Relevant bibliographies by topics / Henri Frédéric

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Henri Frédéric'

Author: Grafiati
Published: 11 December 2022
Last updated: 25 January 2023

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Journal articles on the topic "Henri Frédéric"

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Catren, N. R. "At Least a Tree: The Transformative Material Memory of Efraïm Rodriguez." Sculpture Review 66, no. 3 (September 2017): 8–15. http://dx.doi.org/10.1177/074752841706600302.

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Dreams are excursions into the limbo of things, a semi-deliverance from the human prison. —Amiel's Journal: The Journal Intime of Henri-Frédéric Amiel I do not know whether I was then a man dreaming I was a butterfly, or whether I am now a butterfly dreaming I am a man. —Chuang Tzu, Zhuangzi
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Rousseau, George S., and Caroline Warman. "Writing as Pathology, Poison, or Cure Henri-Frédéric Amiel's Journal intime." Studies in Gender and Sexuality 3, no. 3 (July 19, 2002): 229–62. http://dx.doi.org/10.1080/15240650309349198.

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Bascuñán Blaset, Aníbal. "Henri Moissan (Premio Nobel de Química, premiado en diciembre de 1906)." Educación Química 17, no. 4 (August 25, 2018): 494. http://dx.doi.org/10.22201/fq.18708404e.2006.4.66033.

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Ferdinand Frédéric Henri Moissan, es el prototipo del científico multifacético, que es capaz de abordar los problemas más difíciles sin desanimarse. Sus reflexiones ante las dificultades que encuentra ponen en evidencia su capacidad de recurrir a las analogías para abordar los problemas. Evidentemente que se trata de un hombre multifacético en su devenir científico y también en su deambular por la vida. La necesidad de resolver problemas químicos lo lleva a diseñar un nuevo horno eléctrico, que se convierte en el instrumento que le permite obtener elementos más puros y preparar nuevos compuestos, abriendo nuevos campos de la investigación química.
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Fechete, Ioana. "Ferdinand Frédéric Henri Moissan: The first French Nobel Prize winner in chemistry or nec pluribus impar." Comptes Rendus Chimie 19, no. 9 (September 2016): 1027–32. http://dx.doi.org/10.1016/j.crci.2016.06.005.

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Voss, Lex Heerma van. "Introduction." International Review of Social History 46, S9 (December 2001): 1–10. http://dx.doi.org/10.1017/s002085900100030x.

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On 31 December 1870, the Swiss philosopher, Henri-Frédéric Amiel (1821–1881), petitioned the municipal authorities of Geneva on behalf of his neighbours and himself. They lived in a street called the Rue des Belles Filles (“beautiful girls' street”) and wanted to have the name of their street changed because it alluded to prostitutes. This is just one among a multitude of historical facts that have come down to us because humble (or not so humble) suppliants put them on paper in the form of a petition, and the authorities to which these petitions were addressed took care to preserve them. Writing petitions was a common human experience. “Everybody is free to write petitions and have a drink of water”, as a traditional German saying would have it. However, as opposed to drinking water, writing petitions is an act which produces historical sources, many of which have survived. The aim of this volume is to give an overview of their importance as sources for social history.
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Wolf, Markus. "Henri Tréziny: Mégara Hyblaea 7. La ville classique, hellénistique et romaine. Avec la collaboration de Frédéric Mège." Gnomon 92, no. 2 (2020): 155–58. http://dx.doi.org/10.17104/0017-1417-2020-2-155.

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Beaumont, Maurice, Damien Lejeune, Henri Marotte, Alain Harf, and Frédéric Lofaso. "Effects of chest wall counterpressures on lung mechanics under high levels of CPAP in humans." Journal of Applied Physiology 83, no. 2 (August 1, 1997): 591–98. http://dx.doi.org/10.1152/jappl.1997.83.2.591.

