Bibliografias temáticas / Masque

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Literatura científica selecionada sobre o tema "Masque"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 22 de junho de 2024

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Artigos de revistas sobre o assunto "Masque"

Wittevrongel, Bernard. "Masquer le masque". lieuxdits, n.º 21 (6 de julho de 2022): 6–11. http://dx.doi.org/10.14428/ld.vi21.67193.

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Résumé. La question de l’habillage en architecture est un fait. La relation qui s’établit entre habillage et habillé, entre Kernform et Kunstform est cruciale chez Karl Bötticher. Gottfried Semper quant à lui s’attache à la nature de l’habillage – ou du masque – pour faire entrer la construction dans le domaine de l’architecture. C’est le pavillon allemand de Barcelone qui nous sert de support à cette proposition semperienne. Abstract. Dressing in architecture is a fact. The relationship established between dressing and dressed, between Kernform and Kunstform, is crucial for Bötticher. Gottfried Semper, on the other hand, focuses on the nature of the dressing - or the mask - to bring construction into the realm of architecture. The Barcelona Pavilion serves as an example in this Semperian proposal.

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FLETGEN, Mélissa. "Le masque, l’accessoire privilégié de l’imposteur". Revue Mosaïques, Volume 1, Numéro 5 (22 de dezembro de 2022): 47–58. http://dx.doi.org/10.17184/eac.3016.

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Le monde virtuel garantit l’anonymat et le fait de dissimuler son identité, de porter un masque, permet à l’individu d’agir tel qu’il l’entend plus librement. Espace privilégié d’observation de phénomènes d’ordinaire réprimés comme la domination ou l’humiliation, il semble pertinent de se demander si finalement l’individu est un imposteur avec ou sans son masque. L’enjeu de cet article est donc de consacrer une brève étude du masque, ou plutôt des masques portés dans le monde numérique et plus spécifiquement dans le cadre des jeux en ligne massivement multijoueurs, ou en lien avec ceux-ci.

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Harris, Sharon J. "Masqued Poetics in Your Five Gallants: Middleton's Response to Jonson". Ben Jonson Journal 25, n.º 2 (novembro de 2018): 242–76. http://dx.doi.org/10.3366/bjj.2018.0226.

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Thomas Middleton's city comedy Your Five Gallants and Ben Jonson's “comicall satyre” Cynthia's Revels make a surprising pair, given the lower-class London criminals and raucous, physical humor of Middleton's play and the Ovidian-inspired premise and courtly setting of Jonson's. Although heretofore unrecognized, Middleton based Your Five Gallants, his Blackfriars debut, on Jonson's own Blackfriars debut, Cynthia's Revels. This relationship becomes most apparent in the final masques that end both plays. Middleton also modeled the masque in his play on the first Jacobean court masque, Masque of the Knights. This article argues that under Middleton's hand the staged masque served a poetic function: As playgoers to Your Five Gallants responded to the embedded final masque, they enacted their social knowledge and thus claimed social positions. Through their responses to the masque the audience could demonstrate how they understood their status vis-à-vis the subjects of the satire, and, in a further extension of both form and content, the masque enabled Middleton to unmask and censure the audience and to mount a critique of Jonson's author-centered poetics, offering his own audience-based approach as a rebuttal.

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Pillot-Loiseau, Claire, e Bernard Harmegnies. "Perception auditive des effets de différents masques anti-COVID sur la parole conversationnelle, déclamée et le chant : étude de cas". Langues & Parole 7 (26 de dezembro de 2022): 67–92. http://dx.doi.org/10.5565/rev/languesparole.115.

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Quels sont les effets perceptifs, en environnement calme, du port de six types de masques anti-COVID sur l’identification et la discrimination de consonnes, celle de phrases parlées, déclamées et chantées en français produits par un homme et une femme ? 21 auditeurs ont identifié puis discriminé les consonnes /p, t, k, b, d, g, f, s, ʃ, v, z, ʒ/ en intervocalique produites par la locutrice, puis 39 auditeurs ont discriminé une phrase parlée, déclamée (par un locuteur et une locutrice) et chantée (par la locutrice, chanteuse) avec et sans masque : l’identification consonantique est peu affectée, excepté pour /b/ avec le masque à fenêtre transparente, mais la présence des masques à fenêtre transparente et FFP2 est fortement discriminée et avec certitude par rapport à la condition sans masque, à l’exception du chant qui semble peu sensible à l’atténuation de timbre entendue et verbalisée par les auditeurs pour les autres tâches.

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McKelvey, Chelsea. "Queen Anne's Body in Stuart Court Sermons". Ben Jonson Journal 28, n.º 2 (novembro de 2021): 237–57. http://dx.doi.org/10.3366/bjj.2021.0315.

