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Dyuka, A. "LEGAL REGULATIONS OF ART IN FRENCH LEGISLATION". Reproductive Medicine, n.º 2(43) (20 de junho de 2020): 17–21. http://dx.doi.org/10.37800/rm2020-1-11.
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France is one of the rare countries which implements the fundamental mechanism for improving legislation on Bioethics. Since 1994, every five years bioethics laws are revised in order to follow medical advances (medicine), authorize new practices and impose restrictions, expressly in order to guarantee the fundamental principles laid down by the Law N94-653 of 29 July 1994 (dignity, primacy of the human person, inviolability, integrity and non-ownership of the human body and its elements). Medically assisted procreation (ART) is one of the fields under regular review. This article outlines the French law on ART and surrogacy. In spite of the fact that surrogacy is prohibited in France, the infertile couples seek surrogacy outside of the country. Over the last few years, under pressure from the ECHR and expressly to protect child interests, the French relaxed their position in order to recognize the affiliation of children born from surrogacy. The current revision of bioethical laws aims, among other things, to open up access to ART for all women (including single women and lesbian couples) and to simplify the recognition in France of the affiliation of children born by surrogacy abroad.
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Chickering, Howell. "'Strong of Body, Brave and Noble': Chivalry and Society in Medieval France by Constance Brittain Bouchard". Arthuriana 9, n.º 1 (1999): 146–48. http://dx.doi.org/10.1353/art.1999.0035.
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Leverette, Tru, e Barbara Mennel. "Reviews". Screen Bodies 5, n.º 2 (1 de dezembro de 2020): 123–30. http://dx.doi.org/10.3167/screen.2020.050211.
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Zélie Asava. Mixed Race Cinemas: Multiracial Dynamics in America and France (New York Bloomsbury, 2017). 216 pp., ISBN: 1501312456 (paperback: $35.96)Elizabeth Otto and Patrick Rössler, eds. Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism’s Legendary Art School (New York: Bloomsbury Visual Arts, 2019). xl + 345 pp., ISBN: 9781501344787 (hardback, $110), (paperback, $29.95)
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Kselman, Thomas. "Funeral Conflicts in Nineteenth-Century France". Comparative Studies in Society and History 30, n.º 2 (abril de 1988): 312–32. http://dx.doi.org/10.1017/s0010417500015218.
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The French celebration of the centenary of Victor Hugo's death in 1985 included new editions of his works, biographies, an exhibit at the Grand Palais in Paris, all that you would expect in honor of his life and art. But Hugo's death and funeral also drew the attention of some scholars, and forgood reason. Beginning on 18 May 1885, when what proved to be his final illness was announced, the newspapers were filled with reports and rumors about Hugo's condition. Following his death on 22 May journalists concentrated on what has been called the funeral of the century. Two million peoplecame to see Hugo's body lying in state at the Arc de Triomphe, and anenormous crowd viewed the procession to the Panthe on where he was buried.
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Donnellan, Alice. "“My Body Knows Unheard of Songs”". Columbia Journal of Literary Criticism 18, n.º 1 (7 de outubro de 2021): 10–16. http://dx.doi.org/10.52214/cjlc.v18i1.8766.
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In 1908, shortly after giving birth to her first son, Cécile Sauvage, a young poet from rural south-eastern France, grieves the alteration of physical, emotional, and spiritual intimacy with her newborn son. Sauvage engenders her coming of age as a mother in twenty poems, which together comprise L’Âme en bourgeon (“The Soul in Bud”) forming the latter part of her first 1910 collection Tandis que la terre tourne (“As the Earth Spins”).Through the poetic figuration of her conflicting joys and melancholies with maternal status, Sauvage’s works reflect an oscillation between her embodiment of and detachment from the natural environment. While pregnancy manifests the closest and most fulfilling relationship possible for Sauvage, childbirth signifies a distancing of the relationship with her son, herself, and the natural world. She shifts between embracing and subverting the romanticization of motherhood through natural imagery to de-romanticize the reckoning bound up with the decentering of self intrinsic to motherhood. Her poems serve not only to foreground the subjects of pregnancy, childbirth, and motherhood in an art form that about these experiences, but functions, moreover, to complicate facile notions of maternal agency, eroticism, and death.
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Trunel, Lucile. "A snapshot of some current digitisation projects in French art libraries". Art Libraries Journal 34, n.º 1 (2009): 17–21. http://dx.doi.org/10.1017/s0307472200015716.
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The Gallica programme of the Bibliothèque nationale de France, and the Digital Library of the Institut national d’histoire de l’art (INHA), are two major French initiatives in the digitisation of art history information. Gallica was launched in 1995 and by the end of 2007 incorporated some 80,000 images and 90,000 texts. Essentially encyclopaedic in content, it nevertheless contains much material relevant to art, including iconographic documents from the library’s specialist departments. Mass digitisation of some 100,000 works per annum from 2007 onwards will add a substantial body of texts and periodicals in this subject. INHA’s digitisation programme for its Digital Library began in 2002: the two main areas it is currently concentrating on are a corpus of ‘classics of art history’, and the digitisation of specialised and rare documents such as the pre-1920 catalogues of the Louvre. 200,000 images are already available on line.
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Chen, Liwen. "Body, Shadow and Death: Redefinition of the Origin of Painting with Tracing the Shadow". Journal of Education, Humanities and Social Sciences 1 (6 de julho de 2022): 326–31. http://dx.doi.org/10.54097/ehss.v1i.679.
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The origin of things has always captivated people; for painting, there are several myths to illustrate it. In western, Pliny the Elder contributed one of the most antiquity stories in his Natural History; from 1770 to 1820, particularly in Britain and France, there are an increasing number of works based on this story, the majority of which are composed of the same elements: classical environment, two lovers, as well as shadow. Considering Joseph Benoit Suvée's the Invention of the Art of Painting in 1791 as a starting place, this paper intends to challenge Plato's reasonable rejection of shadows while, in the process, analyzing Hans Belting's theory of image anthropology, the present essay focuses on two key concepts of the shadow with the truth. Thus, Pliny argued that shadows may be genuine, whereas Plato held that they could be dangerously deceptive.
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Kacki, Sacha, Erik Trinkaus, Eline M. J. Schotsmans, Patrice Courtaud, Irene Dori, Bruno Dutailly, Pierre Guyomarc’h, Pascal Mora, Vitale S. Sparacello e Sébastien Villotte. "Complex mortuary dynamics in the Upper Paleolithic of the decorated Grotte de Cussac, France". Proceedings of the National Academy of Sciences 117, n.º 26 (15 de junho de 2020): 14851–56. http://dx.doi.org/10.1073/pnas.2005242117.
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The Mid-Upper Paleolithic (Gravettian) karstic Grotte de Cussac (France) contains two areas of human remains in the context of abundant (and spectacular) parietal engravings. The first area (loci 1 and 2) includes the skeleton of a young adult male in a bear nest, rearranged by postdecomposition inundation, and the variably fragmentary remains of at least two individuals distributed across two bear nests, sorted anatomically and with most of the elements constrained to one side of one nest. The second area (locus 3) retains remains of two adults and an adolescent, in upper hollows and variably distributed down the slope, largely segregated into upper versus lower body groups. The only decoration associated with the human remains is red pigment on some of the bones or underlying sediment. The human remains indicate variable nonnatural deposition and manipulation of human bodies, body portions, and skeletal elements of at least six individuals. Moreover, Cussac is unusual in the association of these remains with exceptional parietal art. The complex Cussac mortuary pattern joins growing evidence from other Gravettian sites of variable treatment of individuals after death, within and across sites, in terms of formal deposition of the body versus postmortem manipulation versus surface abandonment. It provides a window onto the social diversity and the complex interactions of the living and the dead among these successful Late Pleistocene foragers.
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Handyside, Fiona. "The Politics of Hair: Girls, Secularism and (Not) the Veil in Mustang and Other Recent French Films". Paragraph 42, n.º 3 (novembro de 2019): 351–69. http://dx.doi.org/10.3366/para.2019.0311.