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Beaumont, Maurice, Damien Lejeune, Henri Marotte, Alain Harf, and Frédéric Lofaso. Effects of chest wall counterpressures on lung mechanics under high levels of CPAP in humans. J. Appl. Physiol. 83(2): 591–598, 1997.—We assessed the respective effects of thoracic (TCP) and abdominal/lower limb (ACP) counterpressures on end-expiratory volume (EEV) and respiratory muscle activity in humans breathing at 40 cmH2O of continuous positive airway pressure (CPAP). Expiratory activity was evaluated on the basis of the inspiratory drop in gastric pressure (ΔPga) from its maximal end-expiratory level, whereas inspiratory activity was evaluated on the basis of the transdiaphragmatic pressure-time product (PTPdi). CPAP induced hyperventilation (+320%) and only a 28% increase in EEV because of a high level of expiratory activity (ΔPga = 24 ± 5 cmH2O), contrasting with a reduction in PTPdi from 17 ± 2 to 9 ± 7 cmH2O ⋅ s−1 ⋅ cycle−1during 0 and 40 cmH2O of CPAP, respectively. When ACP, TCP, or both were added, hyperventilation decreased and PTPdi increased (19 ± 5, 21 ± 5, and 35 ± 7 cmH2O ⋅ s−1 ⋅ cycle−1, respectively), whereas ΔPga decreased (19 ± 6, 9 ± 4, and 2 ± 2 cmH2O, respectively). We concluded that during high-level CPAP, TCP and ACP limit lung hyperinflation and expiratory muscle activity and restore diaphragmatic activity.
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Wellmann, Janina. "Science and Cinema." Science in Context 24, no. 3 (July 26, 2011): 311–28. http://dx.doi.org/10.1017/s0269889711000135.

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This issue of Science in Context is dedicated to the question of whether there was a “cinematographic turn” in the sciences around the beginning of the twentieth century. In 1895, the Lumière brothers presented their projection apparatus to the Parisian public for the first time. In 1897, the Scottish medical doctor John McIntyre filmed the movement of a frog's leg; in Vienna, in 1898, Ludwig Braun made film recordings of the contractions of a living dog's heart (cf. Cartwright 1992); in 1904, Lucien Bull filmed in slow motion a bullet entering a soap bubble. In 1907 and 1908, respectively, Max Seddig and Victor Henri recorded Brownian motion with the help of a cinematograph (Curtis 2005). In 1909, the Swiss Julius Ries was one of the first to film fertilization and cell division in sea urchins (Ries 1909). In that same year in Paris, Louise Chevroton and Frédéric Vlès used a film camera to observe cell division in the same object (Chevroton and Vlès 1909). As early as 1898, the Parisian surgeon Eugène-Louis Doyen began filming several of his operations, among them the spectacular separation of the Siamese twins Doodica and Radica (Bonah and Laukötter 2009). And in England, the scientist and zoologist Francis Martin Duncan produced an array of popular-scientific films for Charles Urban: “The unseen world: A series of microscopic studies” was presented to the public in the Alhambra Theatre in London for the first time in 1903 (see Gaycken in this issue).
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Gagnon, Christian. "Andreas Latzko, Hommes en guerre, nouvelles traduites de l'allemand par Martina Wachendorff et Henri-Frédéric Blanc, Montréal/Marseille, Comeau & Nadeau/Agone, coll. «Marginales», 1999, 166 p." Bulletin d'histoire politique 9, no. 1 (2000): 238. http://dx.doi.org/10.7202/1060453ar.

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Casanova, Jean-Yves. "Frédéric MISTRAL, Mémoires et récits, édition de Claude MAURON et Henri MOUCADEL/Céline MAGRINI-ROMAGNOLI, Histoire littéraire du Rhône. Le Rhône dans la littérature française et provençale 1800-1970." Revue des langues romanes CXXIV, no. 2 (December 1, 2020): 353–58. http://dx.doi.org/10.4000/rlr.3727.

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Dissertations / Theses on the topic "Henri Frédéric"

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Sauquet, Géraldine. "Le Journal intime d’Henri-Frédéric Amiel : l’écriture de soi à l’épreuve du temps." Thesis, Pau, 2020. http://www.theses.fr/2020PAUU1079.