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This article aligns the 1605, 1606, and 1609 court sermons of Lancelot Andrewes with Ben Jonson's Masque of Blackness and Masque of Beauty (performed in 1605 and 1608, respectively) in order to argue that both genres politicize James VI and I's domestic life by commenting on Queen Anne's political and domestic roles. Scholars have examined the ways in which Anne's performance in the court masques allowed her to claim a sense of authority and agency over her body. Recent research on sermons has demonstrated how they were another form of court entertainment, more akin to masques and plays than we might expect, and that the sermon genre often commented on ongoing political and domestic situations in the Stuart court. Yet, scholars have not considered how the masques prompted a response from another popular court genre, the sermon. In placing these two genres—sermon and masque—alongside one another, I argue that Andrewes's patriarchal downplaying of the woman's body in the Biblical Nativity narrative is actually a response to Jonson's masques, rather than the normative touchstone of early modern understandings of gender and maternity. Considering Andrewes's view of the female body as a contrast to Jonson's display and celebration of the female body reveals multiple models for understanding maternity in the early modern period.

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PLOTTON, C., e X. GOCKO. "Masque chirurgical ou FFP 2 ?" EXERCER 31, n.º 162 (1 de abril de 2020): 168–69. http://dx.doi.org/10.56746/exercer.2020.162.168.

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Quel est le masque idéal pendant la pandémie de Covid-19 ? De nombreux professionnels de santé posent cette question. Cette « rapid review » et ses trois méta-analyses incluses présentent les différences entre masques chirurgicaux et FFP2. Les masques chirurgicaux et FFP2 protègent les professionnels de santé. L’efficacité des FFP2 semble supérieure dans les études d’exposition, mais pas en contexte de soins, et les données sont insuffisantes pour conclure.

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Filacanapa, Giulia. "Les enseignements du masque". Manzuá: Revista de Pesquisa em Artes Cênicas 5, n.º 2 (23 de dezembro de 2022): 17. http://dx.doi.org/10.21680/2595-4024.2022v5n2id30979.

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Qu’apprend-on avec le masque ? Comment cette pratique est transmise aujourd'hui par les professionnels du spectacle vivant ? Que vient-elle apporter de spécifique dans l’apprentissage du jeu ? Que révèle-t-elle du rapport profond de l’homme à son imaginaire ? A travers l’analyse du travail mené par Christophe Patty, professeur de jeu masqué au Conservatoire National Supérieur d’Art Dramatique de Paris (CNSAD), nous tenterons d’appréhender la manière qu’a le masque aujourd’hui de participer au renouveau des pratiques scéniques par une approche du réel qui crée transcendance, déréalisation et mise à distance, tout en permettant d’échapper à la domination du principe d’individualisation.

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Sokolova, Alla. "The Origins of the Genre of the English Masque". Culturology Ideas, n.º 17 (1'2020) (2020): 89–98. http://dx.doi.org/10.37627/2311-9489-17-2020-1.89-98.

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This paper aims to analyze the scientific works of leading British researchers to identify the origins of the stages of the formation of the English Masques genre, the influence of continental culture on the Masques genre, understanding the specific features of the first prototypes of the Masques, as well as the “early” Tudor Masques, including the Masques of the times of Henry VIII and Elizabeth І. Research methodology. Twenty-one publications by leading English scholars on this subject are considered, including archival data and historical choirs. The materials of the scientific literature are studied using logical, historical, chronological, problem-chronological and historical-retrospective methods. Results. It has been revealed that Masque is a musical-theatrical performance, a stylized hybrid, where acting, dancing, chorus, musical interlude, poetry, masquerade costume, and stage design are closely intertwined and interact with each other. The origins of English Masques date back to the folk traditions and customs of England, the traditions of Christmas or seasonal festivals, and the development and formation of Masques was influenced directly by Italian and French culture. However, the English Masques had specific genre peculiarities inherent in the exclusively English version of the musicaltheatrical performance. The masques become a key pastime in the Tudor royal court, where the royal court play an important role. Novelty. In this paper, an attempt has been made to comprehensively investigate the origins of the English Masque genre, as well as to characterize the influence of continental European culture on the development of early English Masques. The practical significance. The materials of this study can be used at lectures and seminars on the history of foreign culture, theory and history of culture in secondary and higher education institutions.

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MacIntyre, Jean. "Buckingham the Masquer". Renaissance and Reformation 34, n.º 3 (1 de julho de 1998): 59–81. http://dx.doi.org/10.33137/rr.v34i3.10817.

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George Villiers, Duke of Buckingham (1592-1628), favorite of James I and of Charles I as both prince and king, used skill in dancing, especially in masques, to compete for and retain royal favor. Masques in which he danced and masques he commissioned displayed his power with the rulers he ostensibly served. His example and teaching taught Prince Charles that through masque dancing he might win his father's favor, and probably made Charles believe that his appearance in court masques of the 1630s would similarly win his subjects' favor.

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Jordàn, Manuel A. "Le masque comme processus ironique. Les makishi du nord-ouest de la Zambie". Anthropologie et Sociétés 17, n.º 3 (10 de setembro de 2003): 41–61. http://dx.doi.org/10.7202/015274ar.

