Добірка наукової літератури з теми "Jean Schlumberger"

A concepção de que a guerra seria uma luta da civilização contra a barbárie, na qual o engajamento pessoal e a mobilização dos cidadãos se embeberiam de um sentimento de ódio pelo inimigo nacional, foi o discurso que estabeleceu o eixo principal dos sistemas de representação social, na França da Grande Guerra. Enquanto representação coletiva, a radical desumanização do inimigo (a Alemanha), que com sua suposta barbárie ameaçaria a civilização (a França), foi a fórmula que fundamentou grande parte da mobilização física e intelectual dos franceses. Traduzido para a experiência pessoal destes homens, o ódio ao inimigo aparece como um sentimento real, internalizado pelos que vivenciaram a brutalidade da guerra; e um sentimento histórica e identitariamente construído, que toma forma de acordo com a experiência de cada um. Tendo em conta o interesse da História Cultural em restituir aos sentimentos seu justo lugar na conformação do passado, este artigo se propõe a seguir a trajetória de três homens de letras - André Gide, Jean Schlumberger, e Jacques Rivière -, investigando como suas experiências de vida levaram-nos a expressar o ódio, produzindo representações diversas do inimigo, durante dois momentos de grande comoção na França: a passagem da paz à Guerra, em agosto de 1914; e, com a vitória, o retorno da guerra à paz, no entre-guerras que se seguiu.

The last year has seen people in many sectors unexpectedly confronting a new challenge—working remotely. Even before this, our industry has been trying to operate fields remotely (either partially or fully) and make operations smarter and more automated. Key drivers are to improve safety in operations, maximize production, and make operations more efficient. These efforts have been enabled by the rapidly changing technology landscape—in sophisticated acquisition and analysis of data and increased connectivity (from both fiber-optic and cellular networks). It also has been accelerated by the push across the industry to digitalize. We now acquire, process, and analyze much more detailed operations data and use the analysis to actively control wells and operations. This feature highlights recently presented papers that cover the following topics. How Digital Transformation Has Progressed. Paper OTC 30794 discusses similar efforts in other sectors, including marine/ship building and auto manufacturing. Paper SPE 200728 discusses use of a digital twin to improve operational efficiency in a mature brownfield setting (Brage Field in the Norwegian North Sea). Paper OTC 30488 describes extensible and scalable remote monitoring and control using a digital decision assistant. How Technology Has Enabled Data Acquisition and Analysis From Relatively New Sources [e.g., Distributed Temperature Sensing (DTS) or Distributed Acoustic Sensing]. Paper SPE 200826 describes seven DTS applications from around the world that monitor well integrity, stimulation, and injection profiles and identify gas, water, or sand production. Paper OTC 30442 and other papers from the Bokor field in Malaysia describe DTS data from fiber-optic cable behind casing in wells with smart completions. Papers IPTC 19574 and SPE 202349 show how pressure telemetry can enable wireless control of completions. The Path to Fully Remotely Operated Fields. Paper SPE 203461 discusses the design and execution of digitalization and remote operations in a new development area with high hydrogen sulfide (the Mender satellite field in the UAE). Paper SPE 202667 describes the applications for multiple autonomous robots controlled remotely. Digital transformation of work flows and operations clearly is happening across the industry and adding significant value. The next frontier on the digital transformation and Industry 4.0 journey might be to achieve step-change increases in oil and gas recovery factors. Recommended additional reading at OnePetro: www.onepetro.org. SPE 200728 - The Digitalization Journey of the Brage Digital Twin by Peter Kronberger, Wintershall, et al. OTC 30442 - Innovative Solution for IWAG Injection Monitoring Using Fiber-Optic Cable Cemented Behind Casing in an Intelligent Well: A First in Malaysia by Nur Faizah P. Mosar, Schlumberger, et al. SPE 202667 - Operations Room: A Key Component for Upscaling Robotic Solutions on Site by Jean-Michel Munoz, Total, et al. OTC 30488 - Machine-Learning-Enabled Digital Decision Assistant for Remote Operations by Vitor Alves da Cruz Mazzi, Intelie, et al. IPTC 19574 - Research and Application of Downhole Remote Wireless Control Technology Based on Gas Pressure Wave in Tubing by Mingge He, China National Petroleum Corporation, et al. SPE 202349 - Pressure Wave Downhole Communication Technique for Smart Zonal Water Injection by Quanbin Wang, China National Petroleum Corporation, et al.