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This article explores art cinema's association of long, straight, shimmering hair with an idealized white, secular, agentic version of girlhood in Deniz Ergüven's Mustang (2015). With reference to girlhood studies and current debates in France about the politics of hair concealment and display, the essay argues for the central role played by the ‘politics of hair’ in thinking through the complex role of women and girls in a postsecular world. The girl's material body, and especially her hair, is made to support a binary approach toward questions of religion and modernity, rendering her the prime figure through which the relation between Islam and the West, tradition and modernity, patriarchy and feminism is articulated.
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Brown, Jerry B., e Julie M. Brown. "Entheogens in Christian art: Wasson, Allegro, and the Psychedelic Gospels". Journal of Psychedelic Studies 3, n.º 2 (junho de 2019): 142–63. http://dx.doi.org/10.1556/2054.2019.019.
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In light of new historical evidence regarding ethnomycologist R. Gordon Wasson’s correspondence with art historian Erwin Panofsky, this article provides an in-depth analysis of the presence of entheogenic mushroom images in Christian art within the context of the controversy between Wasson and philologist John Marco Allegro over the identification of a Garden of Eden fresco in the 12th century Chapel of Plaincourault in France. It reveals a compelling financial motive for Wasson’s refusal to acknowledge that this fresco represents Amanita muscaria, as well as for Wasson’s reluctance to pursue his hypothesis regarding the entheogenic origins of religion into Christian art and artifacts. While Wasson’s view – that the presence of psychoactive mushrooms in the Near and Middle East ended around 1000 BCE – prevailed and stymied research on entheogens in Christianity for decades, a new generation of 21st century researchers has documented growing evidence of A. muscaria and psilocybin-containing mushrooms in Christian art, consistent with ethnobotanist Giorgio Samorini’s typology of mushroom trees. This article presents original photographs, taken during fieldwork at churches and cathedrals throughout Europe and the Middle East, that confirm the presence of entheogenic mushrooms in Christian art: in frescoes, illuminated manuscripts, mosaics, sculptures, and stained glass windows. Based on this iconic evidence, the article proposes a psychedelic gospels theory and addresses critiques of this theory by art historians, ardent advocates, medieval historians, and conservative Catholics. It calls for the establishment of an Interdisciplinary Committee on the Psychedelic Gospels to independently evaluate the growing body of evidence of entheogenic mushrooms in Christian art in order to resolve a controversial question regarding the possible role of entheogens in the history and origins of Christianity.
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Ubigli, Mario, e Maria Carla Cravero. "From the “Òstrakon” to the Art of Wine Tasting and the Measurement of Consumer Emotions". Gastronomy 2, n.º 3 (17 de julho de 2024): 102–15. http://dx.doi.org/10.3390/gastronomy2030008.
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The language of wine is richer and more complex if compared to that of other alcoholic beverages, including the tasting, production, history, and culture associated with it. The evolution of the language employed to define the quality and the characteristics of wine from the “òstrakon” of the Ancient Egyptians to the present is shown in the article. The symbolic aspects of wine, the communication of emotions, the wine sensory analysis, and the wine tasting are discussed. The glossaries which appeared in France, at the turn of the 18th and 19th centuries, are mentioned: they attest both the beginning of tasting, and the official recognition of the sensory evolution of wine. Moreover, some considerations are reported on some particular words employed to describe wines: vinous, aftertaste, and body. The language employed to evaluate wine is still evolving. It expresses the need and the desire to communicate and define the perceptions and the emotions derived by drinking wine. Finally, the pleasure of wine is not only a physical pleasure, but above all it is a pleasure of the brain, as well as, naturally, of the word.
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Brown, Peter Scott. "The Miracle of the Bloody Foreskin at the Council of Charroux in 1082: Legatine Authority, Religious Spectacle, and Charismatic Strategies of Canonical Reform in the Era of Gregory VII". Religions 14, n.º 3 (1 de março de 2023): 330. http://dx.doi.org/10.3390/rel14030330.
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In 1082, at the council of Charroux convened by the papal legate Amatus of Oloron, astonished witnesses observed the Holy Prepuce, a rare body relic of Christ himself, to be miraculously spotted with fresh blood. This spectacular miracle holds implications for our understanding of charismatic strategies of religious reform in France in the era of Pope Gregory VII. Gregory’s use of standing legates with regional mandates, such as Amatus, was a novelty in papal administration, but the legates, though empowered as proxies of the pope, were often weak lieutenants. When they could not induce or coerce cooperation, they frequently confronted the impotence of their legal–canonical mandates. The miracle at Charroux, I will show, exemplifies an alternative charismatic strategy, harnessing liturgical art and spectacle to magnify the legate’s stature as an authority in the context of the Eucharistic controversy and religious reform.
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Delaunay, Catarina. "Dilemmatic tensions around parenthood: the ambiguous third-party role in Assisted Reproductive Technologies and Surrogacy in France and Portugal". Política y Sociedad 56, n.º 2 (22 de outubro de 2019): 381–404. http://dx.doi.org/10.5209/poso.60633.
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This article analyzes couples’ attitudes towards the third-party role in Assisted Reproductive Technologies with gamete donation, and problematizes parenthood and kinship. I base my analysis on 66 in-depth interviews with different ART actors (from beneficiaries to professionals) in France and Portugal, conducted as part of a research project already completed. Special focus is given to 19 interviews with heterosexual and homosexual couples who used third-party reproduction in Europe and the United States. I found a physical and moral detachment operation among heterosexual and lesbian couples vis-a-vis the donor of reproductive potential, who is depersonalized and reduced to a functionality. The objective is to preserve the intimacy of the couple and the autonomy of the parental project. This contrasts with innovative and enlarged family dynamics developed by gay couples, who integrate both female figures (surrogate and oocyte donor) in their children’s family history, through bonding efforts in a logic of reciprocity (gift and counter-gift). The purpose is to reject the negative image of a woman’s body being commodified while preserving the natural appearance of procreation. I conclude that a naturalist conception of kinship persists —one based on shared biogenetic substances that bind together one parent and the donor-conceived child— along with the centrality of biological processes such as pregnancy and childbirth. There are different ways of easing tensions inherent to the contractual intervention of third parties in the reproductive process. ART re-elaborates the line of demarcation between commodities and gifts and between living things and human beings, while reconfiguring family concepts.
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Ambrose, Kirk. "A Visual Pun at Vézelay: Gesture and Meaning on a Capital Representing the Fall of Man". Traditio 55 (2000): 105–23. http://dx.doi.org/10.1017/s0362152900000040.
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In a description of a trip through the Midi of France in 1835, Prosper Merimée devotes a lengthy paragraph to the analysis of the Christ in Vézelay's Pentecost tympanum (fig. 1). He marvels at the carving of the figure's feet and “blessing” hands, as well as the placement of the thighs in relation to the torso. Later in his treatment of the abbey church and its sculpture, the author notes that figures on the nave capitals convey a “savage zeal” (zèle farouche) by means of posture and facial expressions. Gestures, in the widely construed, medieval sense of the word, clearly struck the celebrated French author as a salient feature of Vézelay's sculpture. Merimée sympathized with Romantic visions of the Middle Ages as a period less tainted by the stifling effects of civilization, and perhaps his fascination with the dramatic body movement carved throughout the abbey church reflects the belief that these were unfettered by the artistic or social constraints of the early nineteenth century. Yet throughout his description of Vézelay's sculpture, he never attempts to explore the meanings that the carved body might have held for a medieval audience; their meaning is not considered to be historical, but rather to be self-evident. The operative assumption that gestures in medieval art are transparent in meaning anticipates much subsequent scholarship.
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Melnichuk, Anastasia. "From the classical ideal to the neoclassical aesthetics of the body in the art of post-revolutionary France. A new era of plastic anatomy at the Academy and the School of Fine Arts". Bulletin of Lviv National Academy of Arts, n.º 46 (18 de outubro de 2021): 46–53. http://dx.doi.org/10.37131/2524-0943-2021-46-4.