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Résumé Le masque comme processus ironique Les makishi du nord-ouest de la Zambie L'utilisation des masques dans les cérémonies d'initiation des populations du nord-ouest de la Zambie est traditionnelle et chargée de messages symboliques mythiques et sociaux. Cet article vise à illustrer l'utilisation et les rôles des masques dans les contextes politiques postcoloniaux actuels au nord-ouest de la Zambie. Les masques traditionnels servent de lieu où penser et s'approprier les réalités nouvelles que les populations affrontent à travers l'humour et l'ironie des personnages masqués.

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Mais fontes

Teses / dissertações sobre o assunto "Masque"

Revial, Gaëlle. "Masque de l’écriture, écriture du masque. Amélie Nothomb et le courant « posthumain »". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040011.

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Ce travail se propose d’étudier la représentation du masque et l’influence de ce concept dans l’œuvre d’Amélie Nothomb, notamment pour lever le voile sur la monstruosité supposée de son écriture. Après avoir décrit le champ littéraire belge francophone et les différents courants littéraires dans lesquels semble évoluer la romancière, il s’intéresse tout d’abord aux masques utilisés par ses personnages pour tromper leur entourage et se tromper eux-mêmes, ainsi qu’à la vision du monde conjointement proposée au lecteur. Dans un second temps, il présente le masque comme une constance de la voix nothombienne, qu’elle se manifeste au travers de l’écriture thématique et stylistique de la romancière ou des émissaires constitués par ses personnages littéraires ou son personnage public. Enfin, il examine l’esthétique proprement caricaturale et grotesque des masques nothombiens, apte à faire basculer l’intrigue dans un cycle de type carnavalesque
This thesis proposes to examine the representation of the mask and the influence of this concept in Amélie Nothomb’s work, in particular to throw light on the unproven monstrousness of her writing. Before the description of the Belgian French languaged literature and the different literary currents in which the novelist seems to belong to, it takes an interest in masks used by her characters to deceive their surroundings or deceive themselves, and in the world vision that is proposed to the reader. Secondly it describes mask as a permanent feature of the Amélie Nothomb’s voice, in the novelist’s thematic and stylistic writing or in her public or literary characters. Then, it examines the caricatural and grotesque aesthetic of the Amélie Nothomb’s masks, which can make the story beginning a carnival cycle

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Dior, Julie. "Visage, masque et jeu". Paris 3, 1994. http://www.theses.fr/1994PA030185.

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Cette these a pour point de depart l'idee qu'il existe une certaine reciprocite entre le masque et le visage, idee contenue dans le mot grec prosopon qui designe a la fois le masque et le visage et qui indique que ceux-ci sont indissol ublement lies. En introduisant un mot distinct pour , les romains ont fatamement altere ce concept. La topologie , science de la variation et de l'invariant, confirme la pensee grecque sur le masque : le masque n'est que l'exemple le plus extreme des transformations du visage qui, lui, est en perpetuel devenir. Plus en amont, tout sujet pour lacan, comme tout langage pour jakobson, est une construction ou un jeu entre metaphore et metonymie. Le sujet est un signifian t pur, sans essencen- une serie de masques-- que lacan illustre au moyen des figures topologiques et du masque lui-meme. Deleuze, serres et badiou ont chacun a leur maniere incorpore ce concept dans des discours, pourtant, tres differents l'un de l'autre. Apres son exposition initiale, cette theorie du masque et du visage est articulee a travers plusieurs contextes : la fete de cour baroque a partir des tableaux d'arcimboldo, pirandello et la mise en doute de l'identite, l'image du miroir et le double au theatre, le gros plan au cinema comme masque, ainsi qu'a travers une selection de mise s en scene contemporaines. Le chapitre final introduit la categorie du reel, ou ce qui resiste a toute formalisation et qui se distingue ainsi radicalement du symbolique (metaphorique) et de l'imaginaire (metonymique). Il s'ensuit une reflexion sur ce que le concept topologique de l'identite signifie pour le masque et le visage au theatre
This thesis begins with the idea of a certain reciprocity between the face and the masque. This idea is contained in the greek word prosopon, which designates the face as well as the mask and thus indicates that the two are in an inseparable couple-relationship. By introducing a separate word for "face", the romans fatally altered this concept. Topology, the science of variations and invariables, confirms ancient greek thought on the mask : the mask is simply the most exagger ated example of the transformations of a face which is itself in a perpetual state of change or becoming. More profondly , all subjects for lacan, and all languages for jakobson, are a construction of or a play between metaphore and metonymy. The subject is a pure signifier, deprived of essence-- a series of masks-- which lacan illustrated by means of topolog ical figures and the mask itself. Deleuze, serres and badiou have, each in their own manner, incorporated this concept in discourses that are, however, very different one from the other. After its initial exposition, this theory of masks i s articulated in several contexts : baroque court festivities using arcimboldo's paintings as a point of departure, pira ndello and the calling into question of identity, the image in the mirror and the double in theatre, the cinematographic c lose-up as mask, as well as a selection of contemporary mises en scene. The final chapter introduces the category of r eal, or that which resists all attempts at formalization and which is thus radically distinct from symbolical (metaphorical) and imaginary (metonymical). A reflection follows on what the topological concept of identity signifies f or the mask and the face in theatre

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Oger-Schwarzer, Sylvie. "Le masque chez elias canetti". Paris 3, 1986. http://www.theses.fr/1986PA030141.

