"

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Biser, Eugen. Theologie der Zukunft: Eugen Biser im Gespräch mit Richard Heinzmann. Darmstadt: Wissenschaftliche Buchgesellschaft, 2005.

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Biser, Eugen. Mensch und Spiritualität: Eugen Biser und Richard Heinzmann im Gespräch. Darmstadt: WBG, Wissenschaftliche Buchgesellschaft, 2008.

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Persons, Truman Streckfus. In cold blood: A true account of a multiple murder and its consequences. New York: Modern Library, 1996.

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Sons of the American Revolution. Library. The National Society of the Sons of the American Revolution Library bibliography of the George Washington Collection: Collected and developed by Richard Eugene Willson, librarian general, 1982-1991. Louisville, Ky: The Library, 1991.

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Dick Cole's war: Doolittle raider, hump pilot, air commando. Columbia: University of Missouri Press, 2015.

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Ahmad, Kamyabi Mask, and Barrault Jean Louis, eds. Qu'attendent Eugène Ionesco et Samuel Beckett? et qu'en pensent: Jean Louis Barrault, Jacques Mauclair, Marcel Maréchal, Paul Vernois, Terence Brown, August Grodzicki, Roger Benski, Alvin Epstein, Rosette Lamont, Richard Schechner? (entretiens). Paris: A. Kamyabi Mask, 1991.

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Modernism and the cult of mountains: Music, opera, cinema. Burlington, VT: Ashgate, 2012.

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United States. Congress. Senate. Committee on Agriculture, Nutrition, and Forestry. Nominations of Richard E. Rominger, Eugene Branstool, James R. Lyons, Bob J. Nash, and Wardell C. Townsend, Jr.: Hearing before the Committee on Agriculture, Nutrition, and Forestry, United States Senate, One Hundred Third Congress, first session ... April 28, 1993. Washington: U.S. G.P.O., 1993.

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Greene, Ronnie. Night Fire. New York: HarperCollins, 2008.

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Persons, Truman Streckfus. In Cold Blood: A true account of a multiple murder and its consequences. New York: Vintage Books, 1994.

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Book chapters on the topic "Eugène Ricard"

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Cobden, Richard. "To Eugene Rouher Angers, 22 November 1860." In The Letters of Richard Cobden, Vol. 4: 1860–1865, 122. Oxford University Press, 2015. http://dx.doi.org/10.1093/oseo/instance.00192820.

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Pearson, Roger. "Imagination and Suggestion." In The Beauty of Baudelaire, 307–32. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192843319.003.0015.

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This chapter discusses how Baudelaire uses the terms ‘suggestif’ and ‘suggestion’ in his articles on Richard Wagner and Constantin Guys, and briefly in his obituary article on Eugène Delacroix (1863), to present the creative imagination as having an emancipatory function, actively requiring the participation of the listener or viewer. In Wagner’s case the apparent imprecision of non-verbal music fosters a suggestiveness that Baudelaire sees as inducing a heightened form of perception, a ‘clairvoyance’ akin to the mysterious incontrovertibility of dream. In the case of Guys, Baudelaire attributes the beauty of his sketches to their capacity to stimulate moral conjecture, notably about the ways in which Guys’s subjects (the soldier, the dandy, the courtesan) themselves pursue beauty by conferring knowing pattern on the quotidian contingencies of dress and behaviour. By its suggestiveness art is seen to resist melancholy and to remind us of our ability to find and create alternatives.
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Tamte, Roger R. "Not So Easy After All." In Walter Camp and the Creation of American Football, 82–86. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041617.003.0016.

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A week before an important 1883 Thanksgiving Day game in New York City, Harvard’s faculty athletic committee bans Harvard’s football team from participating, saying football is becoming brutal and dangerous. They are persuaded to withdraw their ban but after the game initiate a conference of colleges seeking to create a multicollege, interinstitutional athletic oversight organization. The conference promulgates resolutions, but most colleges refuse to accept them and the effort is abandoned. Yale’s Professor Eugene Richards writes a scholarly article in Popular Science defending college athletics and student management, and Camp adds his own newspaper letter published in three New York City papers in support of similar views.
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Haacke, Paul. "Transatlantic Topographies." In The Vertical Imagination and the Crisis of Transatlantic Modernism, 47–112. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198851448.003.0002.