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Background. The article considers the stages of formation of anatomical science in two major art institutions of France in the XIX century, the Academy of Painting and Sculpture and the School of Fine Arts. Developments of theoretical works and bases of formation and development of plastic anatomy by known anatomists, anthropologists and artists-scientists of the XIX century are considered. Particular attention was paid to leading scientific and theoretical manuals on plastic anatomy. Excerpts from the works of the leaders of this discipline or researchers of their heritage have been translated from the original language. The methodical principles of teaching plastic anatomy are substantiated and the names of personalities who influenced the formation of plastic anatomy in the Academy and the School of Fine Arts are given. Their scientific work was of great importance for the development of anatomical science at the Academy and the School of Fine Arts. Thanks to them, not only the teaching process but also its spatial and architectural environment becomes important. The genesis of the term "plastic anatomy" is considered. Particular attention is paid to the transition from the term "anatomy" to the artistic term "plastic anatomy", which, in fact, is becoming typical of higher art education. Objectives. The purpose of the study is to highlight the methods of teaching plastic anatomy at the Academy and the School of Fine Arts during the XIX century. Methods. With the help of theoretical, informational methods and generalization method, the obtained research data were systematized and streamlined, the possibility of finding a solution to the problem was revealed and the practicality of the obtained results was evaluated. Results. For the first time in Ukrainian art history, material on the methods of teaching plastic anatomy was collected at the Academy and the School of Fine Arts of the XIX century. Conclusions. Prospects for further research require clarification of the relationship between anatomical practice and the philosophy of pragmatism, as well as a closer examination of some famous personalities (artists and anatomists-scientists) given in the article, who made a great contribution to the development of plastic anatomy.
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Fernie, Eric. "Three Romanesque Great Churches in Germany, France and England, and the Discipline of Architectural History". Architectural History 54 (2011): 1–22. http://dx.doi.org/10.1017/s0066622x00003981.
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(This is the text of the SAFIGB Annual Lecture, delivered at the Courtauld Institute of Art, London, on 29 November 2010)This is a lecture about architecture and politics in the eleventh century. First, however, I would like to say a few words about another aspect of architectural history, namely style, because it does not feature in the body of the lecture and because of the criticism it currently faces and has faced for some time. I shall append my comments to two recollections. The first of these relates to a presentation in the 1990s at which the speaker identified the different kinds of expertise needed to understand a building, including that of the palaeographer for the documentary history, of the petrologist if it was a masonry structure, and so on to the architectural historian, who was given the task of dealing with style. The second recollection concerns a conference a few years later at which one of the participants said they wished that discussion of style could be banned. The two remarks taken together lead to an amusing conclusion, but they were separate utterances and so should be considered separately. As to the first, there are of course many other contributions that the architectural historian can make, not least in terms of social history, but I am pleased to see the task of assessing the relevance of style assigned to them because, if they do not undertake it, it is unlikely that anyone else will. On the second, I have some sympathy with the speaker, because style can be such a slippery concept that at times one might think it better to do without it. But, however justified such criticism, the varying stylistic characteristics found in objects carry so much information about the choices made by innumerable individuals in the course of human history that it would be counterproductive to abandon them, regardless of the difficulties.
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Cărăbaş, Irina. "Representing Bodies. Victor Brauner’s Hybrids, Fragments and Mechanisms". Nordlit 11, n.º 1 (1 de maio de 2007): 229. http://dx.doi.org/10.7557/13.1762.
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The Romanian avant-garde looked for inspiration in two principal places where artists from all-over Europe gathered, confronted and discussed their ideas of a new art. While Berlin nourished the constructivist orientation of the Romanian avantgarde, Paris stimulated its interest in surrealism. Although Berlin was by far more significant as a stimulus for the synthesis of all arts and all modern movements toward which the Romanian avant-garde strove, Paris had the advantage of anemotional attachment. The French culture had been set long ago as a model for the entire Romanian modern culture and institutions. Consequently it is not surprising that poets and artists, including Victor Brauner, chosed to live and work in Paris in order to feel closer to what was considered to be the origin.Victor Brauner is discussed both in the context of the Romanian avant-garde and in the history of the French surrealism, but one cannot detect any tension between center and periphery. One motivation can be found in the myth he creates for himself. Meanwhile it is obvious that he wanted to identify himself with the French surrealism. Once settled in France he paid great attention to the theories and to the artists André Breton promoted.I will discuss the myth of the artist as well as the threads which connect Brauner to other artistic strategies bringing forth the body problem. Almost always his paintings and drawings display the ineluctable presence of a metamorphic body within no narrative construction. This preoccupation informed every stage of his career as he dedicated it the greatest energies of his artistic inventiveness. Before going into the subject, one needs to frame Brauner in a larger picture.
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Nye, Edward. "The Eighteenth-Century Ballet-Pantomime and Modern Mime". New Theatre Quarterly 25, n.º 1 (fevereiro de 2009): 22–43. http://dx.doi.org/10.1017/s0266464x09000037.
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Histories of mime largely overlook one of the most remarkable theatrical phenomena of the eighteenth and early nineteenth century: the ballet-pantomime. In contrast, it is widely discussed in dance history circles, as if there were a tacit understanding that only one half of this hyphenated art mattered: the ballet rather than the pantomime. This article explores the mime component of the ballet-pantomime in order to compare and contrast it with modern mime, especially Etienne Decroux's principles and practices. Through the works of Noverre particularly (since Decroux declares himself an admirer), but with reference also to other famous and less famous eighteenth-century choreographers and dancers, Edward Nye discusses five aspects of mime: use of the body, mime and dance, mime and language, objective and subjective mime, and pedagogy. He finds differences as well as similarities between modern and eighteenth-century mime, but overall argues that there is no reason to exclude the ballet-pantomime from histories of mime. Edward Nye is Fellow of Lincoln College, Oxford, and University Lecturer in French. He has published on seventeenth- and eighteenth-century subjects in French literature and the arts, notably Literary and Linguistic Theories in Eighteenth-Century France (OUP, 2000), and on the literary aesthetics of sports writing, in A Bicyclette (Les Belles Lettres, 2000), and of dance, in Danse et littérature; sur quel pied danser? (ed., Rodopi, 2003).
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Cripps, Jody, Ely Lyonblum e Anita Small. "Signed Music in the Deaf Community". Journal of Festive Studies 4, n.º 1 (23 de fevereiro de 2023): 191–215. http://dx.doi.org/10.33823/jfs.2022.4.1.144.
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In the spring of 2019, the first signed musical stage production was performed at Festival Clin d’Oeil—the world’s largest deaf arts festival that brings thousands to Reims, France, biennially. Surrounded by visual and performing arts, an invited delegation from Canada debuted the musical The Black Drum internationally, incorporating physical theater, signed music, projection, and dance. Signed music is an inter-performance art that demonstrates musical elements by culturally deaf individuals who have explored creating musical performances with their hands and bodies. These performances operate according to a distinct artistic style, incorporating elements of signed languages; rhythmic hand, facial, and/or body motions; and media video arts. This article offers insight into the performers’ process and development of a deaf-created signed musical for an international audience, the ways signed music galvanizes community and identity through self-expression, and the impact of The Black Drum on an international audience at Festival Clin d’Oeil. Through ethnomusicological analysis and reflection with perspectives as insider-outsider-mediator, signed music has been researched by the authors and observed throughout the development of The Black Drum in preparation for its Canadian and European premieres. The festival setting is a place where new types of performances are welcomed and evaluated for their acceptance into the community. Responses from audience members and performers revealed that signed music is an emerging genre of its own.
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Kolomiets, G. G., e D. Rasul-Kareyev. "Philosophical Conversations about Music in Simple Language. Pythagoras: the Divine Number and World Musical Harmony". Concept: philosophy, religion, culture 7, n.º 2 (18 de junho de 2023): 154–67. http://dx.doi.org/10.24833/2541-8831-2023-2-26-154-167.