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Le theme du masque, d'une grande importance dans l'oeuvre d'elias canetti, se rencontre a la fois dans son etude anthropologique sur la puissance (masse und macht), dans sa conception du theatre et dans sa prise de conscience du langage. A travers l'image du masque, l'ecrivain s'efforce de montrer le figement et l'alienation interieurs des hommes de son temps. Cette etude repose sur trois points : - l'ambiguite du pouvoir qui culmine dans la paranoia ; maladie que canetti interprete differemment de freud. - les principes dramatiques elabores par l'ecrivain, leurs sources litteraires et temporelles. - une etude lexicale, morphologique et syntaxique de deux profils linguistiques ("masques acoustiques") presentes dans le roman die blendung. Les differents "masques acoustiques" des personnages apparaissant dans les drames hochzeit et komodie der eitel- keit sont resumes en annexe dans un tableau
The subject of a mask is of great importance in the work of elias canetti. It is found in his anthropological study of power (masse und macht), in his conception of theater as well as in his perception of language. Using the picture of mask, the author attempts to portray the alienation of people living in his age. The dissertation is divided into three sections : - the ambiguity of power which culminates in paranoia ; an illness which canetti interprets differently than freud. The dramatic principles of theater elaborated by the author, their literary and historic background. - a lexical, morphological and syntactical study of two linguistic profiles ("acoustical masks") presented in the novel die blendung. The different "acoustical masks" of the characters appearing in the two dramas hochzeit and komodie der eitelkeit are summarized in the end of the dissertation (annex)

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Burden, Michael J. "The British masque 1690-1800". Thesis, University of Edinburgh, 1991. http://hdl.handle.net/1842/20355.

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This thesis is a consideration of the theatre masque in Britain from the appearance of Dramatick Opera in 1690, to the end of the eighteenth century. Its central hypothesis is that those years which saw the greatest number of masques presented, also saw attempts to create an English operatic tradition, and that the subsequent brief popularity of the masque was a consequence of this activity. The study falls into three sections. The first part, 'definitions' considers the application of the word 'masque', in both primary and secondary discussions and studies; it also considers the problem of Acis and Galatea as a case study in theatrical terminology in the eighteenth century. In the second section, 'Directions', there are three main chapters (ii, iv and vi), with two interludes (iii and v). Sections ii, iv and vi each take one of the quantitively identified groups of masques (those of 1701, 1715-16 and 1733-4), and discuss their relation to the operatic and theatrical activity which was taking place at the time. Each of the interludes contains a short consideration of the genre which was an off-shoot of the masques previously discussed. Thus the masque burlesque follows the classical masque, and the pantomine masque follows the pastoral masque. The third and final part is a study of the masque of Alfred, of its dramatic, political and musical characteristics, of those who worked on it and those who watched it, of those who altered it and those who revived it.

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Oger-Schwarzer, Sylvie. "Le Masque chez Elias Canetti". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37601096g.

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Bouchetard, Alice. "Yasmina Reza, le miroir et le masque". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040012.

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Yasmina Reza, auteur de théâtre français, reconnue dans le monde entier, a reçu les prix les plus prestigieux : trois Molières (FR), un Laurence Olivier Award (GB), deux Tony Award (USA), le Die Welt (All), pour ne citer qu’eux. En France, elle est encore souvent considérée comme un auteur à succès, n’offrant au public qu’une forme de théâtre de boulevard contemporain. L’étude précise des textes dramatiques de Yasmina Reza, de sa langue, de ses personnages et des structures de ses pièces, laisse apparaître sous le masque de la comédie une richesse et une complexité plus profondes. Elle met en scène des personnages bourgeois dont la vie se caractérise par une certaine facilité, tout en levant le voile sur des préoccupations métaphysiques universelles. Il s’agit toujours de la confrontation de l’homme avec le monde ou avec ses semblables. Cette pensée de l’individu inquiet s’accompagne dans la forme d’une réflexion sur le pouvoir de l’art dramatique. La caractérisation bourgeoise de son théâtre est autant un miroir tendu au public qu’un masque qui voile une interrogation permanente sur le sens de la vie et de l’art, dans la continuité du travail de l’avant-garde du milieu du XXe siècle dont elle se révèle être une relève inattendue
The Famous French playwright Yasmina Reza received some of the most prestigious prices in the world : three Molières (FR), a Laurence Olivier Award (UK), two Tony Award (USA), a Die Welt (DE). Nevertheless, in France she is still considered as merely a successful author, with some kind of new farce to offer. A specific study of Yasmina Reza’s drama, including her language, her characters and the architecture of her plays, brings out other meaningful and complex colors from under the mask of comedy. She stages middle-class characters whose life is quite easy; in the meantime she reveals universal metaphysical issues. It is always about a clash between a person and the world or a person and his kind. This reflection about the anxious being goes on stage with a reconsideration of the power of theater. The middle-class characterization is a mirror for the audience as well as it is a mask that covers a constant questioning about the meaning of life and art, continuing the work of the avant-garde of the middle of the 20th century, of which she appears to be an unexpected new recruit

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Ravelhofer, Barbara. "The Stuart masque : dance, costume and remembering". Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311066.