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Tenir un journal personnel est une pratique d’écriture qui connaît un véritable essor au XIXe siècle, à la faveur de la laïcisation de l’aveu et du culte de l’intime. Le journal intime configure en outre une écriture des jours et une écriture de soi qui reflètent une nouvelle perception du temps et imposent une autre conception de la personne, héritée du siècle des Lumières.C’est précisément ce qu’illustre le journal intime qu’Henri-Frédéric Amiel écrit de 1838 à 1881, année de sa mort. À la croisée de l’histoire des mentalités, d’une histoire individuelle et de l’histoire littéraire des écritures de soi, les 16900 pages qui composent ce journal au long cours forment un « livre de vie » remarquable. Sa lecture révèle l’évolution conjointe de la notion d’identité personnelle et des modalités de déchiffrement de soi qui émergent durant ce siècle.Considéré comme l’archétype du diariste, Amiel procède en effet à une étude de soi inédite par sa constance, son audace, comme par la poétique de l’écriture de l’intime qu’elle inaugure. Introspectif et analytique, son journal reflète également les représentations imaginaires d’une époque, tout comme il témoigne des bouleversements d’un monde déserté par la transcendance, où l’individu affronte seul sa destinée personnelle. De ce fait, la conscience de soi est tourmentée par de nouvelles formes d’anxiété et de culpabilité qui s’expriment dans le retrait et le secret d’une écriture de soi, où l’aveu intime dessine un autoportrait complexe et émouvant à la fois.Le journal intime d’Amiel est ainsi écrit à la croisée d’un romantisme désenchanté, d’un projet de soi hérité des Idéologues, et de mutations historiques qui font advenir une forme d’individualisme libéral, dans un monde désormais anomique. L’expérience d’un désaccord fondamental libère alors une écriture de la marginalité, de la clandestinité et de la contestation, mais elle favorise également un processus d’analyse de soi inédit, interroge ce qui fonde l’identité personnelle, tente de cerner les contours d’un moi toujours plus fuyant au fil des jours et des fragments d’écriture journaliers.Resté secret du vivant de son auteur, le journal d’Amiel ne fut intégralement édité qu’en 1994 ; sa publication enrichit la réflexion conduite sur l’écriture de l’intime, sur sa destination et sa réception, mais aussi sur la littérarité d’un genre qui fut longtemps questionnée, et que le XIXe siècle éclaire à un moment déterminant de son histoire
Keeping a diary is a writing form which is booming all along the XIXth century, where the secularisation of avowal and the cult of the inner self influence the expression of subjectivity. Nevertheless, the diary shapes the story of the days and self-telling that convey a new perception of time and another idea of Man, inherited from the age of Enlightment.That’s exactly what Xthe diary Henri-Frederic Amiel writes in Switzerland, from 1838 to 1881, year of his death. At the junction of the history of mentalities, personal story and the literary history of writing about oneself, the 16900 pages which make up this long-distance diary compose an outstanding « livre de vie ». Its reading reveals the combined evolution of the notion of identity and the different approaches of self-discovering which have arisen all along that century.Considered as the epitome of diarists, Amiel carries out a self-study which is unprecedented for its steady audacity as well as for the poetic writing of his personal impressions it displays. Inward-looking and analytical, this imposant diary stands for the imaginary visualisations of that time as well as it is an evidence of the fast-changing disruptions of a world abandoned by transcendence, and where the persons become the only masters of their destiny. Self-conscience generates new forms of guilt and anxiety, and their confession makes up a complex and moving self-portrait.Spurred on by a desillusioned romanticism, by a thirst of self-knowledge aligned with the Ideologists project, but also by the undergoing changes that create a kind of individualism in a world that henceforth has become anomic, the diary from Amiel is derived from a basic disagreement which sets free an unconventional, secret and challenging form of writing, but which also allows him to be sincere and dedicated to the self-awareness. If the time-related progress of a writing, whose heuristic purpose scatters mixed pieces of an ego getting more and more elusive, unwinds the spindle of a unique life and a fascinating story, it grabs attention by its large-scale project.Garded secret during the author’s lifetime, Amiel’s diary was only published in its entirety in 1994 ; its publication enhances the reflexion carried out on the writing of the intimate area, on its destination and reception, but also on the problematic literariness of a genre tackled at a decisive period of its history
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Jagot, Hélène. "La peinture néo-grecque (1847-1874) : réflexions sur la constitution d’une catégorie stylistique." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100017/document.