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The article is written on the basis of a conversation on the philosophy of music by Professor G.G. Kolomiets, author of the book Value of music: philosophical aspect, with a musician from France, Dmitry Rasul-Kareev, Clarinet solo of Orchestra de la Suisse Romande. The dialogue gives a detailed and simple understanding of the philosophical view of music on the example of the ancient philosopher Pythagoras. His cosmological teaching saw the kinship of music, mathematics and philosophy and stated that the divine perception of the world is contained in the divine Number permeating the entire cosmos and our life. Music is made of numerical proportions and acts as a substance that exists even without a person, yet this unchanging principle of divine harmony, can be felt, experienced and expressed in musical art. Cosmologists believed there is a comprehensive law, according to which objects obey the divine mind, the great Rhythm. Music seemed to be the embodiment of the rhythm of the universe and harmony. The essence of the harmony of the spheres is that the cosmos is a harmoniously arranged and musical-sounding body. The movement of the starry sky creates the music of the cosmic spheres, which is refracted when playing musical instruments, and this lends itself to precise mathematical calculations. The intervals between the cosmic spheres are mathematically correlated with each other like the intervals of tones in music. The Pythagorean understanding of the numerical harmony of the structure of the universe largely determined the path of development of music theory, forming the main musical categories: fret, rhythm, interval, modulation and others. The modern philosophy of music deepens the Pythagorean ideas of harmony of spheres, putting forward the principles of functionality and processivity as properties of music, and allows us to talk about the law of cyclicity on a global scale. For example, following Pythagoras, music outside of the actual musical art is interpreted as a reflection of the vibrations of a complex communicative system: man-society-nature-cosmos.
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Lee, Jenny Baxley, Sonja McIlfatrick e Lisa Fitzpatrick. "Arts engagement facilitated by artists with individuals with life-limiting illness: A systematic integrative review of the literature". Palliative Medicine 35, n.º 10 (16 de novembro de 2021): 1815–31. http://dx.doi.org/10.1177/02692163211045895.
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Background: Living with life-limiting illness significantly impacts quality of life. A growing body of evidence suggests that arts engagement facilitated by artists promotes well-being. However, no synthesis of the literature exists to describe arts engagement delivered by artists with individuals receiving palliative care. Aim: To systematically review and synthesize evidence to identify outcomes and key knowledge gaps to inform future research and practice. Design: A systematic integrative literature review was conducted using a pre-defined search strategy and reported using PRISMA guidelines. Analysis was conducted iteratively and synthesis achieved using constant comparison to generate themes. Data sources: PubMed/MEDLINE, CINAHL, PsycINFO, Scopus, Web of Science, and Embase were searched for studies published between database inception and August 2020. Search terms included variations on arts/artists; patients/service users; and palliative or end-of-life care. Eligibility criteria was applied and study quality assessed. Results: Seven reviewed studies explored literary, performing, and visual arts engagement in hospitals, hospice and community settings in England, the United States, France, and Canada. Study designs, interventions and findings were discussed. Themes identified across studies associated arts engagement with (1) a sense of well-being, (2) a newly discovered, or re-framed, sense of self, (3) connection with others, and (4) challenges associated with practice. Conclusion: Recommendations for future research were offered in order to maximize benefits, minimize risks and address complexity of artists’ engagement in palliative care including: (1) consistency in methods and reporting; (2) inclusion of wider perspectives; and (3) key considerations for adapting the arts by health condition and art form.
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Ignatjeva, Olga. "Digital governmentality: Participatory governance vs. biopolitics". Political Expertise: POLITEX 16, n.º 4 (2020): 462–73. http://dx.doi.org/10.21638/spbu23.2020.403.
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The notion of governmentality was first used by the French postmodern philosopher Michel Foucault during his lectures at the College de France in 1978-1979. The term is one of the characteristics of political power, along with sovereignty and discipline, but it characterizes its later stages of evolution. Foucault and his commentators give multiple meanings to this term, but perhaps the most accurate ones are the definition of governmentality as a way of rational thinking about the realization of political power and governmentality as the art of government. The emergence of governmentality is associated with the emergence of political economy and implies the use of biopolitical techniques, a concept that Foucault introduces to emphasize the need for socio-hu- manitarian knowledge in disciplining the “political body”. Evolution and peculiarities of biopolitics are discussed in detail in this article in relation to each type of governmentality. This article examines three types of governmentality (liberalism, authoritarianism, neoliberalism) introduced by the French thinker and proposes considering a new type of governmentality that characterizes the modern stage of society’s development. Here we use a governmentality concept as a methodological instrument for analysis of a new type of governance. The author notes that digital governmentality is characterized by governance using digital platforms. The article provides a detailed description of the architecture of one such platforms, as well as a set of algorithms that will mediate the interaction between the population and government representatives. The purpose of this article is to identify the essence of digital governmentality and its nature. Is the emerging form of public governance through digital platforms, as a consequence of its digitalization, demo- cratic and participatory, or is it still a more sophisticated way of governing the population using manipulative, biopolitical strategies? An attempt to answer this question is made in the article by considering both the evolution of the term governmentality itself and the technological features of digital platforms with their interpretation based on Michel Foucault’s concept.
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Bickel, Michael. "Preface". Pure and Applied Chemistry 78, n.º 1 (1 de janeiro de 2006): viii. http://dx.doi.org/10.1351/pac20067801viii.
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Trace elements may have different functions in human and animal metabolism: some are toxic (e.g., Hg), others are essential to maintain good health (e.g., Ca), or they can be essential but also toxic, depending on the concentration in the body or in parts thereof (e.g., Se).The importance of various aspects of trace elements in relation to food is steadily increasing in the perception of the consumer and the respective authorities: food contaminants, essential and toxic elements, bioavailability and speciation, nutritional value and fortified food, reliable measurement of contents, etc. In addition, through the many minor and major food-related incidents during recent years the consumer is becoming more concerned about the quality and safety of food. As a result, research and development efforts in this area have also been increased and/or been redirected.TEF-2 was organized in Brussels 7-8 October 2004 by the Institute of Reference Materials and Measurements of the Joint Research Centre of the European Commission, with the support of the Department of Food Analysis, Institute of Agricultural and Food Biotechnology of the University of Warzaw, Poland and the Centre National de la Recherche Scientifique, France. It was carried through under the auspices of IUPAC.The objectives laid down for the symposium were- presenting state-of-the-art analytical methods for the enforcement of legal limits of trace elements in food;- disseminating new ideas and findings within the scientific community;- providing a forum for the exchange of new knowledge and experience between R&D, authorities, and industry; and- bringing together experts in the field with newcomers.TEF-2 was attended by 93 participants from 60 different institutions in 23 countries. It consisted of 26 lectures and 56 posters, structured according to the following four main topics:- trace elements in the food chain (from the environment to shelf product) including the effects of processing and of legislation- trace element bioavailability-toxicological and nutritional aspects- fortified food and supplementation legislation, manufacturing and labeling, standards- advances in trace element analysis in food matricesIt was emphasized that the field of trace elements in food is a lively research area, which generates interest and involvement from researchers, authorities, and industry, of course triggered and nurtured by the equally high interest of the consumer. A selection of the invited contributions to TEF-2 is presented in the subsequent seven papers in this issue.The importance of scientific exchange in this field was, again, recognized during TEF-2. Therefore, the continuation of this series of conferences was discussed, and the venue for the subsequent TEF-3 was decided. It will be organized by R. Lobinski of CNRS in Pau, France, at the beginning of October 2008.Michael BickelConference Editor
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Alexeevich, Andreev Alexander, e Anton Petrovich Ostroushko. "140-th anniversary of the birth of the first in Russia head of the department of surgery, a well-known radiobiologist, geneticist and oncologist, Professor Nadezhda Alekseevna Dobrovolskaya (on the 100th anniversary of the Voronezh State medical university)". Vestnik of Experimental and Clinical Surgery 11, n.º 3 (28 de setembro de 2018): 231. http://dx.doi.org/10.18499/2070-478x-2018-11-3-231.