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Zang, Ndong Pascaline. "Ecriture et masque : Approche sémiotique et poétique". Thesis, Limoges, 2017. http://www.theses.fr/2017LIMO0063/document.

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Les questions sur l’existence de l’écriture en Afrique ont toujours intéressé les milieux intellectuels, entre ceux qui pensent que l’écriture sur le continent est un phénomène nouveau, issu de la colonisation et ceux qui le remettent en question. La présente thèse se propose d’analyser la présence de l’écriture dans la société traditionnelle fang et démontrer que toute société a cette volonté d’inscription du sens afin de perpétuer la mémoire collective (rites, croyances et organisation sociale). C’est à travers le masque que cette problématique sera étudiée : le masque comme ce qui permet de lire cette « pensée de l’écriture ». Le second temps de ce travail, abordera le masque dans la littérature, à ses différents niveaux d’appréhension (masque culturel et masque social) sans les considérer comme hétérogènes mais pour en souligner la complémentarité. Puis, voir également comment l’écriture littéraire s’approprie le fonctionnement du masque chez deux auteurs : Ludovic Obiang et Sami Tchak, par la dissimulation ou encore le voile. L’intérêt ici est de reconsidérer la place des motifs traditionnels dans la littérature africaine contemporaine, comme tentative de réponses aux problématiques actuelles
Questions about the existence of writing in Africa have always interested intellectual circles, between those who think that writing on the continent is a new phenomenon resulting from colonization, and those who challenge it. The present thesis proposes to analyze the presence of the writing in the traditional Fang society, and to demonstrate that every society has that will of inscription of meaning in order to perpetuate the collective memory (rites, beliefs and social organization). It is through the mask that that problematic will be studied: the mask as the means of reading that "thought of writing". The second stage of this work, will deal with the mask in literature, through its different levels of apprehension (cultural mask and social mask) without considering them as heterogeneous, but to emphasize its complementarity. Then, this work will also highlight how the literary writing appropriates the functioning of the mask in two authors: Ludovic Obiang and Sami Tchak, through concealment or veil. The interest here is to reconsider the position of traditional symbols in contemporary African literature, as an attempt to answer to current questions

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Haslem, Michelle. "Familial politics and the Stuart court masque". Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367810.

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This thesis contends that the monarch-centred view of the masque, which has prevailed since the publication in the 1960s and 1970s of Stephen Orgel's seminal works on the genre, needs to be challenged in the light of recent scholarship on the cultural agency of other members of the royal family. In my introduction I argue that while the New Historicism has been crucial in elucidating the theatricalization of power in the early Stuart court, its insistence on the inevitability of the collusion between art and sovereign power needs to be questioned. The masque has long been seen as a monolithic and univocal celebration of monarchical power, despite the fact that it was promoted at court not by King James but by other members of the royal family. Adopting a loosely chronological approach, this thesis retells the story of the 'Jacobean' court masque by recovering the role played in the commissioning and performance of masques by James's wife, his children, and his male favourites. The chapters set out to hear voices other than that of the King, and discover that, while panegyric was part of each masque, it was rarely as unequivocal as traditional criticism has suggested. On the contrary, the annual masques were frequently appropriated to express the oppositional agendas of factions at court, and above all, of members of James's own family. I argue that Queen Anne set a precedent for the disruptive use of the masque which she exploited to present herself as independent from the King, and to emphasise her importance as the mother of the royal children. Prince Henry, and later Prince Charles, both used the masque to contest the pacifist policies of the King, while Buckingham's success as a favourite was linked to his skilful exploitation of the masques as an integral part of his self-fashioning. Above all by shifting the focus away from King James to consider the more active participation in the masque of other members of the royal family, this thesis offers a possibility of moving beyond the current impasse of the subversion / containment debate to a more nuanced reading of the culture of the early Stuart court which recognises the delicate process of negotiation and accommodation in which the masquers and their audiences were engaged.

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Thieffry, Luc. "Marcel pagnol : la plume et le masque". Lille 3, 1996. http://www.theses.fr/1996LIL30029.