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Au Salon de 1847, Théophile Gautier s’enthousiasme pour l’œuvre d’un tout jeune artiste, Jeunes Grecs faisant battre des coqs par Jean-Léon Gérôme, élève de Delaroche et Gleyre. Scène de genre « à l’antique », l’œuvre se distingue par son charme, sa grâce et sa fraîcheur, loin de la peinture froide et compassée des suiveurs de la tradition davidienne. L’œuvre est aussi le point de départ de la notoriété publique d’un petit groupe de peintres appelés « néo-grecs » – Jean-Louis Hamon, Henri-Pierre Picou, Gustave-Rodolphe Boulanger, Félix Jobbé-Duval, Auguste Toulmouche, Alphonse Isambert et Louis-Frédéric Schützenberger – tous nés autour de 1825, élèves de Paul Delaroche et Charles Gleyre et installés en phalanstère d’artistes de 1846 à 1863, au Chalet, puis à la Boîte à Thé. Dès 1848 et jusqu’aux années 1860, les critiques rendent compte au fil des Salons des évolutions artistiques de ces artistes. La réception critique importance de ces artistes regroupés au sein d’une « école néo-grecque » est symptomatique de l’influence grandissante de la critique sur la constitution des écoles artistiques et sur l’évolution de la carrière des artistes. Leur esthétique va susciter des débats sur le renouvellement de la peinture à l’antique, par l’introduction des notions de pittoresque et de couleur locale, héritées du romantisme, qui vont devenir les caractéristiques du genre historique comme déclinaison légère et sensible de l’ancienne peinture d’histoire. Les premières œuvres néo-grecques vont emporter l’adhésion des critiques inquiets des derniers développements de l’école française, qui voient dans cette nouvelle peinture matière à contrecarrer le réalisme, en apportant au public un art facile d’accès, moralisant les codes de la scène de genre par le recours à l’Antique et à un classicisme formel gracieux. Pourtant, sous une facture classicisante, leur peinture, délibérément antiacadémique, déstabilise rapidement les critiques qui s’interrogent sur les buts artistiques de ces artistes. A ce groupe originel, les critiques associent rapidement d’autres artistes, issus d’horizons très variés, qui adoptent momentanément les codes de l’esthétique néo-grecque, brouillant encore davantage les différences entre peinture d’histoire et genre historique, et entérinant le changement de conception idéologique du modèle antique dans la peinture, qui sera revendiqué par la génération d’artistes des années 1870-1890
At the Salon of 1847, Théophile Gautier is enthusiast about the work of art of a young artist, The Cock Fight by Jean-Léon Gérôme, a pupil of Delaroche and Gleyre. This piece of art, an "Antique" genre scene, is a work of elegance, grace and freshness, very different from the cold and formal painting of the Davidian tradition's followers. This artwork is also the starting point of the on coming fame of a small group of painters called "The neo-Greeks" - Jean-Louis Hamon, Henri-Pierre Picou, Gustave-Rodolphe Boulanger, Felix Jobbé-Duval, Auguste Toulmouche, Isambert and Alphonse Louis-Frédéric Schützenberger - all born around 1825. From 1846 to 1863, as students of Paul Delaroche and Charles Gleyre, they all set themselves in a community of artists at the Chalet and the Boite à Thé which one calls a “phalanstère ».From 1848 until the 1860s, all along the Salons, most critics write about the artistic evolutions of these people. The many articles written about the neo-Greeks’works at that time reveales the growing influence of art-critics in the making of artistic schools and the evolution of artists's careers. Their aesthetic will provoke an argument about the renewal of antique theme painting as they introduce the concepts of local color and picturesque, coming from Romanticism, which will become the characteristics of the historical genre as a slight and sensitive declination of the ancient painting of history. The first neo-Greek paintings will gain the support of critics, eager about the latest developments of the French scene. They see in this new stream a way to counteract Realism by giving the public an easy access to art and moralizing the codes of the genre scene by using a formal and graceful classicism with Antique themes. However, though a classical form, their deliberately anti-academic painting soon make the critics wonder about the artistic goals of these artists.In addition to the original group, the critics will soon associate other artists, from very different backgrounds who temporarily adopt the Neo Greek aesthetics's codes, blurring even more the differences between the painting of history and the historical genre. This will also confirm the new ideological conception of Antique model in art, that the painters from the following generation of the 1870’s will claim themselves
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Bonnot, Marie. "Le récit de rêve des surréalistes à nos jours." Thesis, Paris 3, 2020. http://www.theses.fr/2020PA030006.