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Dobrovol'skaya Nadezhda was born in 1878 in Kiev province. After graduating with a gold medal of the women's gymnasium in Kiev Women's medical Institute in Petrograd, worked as an Intern in the clinic of Professor M. S. Subbotin (1902-1904), later a country doctor . 1907 – the assistant to the dissector, assistant Professor of Women's medical Institute (until 1917), supernumeraries medical surgical Academy in Petrograd (from 1914). Since 1911 – a doctor of medicine. In 1912 N.. A. suggested method of joining vessels of different diameter, "end-to-end" crossing them obliquely; I applied the hair to perform a vascular suture. 24 APR 1917 N..Dobrovolskaya apply in Tartu University about acceptance as a privatdozent at the Department of surgery. 14 Oct 1918 – the Board of the University of Voronezh electing her to the chair of surgical pathology with the dressing and the doctrine about dislocations and fractures of the medical faculty and became the first woman to lead the Department of surgery. In 1919, she described the symptom that got her name – a decrease in heart rate when Paltseva the compression of the artery proximal to arteriovenous fistula. To link their fate with the Soviet authorities she did not dare, and soon left Voronezh. N.. Dobrovolskaya served as a doctor in Wrangel's army, which retreated in the Crimea and were evacuated to Egypt (1920-1922). In 1921 N.. Take the art to the newly opened in France, the laboratory organised by the Pasteur Institute and the radium Institute (later, the Institute Curie), which was first headed by Professor Claude REGO, and then N.. Dobrovolskaya. It describes the brachyury mutation in mice is becoming one of the pioneers in understanding the development of the body as changes in gene expression, creates several pure lines of mice as models of human diseases.
Nadezhda was a member of the boards of the society of Russian doctors of Mechnikov, Russian academic group, Russian section of the International Federation of University women, Association of Russian doctors abroad. Collaborated in the Brotherhood of the Martyr Albania and St. Sergius. N.. Dobrovolska has authored over one hundred scientific papers. In 1937 she was awarded the French Academy of Sciences for research in the field of hereditary cancer. In 1954, at the age of 76 N..Dobrovolskaya is dead.
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Hammond, Helena. "‘So you see, the story was not quite as you were told’:Maleficent, Dance, Disney, and Cynicism as the Choreo-philosophical Critique of Neoliberal Precarity". Dance Research 35, n.º 1 (maio de 2017): 3–48. http://dx.doi.org/10.3366/drs.2017.0181.
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Dance bequeaths a conflicted legacy for resisting neoliberalism: the same portfolio careers; pick-up companies; and freelance working practices through which the artist-entrepreneur negotiates and survives the exigencies of the neoliberal market have themselves been co-opted by neoliberal economics as blueprints for labour practices in ways unimagined and never intended by arts practitioners. ‘The freelancer’ to quote Lauren Berlant (76) ‘is one of the sovereign figures of neoliberalism’.1Looking beyond dance's unwitting complicity in the neoliberal contracting of the body, this paper focuses on dance as an emergent critical aesthetics that calls attention to the incorporation of the geopolitical by the post-statist neoliberal project.Its case study is Maleficent ( 2014 ), the Angelina Jolie popular cinema radical retelling, as prequel, of the back story of Sleeping Beauty's slighted fairy Carabosse. Maleficent's status as dance intertext is many-faceted: its titular character's conjunction of malevolence and magnificence and the sourcing of her predicament to an originating act of socio-economic disenfranchisement are familiar from the characterisation of Carabosse in Marius Petipa's choreography for the ballet The Sleeping Beauty (1890). Unspecified in the ballet, this act is elaborated in the film: ‘the winged creature who rose to be protector of The Moors, a kingdom which needed neither king nor queen’ to quote the film's narration, Maleficent is shorn of her wings in an act of land-grab motivated premeditated human interspecies violence. This act, betokening rape for Jolie, renders Maleficent's aerial choreographic spectacle pedestrianised; everyday and earthbound, just as Carabosse, denied vertiginous danse d’école vocabularies, must substitute more mundane mime in their place.This paper begins by establishing the strong bonds which bind Disney to dance; the extent to which, to quote Soviet avant-garde filmmaker Sergei Eisenstein, ‘the art of animation…has its forerunner in ballet…At least in Fokine's ballets for Diaghilev…’.2Drawing on analyses of neoliberalism, those of David Harvey in particular, this paper then moves to consider Maleficent as the articulation of a critique of neoliberalism, one which – it will be suggested – relies heavily on Cynic philosophy for its formulation. Cynic philosophy, especially in the extended consideration of the Cynic life presented by Michel Foucault's final series of Collège de France lectures3will be critically important here. Arguing for Maleficent as the choreography of Feminist ethics in response to neoliberal policies that render human relations to the land ever more ethno-biologically precarious, this paper will point up the strong parallels that exist between the film and Cynic thinking. In Foucault's account, Cynicism especially prioritises the vie autre (other life). This makes Cynicism particularly effective as a vehicle for questioning neoliberal values and proposing others in their place.Maleficent's critique will be shown to be choreo-philosophical in the sense that it mobilises, and is highly reliant upon, a range of dance histories – those to do with The Sleeping Beauty especially – and dance practices, particularly those bound up, ultimately, with pantomime dance in Hellenistic ancient Greece. This article will suggest that pantomime dance as a close, cognate ally of Cynic philosophy, was already imbued, in some significant sense, with philosophical intent. It is pantomime dance's philosophical intent – this paper argues – that endures and is mobilised to such effect in the roles of Carabosse and Maleficent. Attention then turns to Alain Badiou's concept of cinema as philosophy. This article will suggest both that Badiou's concept is more indebted to dance than is generally acknowledged, and that it arguably strengthens the sorts of claims that can be made for Maleficent as choreo-philosophical critique. This paper also proposes, in a similar vein, that on the basis of his reading of Cynicism as actually highly motile, the late Foucault is more phenomenological in orientation and – so it would follow – less antithetical to dance and its study, than has hitherto been suggested.
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Caetano, Patrícia, Ruth Torralba, Catarina Resende e Maurílio M. Lima. "Performing a collective-field-body". Journal of Dance & Somatic Practices 12, n.º 1 (1 de agosto de 2020): 127–39. http://dx.doi.org/10.1386/jdsp_00017_1.
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The text aims to present somatic practices as a politics of the sensible that, at the same time, enlarges the microperceptive dimension and creates a collective-field-body, performing connections and mutual affections between insurgent bodies. A tragic event was the trigger of a performative-somatic contagion experience: the murder of Marielle Franco, a Rio de Janeiro city councilwoman, on March 2018. In the face of this event, we seek to understand the pain affirmation as a form of resistance and re-existence, as well as a source of confrontation with a power that slaughters bodies.
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Le Bœuf, Patrick. "On the Nature of Edward Gordon Craig's Über-Marionette". New Theatre Quarterly 26, n.º 2 (maio de 2010): 102–14. http://dx.doi.org/10.1017/s0266464x10000242.
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There is no scholarly consensus about the precise meaning of the term ‘über-marionette’, as coined by Edward Gordon Craig. Is it a life-size marionette? A masked dancer? Or simply a metaphor for an actor who exerts perfect control over his body and emotions? The present article, based, among other sources, on recently discovered material in the Edward Gordon Craig Collection of the National Library of France, gives a brief overview of several perspectives regarding this issue before proposing another hypothesis – that the über-marionette may actually have been a full-body puppet. Patrick Le Bœuf is a library curator at the National Library of France, and was in charge of the Edward Gordon Craig Collection from 2006 to 2009.
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Merlin, Helene, e Allison Tait. "Fables of the "Mystical Body" in Seventeenth-Century France". Yale French Studies, n.º 86 (1994): 126. http://dx.doi.org/10.2307/2930280.
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Gross, Martine. "To Be Christian and Homosexual: From Shame to Identity-Based Claims". Nova Religio 11, n.º 4 (1 de maio de 2008): 77–101. http://dx.doi.org/10.1525/nr.2008.11.4.77.
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This paper draws on a quantitative survey and qualitative interviews to explore how gay and lesbian Christians in France deal with their dual identities. The journey of those who leave a traditional church to join an inclusive church is like an act of conversion. From such participants' testimonies, it is apparent that they go through various phases: entanglement, break with the past, and a search for a new meaning. As in any act of conversion, they must free themselves from their old ties; in this case, they must break free from submission to a religious institution they previously saw as the only legitimate body representing Christianity. Not all of them are necessarily ready to do so. Many stay in traditional churches, which accounts for the small number of inclusive churches in France. Respondents in this study demonstrate many of the same identity negotiation strategies found by other researchers, some of which seem to be experiences in a way that is particular to France, due to the hegemony of Roman Catholicism.