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Marcel pagnol, si connu et si inconnu. Marcel pagnol aux multiples identites : dramaturge, cineaste, romancier, adaptateur, essayiste, dialoguiste, traducteur mais aussi mathematicien, mecanicien, inventeur, ingenieur, geologue et medecin. Chez pagnol tout semble s'organiser comme si l'instauration d'une identite se devait de passer par la multiplicite des identites. Personnage en perpetuelle mouvance, en constante mobilite. Tout aura commence par le deces de la mere lorsque pagnol avait quinze ans. A partir de ce jour, pagnol s'etourdira dans une sorte de mouvement perpetuel dont le but sera d'occulter au mieux l'inconsolable perte mais dans le meme temps l'insupportable immobilite, l'insoutenable statisme de la mort. Desormais chez pagnol on ne pourra plus faire l'impasse sur la mobilite, et que ce soit par la structure de son oeuvre qui s'inscrit dans le dynamisme genealogique de la reference, de la repetition et de l'affiliation, par ses theories sur le rire considere comme la mobilite de l'ecriture ou par son obsessionnelle curiosite, pagnol instaurera constamment la mobilite et le dynamisme en veritable ethique. Toutefois, ce pagnol aux multiples identites, ce pagnol disperse reussira in extremis a s'y retrouver dans son oeuvre ultime : le secret du masque de fer, ou, derriere une banale enquete historique s'inscrira enfin, par un travail de dix ans sur un demasquage, le demasquage de son propre personnage. Oeuvre qui s'organisera au bout du compte comme une psychanalyse liberatrice ou pagnol, enfin retrouve, tombera lui-meme son propre masque
Marcel pagiiol wellknown and also unknown has so many identities : dramatist, film-maker, novelist, adapter, essayist, screen-writer, translator but also mathematician, mechanic, inventor, engineer, geologist, doctor. Concerning pagnol everything seems to be organized as if the establishment of an identity would have to go through numerous identities. He is a character in a never-ending and continuous mobility. It all began with the death of his mother when pagnol was fifteen. From that day on, pagnol drowned in a never ending movement which aim was to overshadow the best he could the unbearable loss and in the same time the unbearable stillness, the unbearable immobility of death. From that time on it will be impossible to miss mobility concerning the structure of his work fitting in with genelogical dynamism, as well as the reference, the repetition, the affiliation according to his theories on laughter leading to mobility in writing, according to his obsessional curiosity. Pagnol constantly established his ethics witli mobility and dynamism. However this pagnol with numerous identities, this scattered pagnol will succeed in extremis in his ultimate work "le secret du masque de fer" where behind a very common historical quest, there is a ten-years-work on unveiling his own character. This work is, therefore, organized as a freeing psychoanalyse leading pagnol to drop his own mask

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Livros sobre o assunto "Masque"

Byrne, Elena Karina. Masque. Dorset, Vt: Tupelo Press, 2008.

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1948-, Costello Matthew J., ed. Masque. New York: Warner Books, 1998.

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Grell, Mike. Masque. New York: DC Comics, 1997.

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Drouillard, Jean-Raoul Austin de. Le masque. Sainte-Croix: Mon village, 2007.

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Lewitt, Shariann. Interface Masque. New York: Tor, 1997.

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Grell, Mike. Batman: Masque. New York, NY: DC Comics, 1997.

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Death masque. New York: Walker, 1986.

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1963-, Bhimji Zarina, e John Hansard gallery, eds. The masque. [Southampton]: John Hansard Gallery, 1998.

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Ryan, Jenna. Midnight masque. Richmond, Surrey: Silhouette Intrigue, 1994.

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Alice's Masque. London: Jonathan Cape, 1994.

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Capítulos de livros sobre o assunto "Masque"

Lindley, David. "Masque". In A New Companion to Renaissance Drama, 355–70. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781118824016.ch26.

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Bährle-Rapp, Marina. "masque". In Springer Lexikon Kosmetik und Körperpflege, 342. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-71095-0_6336.

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Dutton, Richard. "The Masque". In Teaching Shakespeare and Early Modern Dramatists, 187–217. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230593206_14.

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Wood, Michael. "Metaphor and Masque". In A Companion to George Eliot, 35–45. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118542347.ch2.

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Pinnock, Andrew. "Masque and opera". In Approaching Historical Sources in their Contexts, 87–112. New York : Routledge, 2020. | Series: Routledge guides to using historical sources: Routledge, 2020. http://dx.doi.org/10.4324/9781351106573-6.

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Shelley, Percy Bysshe. "‘Masque of Anarchy’". In Documents on the Nineteenth Century United Kingdom Constitution, 29–43. London: Routledge, 2023. http://dx.doi.org/10.4324/9780367816148-12.

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Thomas, David. "Tragedy, Masque and Opera". In William Congreve, 104–23. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-22322-0_7.

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Shohet, Lauren. "The Masque as Book". In Arizona Studies in the Middle Ages and Renaissance, 143–68. Turnhout: Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.asmar-eb.3.114.

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British Drama 1533–1642: A Catalogue. "247: Wedding Masque or Masques". In British Drama 1533–1642: A Catalogue, Vol. 1: 1533–1566, editado por Martin Wiggins e Catherine Richardson. Oxford University Press, 2011. http://dx.doi.org/10.1093/oseo/instance.wiggins247.

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Buttay, Florence. "Masque". In Peindre en leur âme des fantômes, 282–84. Presses universitaires de Rennes, 2018. http://dx.doi.org/10.4000/books.pur.175101.

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Trabalhos de conferências sobre o assunto "Masque"

Wang, Chi, Da-Yuan Huang, Shuo-wen Hsu, Chu-En Hou, Yeu-Luen Chiu, Ruei-Che Chang, Jo-Yu Lo e Bing-Yu Chen. "Masque". In UIST '19: The 32nd Annual ACM Symposium on User Interface Software and Technology. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3332165.3347898.