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Le XXe siècle constitue un tournant épistémologique majeur dans l’histoire de la pensée du rêve. De la Traumdeutung de Freud, qui ouvre le siècle, à la remise en cause des théories psychanalytiques, notamment par les neurosciences, nombreux sont les discours qui se développent sur cet objet énigmatique. Héritier d’une tradition savante et dialoguant volontiers avec les autres disciplines, le récit de rêve littéraire observe, au tout début du XXe siècle, une mutation profonde qui lui permet de s’affranchir d’un cadre fictionnel plus large et de gagner son autonomie. Pendant nocturne du journal intime ou miscellanées de textes d’une « inquiétante étrangeté », ces écrits, explicitement présentés comme issus de rêves authentiques, se distinguent par leur position volontairement ambiguë, à la frontière de catégories formelles poreuses, entre pure fiction et témoignage d’expérience, écriture intime et fantaisie débridée. De Paulhan et des surréalistes (Breton, Desnos, Leiris) à des auteurs contemporains (Marcel Béalu, Frédérick Tristan) en passant par Yourcenar, Michaux ou encore Queneau et Perec, se dessine ainsi l’histoire d’un genre, celui du récit de rêve. Pour examiner les conditions qui permettent l’élaboration de ces productions oniriques et en assurent la littérarité, l’étude de cette écriture du rêve adopte une double perspective. D’une part, elle envisage le rapport de la littérature avec les discours de savoir. Elle examine ainsi la difficile conciliation entre expérience du rêve, théorie du rêve et narration du rêve et cherche à comprendre quelles réponses la littérature a pu opposer ou proposer aux divers discours portés sur ce sujet. D’autre part, elle interroge le statut littéraire de ces textes et propose une analyse esthétique plurielle de ces écrits à la marge de l’élaboration consciente et à la rencontre des formes et des genres
This dissertation aims to present a history of the literary genre of the dream narrative, as it unfolded within French writing throughout the 20th century.The first part of the dissertation is dedicated to epistemology. It shows that in France theories of dreaming influenced literary theory, and vice versa, from the 1920s onwards. We first shed light on that dialectics by analysing the attitude of writers as self-proclaimed dream specialists, as compared with scientists. In doing so, we show the epistemic limitations of these accounts of dreams, as they struggle to qualify as scientific documents. We also delineate the ways in which writers try to assert their legitimacy in the face of scientific and psychoanalytic discourses. Finally, we suggest that literature does contribute to our understanding of dreams by proposing its own singular, specific approach to them. And in return, we show how writers focusing on dreams are led to conceive of their own art in a new way.The second part of the dissertation tackles the aesthetics of dream narratives. It highlights the wide variety of these texts, from surrealistic recollections of dreams by André Breton, Paul Eluard or Robert Desnos, to contemporary fictional short stories by Marcel Béalu or Frédérick Tristan. Conflicted definitions of dream narratives emphasise the non literariness of the genre while others point to its poetic and literary quality. It then focuses on Michel Leiris’s work and the formalistic approach developed by Georges Perec and Raymond Queneau in the 1960s ans 1970s, and eventually identifies Jean Paulhan’s new manner of narrating dreams, which inspired Henri Michaux, Marcel Béalu and Frédérick Tristan. These later texts are not only inspired by true dreams but let us read as if they were.Overall, the thesis emphasises the social and artistic function of the dream, which we apprehend as a means of understanding the enigmatic state of consciousness that is sleep
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Alblas, Anton. "La pratique journalière : Gide et Amiel: essai sur la pratique gidienne du journal vue par rapport au Journal intime d'Henri-Frédéric Amiel." Master's thesis, 1994. http://hdl.handle.net/1885/139450.