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Smith, Lisa Wynne. "The Body Embarrassed? Rethinking the Leaky Male Body in Eighteenth-Century England and France". Gender & History 23, n.º 1 (21 de março de 2011): 26–46. http://dx.doi.org/10.1111/j.1468-0424.2010.01622.x.
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Paige, Nicholas. "The Aesthetic Body: Passion, Sensibility, and Corporeality in Seventeenth-Century France". Romanic Review 104, n.º 1-2 (1 de janeiro de 2013): 170–72. http://dx.doi.org/10.1215/26885220-104.1-2.170.
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Pylypchuk, Oleh, Oleh Strelko e Yuliia Berdnychenko. "PREFACE". History of science and technology 11, n.º 2 (12 de dezembro de 2021): 271–73. http://dx.doi.org/10.32703/2415-7422-2021-11-2-271-273.
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The issue of the journal opens with an article dedicated to the formation of metrology as government regulated activity in France. The article has discussed the historical process of development of metrological activity in France. It was revealed that the history of metrology is considered as an auxiliary historical and ethnographic discipline from a social and philosophical point of view as the evolution of scientific approaches to the definition of individual units of physical quantities and branches of metrology. However, in the scientific literature, the little attention is paid to the process of a development of a centralized institutional metrology system that is the organizational basis for ensuring the uniformity of measurements. The article by Irena Grebtsova and Maryna Kovalska is devoted to the of the development of the source criticism’s knowledge in the Imperial Novorossiya University which was founded in the second half of the XIX century in Odesa. Grounding on a large complex of general scientific methods, and a historical method and source criticism, the authors identified the stages of the formation of source criticism in the process of teaching historical disciplines at the university, what they based on an analysis of the teaching activities of professors and associate professors of the Faculty of History and Philology. In the article, the development of the foundations of source criticism is considered as a complex process, which in Western European and Russian science was the result of the development of the theory and practice of everyday dialogue between scientists and historical sources. This process had a great influence on the advancement of a historical education in university, which was one of the important factors in the formation of source studies as a scientific discipline. The article by Tetiana Malovichko is devoted to the study of what changes the course of the probability theory has undergone from the end of the 19th century to our time based on the analysis of The Theory of Probabilities textbook by Vasyl P. Ermakov published in 1878. The paper contains a comparative analysis of The Probability Theory textbook and modern educational literature. The birth of children after infertility treatment of married couples with the help of assisted reproductive technologies has become a reality after many years of basic research on the physiology of reproductive system, development of oocyte’s in vitro fertilization methods and cultivation of embryos at pre-implantation stages. Given the widespread use of assisted reproductive technologies in modern medical practice and the great interest of society to this problem, the aim of the study authors from the Institute for Problems of Cryobiology and Cryomedicine of the National Academy of Sciences of Ukraine was to trace the main stages and key events of assisted reproductive technologies in the world and in Ukraine, as well as to highlight the activities of outstanding scientists of domestic and world science who were at the origins of the development of this area. As a result of the work, it has been shown that despite certain ethical and social biases, the discovery of individual predecessor scientists became the basis for the efforts of Robert Edwards and Patrick Steptoe to ensure birth of the world's first child, whose conception occurred outside the mother's body. There are also historical facts and unique photos from our own archive, which confirm the fact of the first successful oocyte in vitro fertilization and the birth of a child after the use of assisted reproductive technologies in Ukraine. In the next article, the authors tried to consider and structure the stages of development and creation of the “Yermak”, the world's first Arctic icebreaker, and analyzed the stages of preparation and the results of its first expeditions to explore the Arctic. Systematic analysis of historical sources and biographical material allowed to separate and comprehensively consider the conditions and prehistory for the development and creation of “Yermak” icebreaker. Also, the authors gave an assessment to the role of Vice Admiral Stepan Osypovych Makarov in those events, and analyzed the role of Sergei Yulyevich Witte, Dmitri Ivanovich Mendeleev and Pyotr Petrovich Semenov-Tian-Shansky in the preparation and implementation of the first Arctic expeditions of the “Yermak”icebreaker. The authors of the following article considered the historical aspects of construction and operation of train ferry routes. The article deals with the analysis and systematization of the data on the historical development of train ferry routes and describes the background for the construction of train ferry routes and their advantages over other combined transport types. It also deals with the basic features of the train ferries operating on the main international train ferry routes. The study is concerned with both sea routes and routes across rivers and lakes. The article shows the role of train ferry routes in the improvement of a national economy, and in the provision of the military defense. An analysis of numerous artefacts of the first third of the 20th century suggests that the production of many varieties of art-and-industrial ceramics developed in Halychyna, in particular architectural ceramic plastics, a variety of functional ceramics, decorative tiles, ceramic tiles, facing tiles, etc. The artistic features of Halychyna art ceramics, the richness of methods for decorating and shaping it, stylistic features, as well as numerous art societies, scientific and professional associations, groups, plants and factories specializing in the production of ceramics reflect the general development of this industry in the first half of the century and represent the prerequisites the emergence of the school of professional ceramics in Halychyna at the beginning of the 20th century. The purpose of the next paper is to analyze the formation and development of scientific and professional schools of art-and-industrial ceramics of Halychyna in the late 19th – early 20th centuries. During the environmental crisis, electric transport (e-transport) is becoming a matter for scientific inquiry, a subject of discussion in politics and among public figures. In the program for developing the municipal services of Ukraine, priorities are given to the development of the infrastructure of ecological transport: trolleybuses, electric buses, electric cars. The increased attention to e-transport on the part of the scientific community, politicians, and the public actualizes the study of its history, development, features of operation, etc. The aim of the next study is to highlight little-known facts of the history of production and operation of MAN trolleybuses in Ukrainian cities, as well as to introduce their technical characteristics into scientific circulation. The types, specific design solutions of the first MAN trolleybus generation and the prerequisites for their appearance in Chernivtsi have been determined. Particular attention has been paid to trolleybuses that were in operation in Germany and other Western European countries from the first half of the 1930s to the early 1950s. The paper traces the stages of operation of the MAN trolleybuses in Chernivtsi, where they worked during 1939–1944 and after the end of the Second World War, they were transferred to Kyiv. After two years of operation in the Ukrainian capital, the trolleybuses entered the routes in Dnipropetrovsk during 1947–1951. The purpose of the article by authors from the State University of Infrastructure and Technologies of Ukraine is to thoroughly analyze unpaved roads of the late 18th – early 19th century, as well as the project of the first wooden trackway as the forerunner of the Bukovyna railways. To achieve this purpose, the authors first reviewed how railways were constructed in the Austrian Empire during 1830s – 1850s. Then, in contrast with the first railway networks that emerged and developed in the Austrian Empire, the authors made an analysis of the condition and characteristics of unpaved roads in Bukovyna. In addition, the authors considered the first attempt to create a wooden trackway as a prototype and predecessor of the Bukovyna railway.
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Stewart, Mary Lynn, e Nancy Janovicek. "Slimming the Female Body?: Re-evaluating Dress, Corsets, and Physical Culture in France, 1890s–1930s". Fashion Theory 5, n.º 2 (maio de 2001): 173–93. http://dx.doi.org/10.2752/136270401779108554.
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Soll, Jacob. "Healing the Body Politic: French Royal Doctors, History, and the Birth of a Nation 1560-1634". Renaissance Quarterly 55, n.º 4 (2002): 1259–86. http://dx.doi.org/10.2307/1262103.
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This article examines the role played by royal doctors in forming an empirical political science in France at the end of the sixteenth century. Bringing with them took from the Galenic tradition, doctors such as Rodolphe Le Maistre, Abraham-Nicolas de La Framboisière, and Jean Héroard doubled as political counselors. They not only looked for ways to heal the king's body, they also looked for ways to heal and regulate the body of the nation. Their new vision of the monarch as a practicing physician of the state is an essential yet unknown facet of the origins of political modernity.
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Albert, Jacob, e Susan Pinette. "Franco-American Newspapers and Periodicals in the Northeast: An Inventory". Quebec Studies 76, n.º 1 (dezembro de 2023): 3–36. http://dx.doi.org/10.3828/qs.2023.16.