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Kühlewind, Mirja, Matias Carlander-Reuterfelt, Marcus Ihlar e Magnus Westerlund. "Evaluation of QUIC-based MASQUE proxying". In CoNEXT '21: The 17th International Conference on emerging Networking EXperiments and Technologies. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3488660.3493806.

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Cope, Zoe Lynne. "Architectural Ghosts: Storytelling and the Urban Imaginary". In 2018 ACSA International Conference. ACSA Press, 2018. http://dx.doi.org/10.35483/acsa.intl.2018.50.

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‘Architectural Ghosts’ proposes architecture as a series of eleven speculative cities that function as characters engaged in a theatrical masque set in contemporary Rome, Italy. The project challenges traditional methods of architectural preservation and memory by presenting a new way to imagine history at the intersection of narrative and architecture. ‘Architectural Ghosts’ seeks to qualify experiences of architecture, performance and the social imaginary as catalyzed by the urban environment.

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Scharnitzky, Donat, Zsolt Kramer, Sandor Molnar e Attila Mihaly. "Real-time Emulation of MASQUE-based QUIC Proxying in LTE Networks using ns-3". In CACML 2023: 2023 2nd Asia Conference on Algorithms, Computing and Machine Learning. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3590003.3590995.

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Bouchet, Marie, e Yves Iehl. "La poétique du masque — De la «Nouvelle rêvée» d’Arthur Schnitzler au film de Stanley Kubrick, Eyes Wide Shut". In Territoires du récit bref. De l'image dans la fiction à l'imaginaire en science-fiction. Fabula, 2018. http://dx.doi.org/10.58282/colloques.5265.

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Zhang, Siyou, Zhongwen Pei e Jiangyu Sun. "Analysis of Implied Meaning of Color Terms in the Novel The Masque of the Red Death from the Perspective of qEffect Theoryq". In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.96.

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Sioli, Angeliki. "The Detective Stories Studio: The Function of Fiction in Shaping Architectural Education". In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.89.

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Presenting the example of the “Detective-Stories Design Studio” as a case study for a master-level course, this paper explores the role of literature and fiction in architectural education. Through selected Edgar Allan Poe short stories, the paper unpacks three distinct approaches that the studio employed in incorporating literature for the exploration of contemporary design issues. Touching on the ongoing conversation on atmosphere and space the first approach introduces literature as an exploration of a place’s lived experience. It examines fiction’s potential to communication spatial qualities and moods, allowing us to understand how these intangible elements influence our perception and appropriation of a given environment. Based on these characteristics the design work focuses on the creation of a device that attunes students with the specific atmosphere that Poe’s short story “The Masque of Red Death” uniquely captures. The second approach touches on literature’s imaginative power to suggest unexpected and many times overlooked uses of space. Based on “The Purloined Letter,” the design-work heavily draws from the spatial investigative techniques analyzed in the short story to proceed with an unconventional site analysis. The third methodology emerges from literature’s capacity to point towards paramount sociological conditions of space, in a way that allows us to reconsider and re-evaluate our own everyday reality. Poe’s “Black Cat” tangibly confronts the issue of domestic violence in American society and the design assignment addresses this issue. The paper concludes with a contextualization of the suggested methodological approach in relation to the renewed architectural interest in literature, as manifested the last ten years through interdisciplinary conferences and publications both in North America and Europe. The paper places “The Detective-Stories Studio” in this contemporary pedagogical and research context and evaluates its significance and uniqueness in the ongoing conversation.

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Danilevičienė, Irena. "DARBO UŽMOKESČIO NELYGYBĖS ĮTAKA SOCIALINĖS ATSKIRTIES FENOMENO ATSIRADIMUI". In Conference for Junior Researchers „Science – Future of Lithuania“. VGTU Technika, 2016. http://dx.doi.org/10.3846/vvf.2016.009.

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Socialinė atskirtis yra viena iš pagrindinių valstybiniu mastu aptariamų problemų. Mokslininkai įtraukia socialinę atskirtį nagrinėdami skurdo, nedarbo ir darbo užmokesčio nelygybės problemas, tačiau išsamių teorinių bei praktinių šio reiškinio studijų Lietuvoje beveik nėra. Straipsnio tyrimo objektas – socialinė atskirtis kaip darbo užmokesčio nelygybės pasekmė. Straipsnio tikslas - įvertinti darbo užmokesčio nelygybės įtaką socialinės atskirties formavimuisi. Tikslui pasiekti yra iškelti tokie uždaviniai: išnagrinėti mokslinę literatūrą darbo užmokesčio ir socialinės atskirties srityje, įvertinti darbo užmokesčio nelygybės ir socialinės atskirties plėtros mastus bei pateikti minėtų problemų sprendimo pasiūlymus. Straipsnyje taikomi metodai: mokslinės literatūros analizė, teorinių ir praktinių teiginių sugretinimo metodas, statistinių duomenų analizė.