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This first chapter explores the geographical and historical sweep of the modernist vertical imagination in both Europe and the Americas. It begins with comparisons between Franz Kafka’s imagined Amerika and Max Weber’s writings on the “spirit of capitalism” after traveling to the United States, as well as W.E.B. Du Bois’ conceptions of racial stratification and uplift after studying in Germany. From here, it considers the rise of American empire and capitalist culture in terms of industrial scale, vertical elevation, and the “technological sublime.” Key examples include Eugene Jolas’ Verticalist movement in relation to James Joyce’s Finnegans Wake; Fritz Lang’s Metropolis in relation to the rise of New York City; major writings by Vicente Huidobro, Jorge Luis Borges, Hart Crane, George Oppen, and Claude McKay; and conceptions of racial stratification, uplift, and solidarity in Richard Wright’s Native Son, Ralph Ellison’s Invisible Man, and Aimé Césaire’s Notebook of a Return to the Native Land.
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Fulda, DanieI. "Menschenfresser im >modemen Epos< Die Krise der Geschichte in der historischen Epik um 1900 (Marie Eugenie delle Grazie, Ricarda Huch, Alfred Döblin)." In Hofmannsthal Jahrbuch zur Europäischen Moderne, 344–87. Rombach Wissenschaft – ein Verlag in der Nomos Verlagsgesellschaft, 1999. http://dx.doi.org/10.5771/9783968217031-344.

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"Gane, Mike 77–80, 84, 98 Le Moyne, Gertrude 119 Gariépy, Renault 59 Lévesque, René 105–6 Garric, Daniel 5, 58, 62 Levin, Charles 2, 66 Gates, Bill 13 Lévi-Strauss, Claude 6, 19, 22–5 de Gaulle, Charles 46, 100 Lewis, Wyndham 55–6 Genosko, Gary 55, 67, 110 Libermann, Ben 84 Gheerbrand, Gilles 62 Lukács, Georg 113–15 Gibson, Steve 11 Lyotard, Jean-François 49–51, 69, 110 Giradin, Jean-Claude 81 Giscard d’Estaing, Valéry 46, 103 Gould, Glenn 10, 17 McLughan, William 53 Grant, George 70 McLuhan, Corinne 9 Grigg, Russell 54 McLuhan, Eric 9 Gritti, Jules 74–5 Mandel, Ernest 111 Grock, Adrian Wettach 36, 50 Marabini, Jean 5, 58–9 Guattari, Félix 7, 17, 48–50, 105, Marchand, Philip 15, 62 110–11 Marcotte, Gilles 58, 119 Mariet, François 61–2 Marx, Karl 24, 69, 111–16 Hall, Stuart 31 Matson, Raymer B. 104 Halley, Peter 3 Mattelart, Armand 45–6 Heath, Stephen 56 Mattelart, Michèle 45 Hjelmslev, Louis 48–50 Metz, Christian 50 Hoggart, Richard 6, 17, 31–4 Michelet, Jules 21 Holland, Eugene 55 Miller, Jonathan 28, 109 Hurtubise, Claude 5 Missika, Jean-Louis 47 Huyssen, Andreas 4, 13 Molinaro, Matie 9 Monnier-Raball, Jacques 72 Iannone, M. 13 Monroe, Marilyn 59 Ionesco, Eugène 30, 57 Morin, Edgar 41–2 Moriwaki, Hiroyuki 10 Jameson, Fredric 65, 112–14 Jarry, Alfred 55 Nadeau, Maurice 18 Namer, Gérard 44 Negri, Antonio 105 Kattan, Naïm 4–5, 18 Nixon, Richard 3 Kellner, Douglas 67, 77, 84–5, 98 de Kerckhove, Derrick 9–10, 14–15, 30–1, 35, 43, 87, 119–21 Ong, Walter J. 56 Klein, Calvin 65 Orlan 11 Knockaert, Yves 58 Kroker, Arthur 2–3, 8–9, 11–12, 22, Paglia, Camille 1 28–9, 64–70, 115 Paik, Nam June 10, 30 Kroker, Marilouise 11 Paré, Jean 5–6, 22, 92, 99–103, 105 Parker, Harley 34, 81, 118 Lacan, Jacques 7, 52–4, 56–7, 63 Pasolini, Pier Paolo 104 Languirand, Jacques 103 Passeron, Jean-Claude 17 Lanoux, Armand 58–9 Paterson, Nancy 10 Lazarsfeld, Paul 50 Pauwels, Louis 120–1." In McLuhan and Baudrillard, 145. Routledge, 2002. http://dx.doi.org/10.4324/9780203005217-15.

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