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Franco-American newspapers and periodicals occupy an overlapping space between primary and secondary literature, and their shadow looms large over the collective body of historic Franco-American sources. Their significance to the Franco-American community is hard to overstate. These periodical publications complicate issues of identity in the U.S. Northeast and are an integral part of Québec history itself. This article details current work to inventory newspaper and periodical titles (currently over 400) and makes accessible our collectively built, evolving inventory of Franco-American newspapers.
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Chatelain, S., M. Mimoun, M. Chaouat, M. Fournier e D. Boccara. "Dépistage rapide du Body Dysmorphic Disorder en consultation de chirurgie plastique en France". L'Encéphale 46, n.º 3 (junho de 2020): 190–92. http://dx.doi.org/10.1016/j.encep.2019.10.006.
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Jamróz, Lech. "Szczególny status francuskiej Rady Stanu". Miscellanea Historico-Iuridica 22, n.º 1 (2023): 81–101. http://dx.doi.org/10.15290/mhi.2023.22.01.04.
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The Council of State is a body that is a permanent element of the political system of the French Republic. Its genesis dates back to the Consular period. The Council of State, despite numerous and serious political transformations in France over the last two hundred years, has gained authority and contributed to the stability of the concept of strong protection of individual rights. The important role of the Council of State resulted not only from legal changes (here, the Act of 1872, as a result of which the Council gained jurisdictional independence, was of crucial importance); its jurisprudence has also played an extremely important role. The Council gave special importance to many statutory freedoms and rights by referring to the Declaration of the Rights of Man and Citizen of 1789. Today, the Council of State protects the constitutional order by performing two main functions: it is the consultative body for government law projects and regulatory acts and the highest administrative judiciary body. However, in order to understand what role this body plays nowadays, it is necessary to refer to the genesis of its creation, because it corresponds to the consolidation of republican ideas in France. On the margin of the main considerations of this study, it is worth recalling that in the interwar period in Poland, numerous projects were put forward to create a Council of State on the French model. Awareness of the role of this body was very significant in the legal and scientific circles of that period. It was considered that the Council, consisting of eminent lawyers, should primarily give opinions on draft legal acts and thus contribute to shaping better law by political centers of power. The submitted postulates, some of which took the form of specific projects, were never implemented. The French Council of State has a special status today, which is the result of its authority, achievements, and the specificity of the organization and its work. The dominant research methods that have been used are the dogmatic-legal method and the historical-legal method.
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ARDIZZONI, MICHELA. "Unveiling the Veil: Gendered Discourses and the (In)Visibility of the Female Body in France". Women's Studies 33, n.º 5 (julho de 2004): 629–49. http://dx.doi.org/10.1080/00497870490464440.
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Semple, Benjamin. "The Male Psyche and the Female Sacred Body in Marie de France and Christine de Pizan". Yale French Studies, n.º 86 (1994): 164. http://dx.doi.org/10.2307/2930282.
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Beaucé, Patrick. "Dancing, drawing, designing". Drawing: Research, Theory, Practice 8, n.º 2 (1 de outubro de 2023): 281–93. http://dx.doi.org/10.1386/drtp_00121_1.
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This paper describes and analyses a drawing practice in a research project on corporeality and gesture, with a view to designing objects and spaces. This research, carried out at the École nationale supérieure d’art et de design de Nancy (France), questions our presence with things and others, the sharing of space and the world, by questioning the gestures that underpin them. Drawing is one of these gestures. Its pedagogical aims are pragmatic and practical: to question our physicality in artistic training and to provide prescriptive elements, i.e. methods and techniques of looking, reading, writing, designing and drawing. Turning away from knowledge that makes the body an object, such as ergonomics, the approach turns towards a knowledge of the self by the subject itself: somatics. The objective of the so-called somatic practices is to better understand and appreciate one’s own body experience in an aesthetic way. They are different from our habits, from our everyday connection to environments and propose to discover the variety of movements offered to our body when making movements. They propose a path towards body awareness that cannot be acquired through theoretical teaching, but only through the practice of movement. The role of the aesthetic appreciation of the body experience and the creativity of somatic practices and more generally of dance allows us to make the hypothesis that they are tools for design research the objective of which is precisely to consider the body in movement in order to conceive objects and spaces differently. To verify this hypothesis, we describe a creative protocol, followed by dance students and design students, which combines dance, drawing and furniture design. The drawing is in turn notation, imprint, sensitive recording, trace of movement, score, memory and quasi-object supporting a morphogenesis. Because it constantly revives movement, the objects resulting from the process are open to gestural and postural invention.
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Turner, Frank M. (Frank Miller). "Nationalism and Classicism: The Classical Body as National Symbol in Nineteenth-Century England and France (review)". Victorian Studies 43, n.º 1 (2000): 150–51. http://dx.doi.org/10.1353/vic.2000.0128.
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Shaari, SC, e SR Amirul. "Flexible Working Arrangements (FWAs) in Malaysia: The Missing Component of the Right to Disconnect". IOP Conference Series: Earth and Environmental Science 1181, n.º 1 (1 de maio de 2023): 012013. http://dx.doi.org/10.1088/1755-1315/1181/1/012013.
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Abstract Flexible Working Arrangements (FWAs), particularly working from home, are important to maintain a better work-life balance. The government of Malaysia has recently amended the Employment Act 1955 (Act 266) by incorporating the right of the employees to request for FWAs. However, the authors submit that the policymakers should have incorporated the right to disconnect (RTD) in the recent amendment. Thus, it is the objective of this article to explore the provisions of RTD as recently accepted in France and a few European Union (EU) countries; and the possibility of introducing the RTD into Malaysian legislation. In accomplishing the aim of this article, a doctrinal legal research methodology is deployed. It is submitted here that despite incorporating the FWAs in the Employment Act 1955, the policymakers should have embedded RTD as well. Otherwise, the employees’ work-life balance is at stake. It is concluded that man-made law is not sacrosanct. It must be modified over time to suit the changes in society. The findings will help in advancing the existing body of knowledge and give some ideas to the policymakers, especially the officers at the Ministry of Human Resources and the trade union officials.
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Reggiani, Andrés H. "Remaking the male body: masculinities and the uses of physical culture in interwar and Vichy France". Journal of Gender Studies 22, n.º 4 (dezembro de 2013): 456–58. http://dx.doi.org/10.1080/09589236.2013.853941.
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Wulandari, Desy. "Ex Ante Review in Realizing the Constitutionality of Laws and Regulations in Indonesia". Indonesian State Law Review (ISLRev) 1, n.º 1 (1 de novembro de 2018): 37–52. http://dx.doi.org/10.15294/islrev.v1i1.26938.
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This study aimed to describe the constitutional test models in France and in Indonesia and the prospect of application of the ex ante review in realizing the constitutionality of laws and regulations in Indonesia. The method used by the author is using a normative juridical approach of comparative law. The results showed that the ratio of the most influential position is on the object and the subject of testers. Indonesia's Constitutional Court is subject testers incorporated as a judicial body with the test object in the form of legislation that has been passed and enacted. Whereas in France the Constitutional Council is the subject of testers incorporated as a quasi-judicial body with the test object in the form of draft legislation which has not been enacted. prospects for application of the ex ante review with a name elaborates the basic models of constitutional previews should be considered for implementation in Indonesia, with two alternatives, namely the preview is done by the Constitutional Court or preview conducted by the Legislative Board. This concept is done by a process when a bill has been discussed is obliged to do a preview for the legislation and are non obliged organic law for the non-organic statute law. but the weakness that really stands out is that there is an overlap principle of checks and balances adopted by Indonesia when it is done by the Constitutional Court, and if done by the Legislative Body the authority or the task is still within the scope of the legislature so that they made possible many there is a discrepancy between the bill with Tests of the 1945 Constitution of the draft legislation before it was passed and enacted, consideration of alternative solutions to minimize the unconstitutionality of a law that has been in effect. To accommodate it necessary to do some changes to the 1945 Constitution and the Act governing the MPR, DPR, DPD and DPRD
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Endong, Floribert P. C. "Francophobia as an expression of Pan-Africanism in Francophone Africa: An exploration of the Cameroonian political and media discourse". Inkanyiso 12, n.º 2 (30 de novembro de 2020): 14. http://dx.doi.org/10.4102/ink.v12i2.37.