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Books on the topic "Henri Frédéric"

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Mertens-Thurner, Petra. Jean-Frédéric Oberlin et Jean Henri Jung dit Stilling: Les "Scènes de l'empire des esprits". Siegen: Jung-Stilling-Gesellschaft, 2004.

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Nos voies d'espérance: Entretiens avec dix grands témoins pour retrouver confiance : Cynthia Fleury, Pierre-Henri Gouyon, Françoise Héritier, Nicolas Hulot, Frédéric Lenoir, Abd al Malik, Dominique Méda, Anne-Sophie Novel, Erik Orsenna, Pierre Rabhi. [Paris]: Actes sud, 2014.

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Amiel, Henri Frédéric. Amiel's Journal: The Journal Intime of Henri-Frédéric Amiel. BiblioBazaar, 2006.

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Amiel, Henri édéric, Miller Henry, and Humphry Ward. Amiel's Journal; the Journal Intime of Henri-Frédéric Amiel. Creative Media Partners, LLC, 2018.

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Amiel, Henri édéric, and Humphry Ward. Amiel's Journal: The Journal Intime of Henri-Frédéric Amiel. Creative Media Partners, LLC, 2018.

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Henry, Miller, Humphry Ward, and Henri Frederic Amiel. Amiel's Journal; The Journal Intime of Henri-Frédéric Amiel. Franklin Classics Trade Press, 2018.

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Amiel, Henri édéric, and Humphry Ward. Amiel's Journal: The Journal Intime of Henri-Frédéric Amiel. Creative Media Partners, LLC, 2018.

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Ward, Humphry, and Henri Frederic Amiel. Amiel's Journal: The Journal Intime of Henri-Frédéric Amiel. Franklin Classics Trade Press, 2018.

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Amiel, Henri édéric, and Humphry Ward. Amiel's Journal: The Journal Intime of Henri-Frédéric Amiel. Creative Media Partners, LLC, 2018.

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Amiel, Henri Frédéric. Amiel\'s Journal (Large Print Edition): The Journal Intime of Henri-Frédéric Amiel. BiblioBazaar, 2006.

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Book chapters on the topic "Henri Frédéric"

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Wild, Gerhard. "Amiel, Henri Frédéric." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2355-1.

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Barth, Christian. "Henri Frédéric Amiel." In Kindler Kompakt Französische Literatur 19. Jahrhundert, 185–87. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05516-3_26.

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Barth, Christian. "Henri Frédéric Amiel." In Kindler Kompakt Schweizer Literatur, 79–81. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05517-0_16.

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Barth, Christian. "Amiel, Henri Frédéric: Fragments d'un journal intime." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2356-1.

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"Alfred Henri Frédéric Kastler." In Sous la lumière, les hommes, 163–66. EDP Sciences, 2020. http://dx.doi.org/10.1051/978-2-7598-1205-9.c029.

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Ganeri, Jonardon. "The Enigma of Heteronymy." In Virtual Subjects, Fugitive Selves, 17–22. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864684.003.0003.

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The two poles around which Pessoa’s entire philosophy of self revolves are commitments to two extremely enigmatic propositions: [simulation] I am a subject other than the subject I am; and [depersonalization] I am merely a forum for the subject I am. What I am calling the ‘enigma of heteronymy’ is the challenge to provide an analysis of the functions of the first person, that is to say, the use or uses of the pronoun ‘I’ and so of the phenomenology of self-consciousness, according to which this pair of propositions is not trivially false but, on the contrary, interestingly and importantly true. I set aside a solution to the enigma which some interpreters of Pessoa have found tempting. The enticing solution is to deny that Pessoa is rational. To put it another way: has Pessoa made a fundamental discovery about the nature of subjectivity, or is he in the grip of a psychosis? It is clear though, first of all, that the depersonalization Pessoa is talking about does not satisfy the diagnostic criteria of the eponymous mental disorder. Contemporary philosophers of psychiatry agree that a characteristic of a genuine mental disorder is that it is something over which the sufferer has little or no control. Pessoa refers to Henri-Frédéric Amiel several times, and his experiences too are ‘philosophical experiences’, under the direction of his guided imagination.
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