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Gowda, Shreyasvi. "MaskUp!" In HRI '21: ACM/IEEE International Conference on Human-Robot Interaction. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3434074.3446942.

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Roy, Rohan Basu, Tirthak Patel, Vijay Gadepally e Devesh Tiwari. "Mashup". In PPoPP '22: 27th ACM SIGPLAN Symposium on Principles and Practice of Parallel Programming. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3503221.3508407.

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Relatórios de organizações sobre o assunto "Masque"

Coultas, Mimi, Ruhil Iyer e Jamie Myers. Compendium sur le lavage des mains dans des contextes pauvres en ressources : Document évolutif 3e édition. The Sanitation Learning Hub, Institute of Development Studies, outubro de 2020. http://dx.doi.org/10.19088/slh.2020.014.

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Se laver les mains fréquemment et correctement avec du savon est l’une des mesures de prévention les plus importantes pour lutter contre la propagation du coronavirus, en plus des mesures de distanciation physique, éviter de se toucher le visage (les yeux, le nez et la bouche) et pratiquer une bonne hygiène respiratoire, notamment le port d’un masque le cas échéant . L’accès universel à des installations de lavage des mains avec de l’eau et du savon est aussi essentiel si nous voulons atteindre l’Objectif de développement pour le millénaire (ODD) 6.2. Pourtant 40 pour cent des ménages n’ont pas accès à une installationdotée d’eau et de savon, et 18 pour cent d’entre eux ne disposent d’aucune installation (OMS et UNICEF, 2020a). En réponse à la pandémie mondiale de COVID -19, la Sanitation Learning Hub de l’Institute of Development Studies a rapidement préparé le Compendium sur le lavage des mains dans des contextes pauvres en ressources qui peut servir à appuyer un accès accru à des installations et promouvoir des comportements positifs de lavage des mains durant la pandémie et au-delà.

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Fuller, John H. Sam Massie Chair of Excellence Research. Office of Scientific and Technical Information (OSTI), outubro de 2011. http://dx.doi.org/10.2172/1162058.

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Johnson, James H. Samuel P. Massie Chair of Excellence Program. Office of Scientific and Technical Information (OSTI), dezembro de 2014. http://dx.doi.org/10.2172/1165364.

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Mwenifumbo, C. J. Mise-a-La-Masse Experiments in the Maclean Extension Orebody. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1987. http://dx.doi.org/10.4095/122406.

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DeLoach, Scott A. Analysis and Design using MaSE and agentTool. Fort Belvoir, VA: Defense Technical Information Center, abril de 2001. http://dx.doi.org/10.21236/ada448191.

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Adeyiga, Adeyinka A. Samuel P. Massie Chair of Excellence In Environmental Disciplines: Hampton University 1994-2010 Year Report. Office of Scientific and Technical Information (OSTI), dezembro de 2014. http://dx.doi.org/10.2172/1165483.

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Beasley, C. W., e S. H. Ward. Three-dimensional mise-a-la-masse modeling applied to mapping fracture zones. Office of Scientific and Technical Information (OSTI), junho de 1985. http://dx.doi.org/10.2172/5115895.

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Andreas, Balthasar, e Schalcher Hans-Rudolf. Forschung für die Schweizer Energiezukunft. Swiss National Science Foundation (SNSF), janeiro de 2020. http://dx.doi.org/10.46446/publikation_nfp70_nfp71.2020.1.de.

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Das Resümee des NFP «Energie» ist ein Beitrag der Wissenschaft zur Meinungsbildung, zur politischen und fachlichen Debatte sowie zur Strategie- und Massnahmenplanung für die Transformation des Energiesystems vor dem Hintergrund der Energiestrategie 2050 der Schweiz. Mit den Lösungsansätzen und Empfehlungen spricht das Resümee insbesondere jene Schlüsselakteure an, die das Energiesystem in wesentlichem Masse prägen und entsprechend auch gestalten können.

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Cauchon-Voyer, G. Morpho-sédimentologie et mouvements de masse au large de la rivière Betsiamites, estuaire du Saint-Laurent. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2007. http://dx.doi.org/10.4095/224420.

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Royer, Annie, Patrick Mundler e Julie Ruiz. L’évolution du secteur bioalimentaire au Québec de 1961 à 2016. CIRANO, novembro de 2023. http://dx.doi.org/10.54932/jhvl6079.

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La production agricole a subi de profondes transformations au cours des dernières décennies : spécialisation des entreprises, concentration au sein d’entreprises de plus en plus grandes, industrialisation des processus de production et intensification de l’usage des ressources. Toutefois, ces évolutions dans la production agricole masquent des différences entre les secteurs. Comment l’évolution sectorielle des productions agricoles a-t-elle façonné les territoires du Québec ? Dans une étude CIRANO (Royer et al. 2023), les auteurs analysent les dynamiques spatiales du secteur bioalimentaire sur plus de cinq décennies et identifient les principaux facteurs qui expliquent ces dynamiques. Il s’agit de la première étude qui examine les liens entre dynamiques spatiales et évolution sectorielle de l’agriculture.

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