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There has over the decades been a recrudescence of francophobia in many francophone African countries. This has attracted the attention of scholars across the world and has fuelled a discourse which has myopically constructed francophone Africans’ francophobic sentiments either as a purely xenophobic movement or a nationalist feeling. Meanwhile, for many members of the African diasporas and intelligentsia, francophobia is essentially an expression of their pan-African convictions. In effect, for many francophone pan-African political activists, the act of fighting and mitigating neocolonialism in their countries is inextricably tantamount to exhibiting francophobic sentiments. Such an act is also tantamount to deploying various forms of animosity against France. This is so perhaps because France is arguably perceived as the most dominant neocolonial force in their countries. In this paper, this popular trend is illustrated with close respect to the Cameroonian experience. Using secondary sources and critical observations, the paper specifically looks at how various manifestations of French neocolonialism have given birth to waves of anti-French sentiments among the intelligentsia and in the media; and how this anti-French feeling is mostly expressed in the name of Pan-Africanism. The paper thus examines how Pan-Africanism has, to both the Cameroonian intelligentsia and the media, meant adopting a virulent anti-French discourse or rhetoric. In line with this central objective, the paper answers three principal research questions: what body of evidence proves that there is French neocolonialism in Cameroon? How has French neocolonialism engendered a virulent pan-African discourse that is basically anti-French? And how has this pan-African francophobic discourse been observed or manifested among the Cameroonian intelligentsia and in the country’s private media?
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Zecher, Carla. "The Gendering of the Lute in Sixteenth-Century French Love Poetry*". Renaissance Quarterly 53, n.º 3 (2000): 769–91. http://dx.doi.org/10.2307/2901497.
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Blame not my lute for he must sound Of this or that as liketh me.Sir Thomas WyattLute-poems came into vogue in France in the 1540s and 1550s. Because of the lute's shape, it could be gendered either as masculine or feminine; male and female poets therefore made use of lute imagery in different ways. Their references to the lute are informed by the gendered culture surrounding the instrument in this period and by the etiquette and technicalities of lute playing. Even more than painters and engravers, poets could invest the lute with human qualities, conflating it with bodies and body parts. It could thus be adapted to serve a variety of amorous scenarios.
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Gill, Meredith J. "Death and the Cardinal: The Two Bodies of Guillaume d’Estouteville*". Renaissance Quarterly 54, n.º 2 (2001): 347–88. http://dx.doi.org/10.2307/3176781.
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This article examines the circumstances of the death of Cardinal Guillaume d'Estouteville (d. 1483) and his plans for burial in his Roman church of Sant'Agostino and in the Cathedral of Rouen of which he was archbishop. I argue that the cardinal planned for his body to be interred near the high altar of Sant'Agostino, in a monument since lost, while his heart was to be taken to Rouen and buried in the crossing of the cathedral. By means of an analysis of burial practices in Italy and France, I propose that d'Estouteville's designs anticipated such grandiose sixteenth-century projects as those of Julius II (d. 1513) and Cardinal Georges d'Amboise (d.1510).
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Racanović, Svetlana. "Marina Abramović – Ulaj: konstrukcija Trećeg Sopstva izvan samodovoljnosti para / Marina Abramović – Ulaj: The Construction of Third Self and the Self-Sufficiency of the Couple". AM Journal of Art and Media Studies, n.º 11 (5 de maio de 2023): 69–79. http://dx.doi.org/10.25038/am.v0i11.148.
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The twelve-year collaborative practice between Marina Abramović and Ulay (Franck Uwe Laysiepen) was a chain of constant changes, of transformative strategies and practices of living and art-making. Their relationship, with its dynamic, often dramatic and explosive effects, unfolded in roundabouts and leaps, unexpected turns, regroupings, intense discharges, ecstatic accelerations as well as in controlleddecelerations designed to recharge, reorganize and revitalize their capacities for new flights and new expansions of socially-constructed or self-imposed boundaries, boundaries both of themselves and their relationship. Their early performances (a phase they called Warriors) were extreme, furious and unflinching explorations of capacities of the body. These radical ‘exploitations’ of the body constructed but also permanently destabilized, challenged the relationship as unity, equality, mutual harmonizing and balancing: they destabilized the ‘self-sufficiency of the couple’. Their provocative, productiveflights outside themselves, outside their relationship and integrative openings towards the outside, towards other bodies, constructed or rather ‘birthed’ a new, third body, which they called That Self. This newly-created entity, borne out of the dynamic, transformative, rebellious union of the two through a series of performances, was an entity created from them, and in turn regenerated, recreated their relationship. That Self freed and intensified capacities of their bodies, actualized their unknown and latent powers and afforded Marina Abramović and Ulay the possibilities of making new, flexible assemblages, hybrid configurations that involved other bodies, human and non-human, animate and inanimate, material and virtual.
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Paterson, Isla May. "Playing to the West only? Representations of Picasso, the gendered body and Islamism in Kamel Daoud’s Le peintre dévorant la femme". International Journal of Francophone Studies 24, n.º 1 (1 de setembro de 2021): 89–148. http://dx.doi.org/10.1386/ijfs_00031_1.
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This research explores Algerian writer Kamel Daoud’s 2018 non-fictional text, Le peintre dévorant la femme. The text addresses questions relating to religious extremism, the meaning of art, death and eroticism, and the relationship between l’Occident and l’Orient through the visual aid of Picasso’s 1932 Année érotique. Central to this research is the notion of the hybridized public intellectual (Daoud) entering hybridized public spheres (Franco-Algerian and beyond). The consequences of operating within a plural readership suggest that Daoud, subconsciously or not, speaks to particular sectors of his western-French audience more so than the Muslim-Algerian ones, risking an imbalance. This research unpicks how Daoud negotiates the relationship between aesthetics and politics in his non-fictional writing, showing how his public move to an essai in 2018 can be read as facilitating a conversation with more a bourgeois, and potentially more republican, French audience. It also analyses Daoud’s representations of Picasso, Paris, the museum, and the gendered body in western and Muslim societies. By doing so, it attempts to highlight how although Daoud appears to offer a ‘double-edged’ critique of Algeria since independence and French neo-colonialism, his tendency to make generalizations about Islam sometimes unwittingly plays to French (and more widely, western) Islamophobic assumptions.
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Gorbacheva, I. V., O. Y. Kuznetsova, F. N. Gilmiarova e D. V. Pechkurov. "Assessment of protein-energy malnutrition severity in infants: pyruvate as a biochemical marker of low muscle mass". Voprosy praktičeskoj pediatrii 18, n.º 4 (2023): 20–26. http://dx.doi.org/10.20953/1817-7646-2023-4-20-26.
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Protein-energy malnutrition (PEM) is one of common health problems in infancy. Multiple causation of PEM, its cooccurrence with rickets, anemia, and infectious diseases, as well as high prevalence of PEM makes it a substantial challenge for medical and biological sciences. Objective. To identify significant diagnostic and prognostic biochemical criteria to assess PEM severity in children of the first year of life. Patients and methods. This study included 82 infants with PEM (41 boys and 41 girls) aged 1 to 12 months. Of them, 37 were full-term (44.2%), whereas 45 were preterm (55.8%). Clinical and anthropometric examination showed that 38 infants (46.3%) had grade I PEM; 30 infants (36.6%) had grade II PEM; 14 infants (17.1%) had grade III PEM. Cobas Integra 400рlus (Switzerland) was used to measure total protein and its fractions, transferrin, urea, creatinine, glucose, lactate, pyruvate, lactate/pyruvate index, triacylglycerols, ALT, AST, lactate dehydrogenase, and creatine kinase. Protein fractions were separated using electrophoresis with the Hydrasys2 Scan (France). Results. Serum level of pyruvate demonstrated the best correlation with body weight deficiency and PEM severity in infants. Key words: protein-energy malnutrition, infants, body weight deficiency, laboratory parameters, pyruvate