Le propos de l'edition de la correspondance echangee entre andre gide et jean schlumberger est de retracer les conditions dans lesquelles fut creee la nouvelle revue francaise et d'examiner quelques unes des causes de sa perennite
The aim of this edition of the correspondence between andre gide and jean schlumberger is to retrace the circumstances in which the nouvelle revue francaise was born and to examin some of the reasons its long-term success

L’édition de la correspondance conjugale entre Jean Schlumberger (1877-1968) et Suzanne Weyher (1878-1924), échangée entre 1899 et 1912, est un document polymorphe ouvert à de multiples usages. D’abord, cette relation épistolaire sert l’histoire des mentalités, car les lettres privées nous font découvrir les jeunes partenaires protestants, à l’aube de leurs fiançailles, puis de leur mariage et nous disent comment ils s’inscrivent dans leur univers social bourgeois. En cela, les missives sont un document historique sur la société bourgeoise de la fin XIXe – début XXe siècle. Ainsi, les 539 lettres reproduites dans la présente édition révèlent tout un pan du passé. Ensuite, ego-document, la lettre est archive du moi. À la manière de Marie-Claire Grassi, nous avons privilégié une « approche monographique sur longue durée », afin de mettre « en évidence l’évolution des sentiments à l’intérieur d[u] couple », en tentant de répondre à la question : l’homme et la femme parlent-ils le même langage ? Cela nous a permis d’affirmer que l’échange épistolaire entre Jean et Suzanne Schlumberger est d’abord un exemple de correspondance amoureuse. Chacun à leur manière, par la narration de la vie de tous les jours, les deux scripteurs « ordonnent et reconstruisent de manière implicite le paysage amoureux ». Au rythme des lettres d’amour, le canal épistolaire devient le lieu par excellence où se construit la sphère familiale, puisque les deux individus deviennent parents. À travers ces extraits de vie que sont les témoignages épistolaires, se constitue une illustration de l’Histoire de la maternité et de la paternité dans un contexte législatif particulier, où la femme est sous le joug du Code Napoléon. Réflexions et pensées autour de ces bouleversements de vie, à la fois intersubjectifs et sociaux, donnent à voir les nouveaux parents essayant de se définir dans leur singularité, entre tradition et modernité. Conjugale, familiale, la relation épistolaire de Jean et Suzanne Schlumberger est aussi artistique. S’affranchissant tous deux d’une éducation commune prohibitive et mus par des idées avancées, les époux s’épanouissent progressivement dans leur art respectif, Jean l’écriture, Suzanne la peinture. Outils privilégiés d’une étude interactionniste entre l’être humain et l’œuvre, les lettres conjugales sont autant de signes qui font sens et illustrent l’histoire intime de deux artistes. Même si Jean Schlumberger affirmait à son amie Aline Mayrisch avoir « jalousement gardé » sa vie privée à l’écart de sa vie littéraire, la correspondance intime et artistique, mêle pourtant, au cœur même des lettres de Jean, le récit de ses rencontres professionnelles, publiques, qui sont engrais pour l’histoire littéraire de l’époque. Et pour cause, à mesure que se développe la carrière d’écrivain de Jean Schlumberger ainsi que sa place, qui devait être cruciale au sein de La Nouvelle Revue Française, la correspondance privée, pourtant par définition close sur elle-même, s’ouvre au monde littéraire. Les notions oxymoriques « privé » et « public » s’entrechoquent au cœur de la correspondance du couple Schlumberger, nous faisant découvrir le rôle minime mais inconnu, de Suzanne au sein de l’entreprise éditoriale qu’est La Nouvelle Revue Française. Dans les lettres de Jean Schlumberger, la frontière, de plus en plus frêle entre intérieur et extérieur s’étiole davantage face à la présence, exponentielle, du futur prix Nobel de littérature (1947), André Gide, empiétant sur la légitimité épistolaire de Suzanne. Celle-ci adopte alors de nouvelles stratégies énonciatives et fait de son amitié avec Madeleine Gide, la marraine de Sabine Schlumberger, un nouveau duo énonciatif rendant le discours épistolaire, polyphonique. Les lettres sont le miroir des relations littéraires et artistiques de l’époque. La correspondance des époux Schlumberger a donc de multiples intérêts, d’ordre historique, sociologique, biographique, psychologique, générique, littéraire et artistique
The edition of the marital correspondence between Jean Schlumberger (1877-1968) and Suzanne Weyher (1878-1924), exchanged between 1899 and 1912, is a polymorphic document open to multiple uses. First of all, this epistolary relationship serves the history of mentalities, as private letters introduce us to the young Protestant partners, at the dawn of their engagement and then their marriage, and tell us how they fit into their bourgeois social universe. In this respect, the missives are a historical document on bourgeois society at the end of the 19th and beginning of the 20th century. Thus, the 539 letters reproduced in the present edition reveal a whole section of the past. Then, ego-document, the letter is an archive of the self. In the manner of Marie-Claire Grassi, we have favoured a "long-term monographic approach" in order to "highlight the evolution of feelings within [a] couple", trying to answer the question : do men and women speak the same language ? This allowed us to affirm that the epistolary exchange between Jean and Suzanne Schlumberger is first of all an example of love correspondence. Each in their own way, through the narration of everyday life, the two writers "implicitly order and reconstruct the landscape of love". To the rhythm of the love letters, the epistolary channel becomes the place par excellence where the family sphere is built, since the two individuals become parents. Through these extracts of life that are the epistolary testimonies, an illustration of the History of motherhood and fatherhood in a particular legislative context, where women are under the yoke of the Napoleonic Code, is constituted. Reflections and thoughts on these life upheavals, both intersubjective and social, show new parents trying to define themselves in their singularity, between tradition and modernity. Conjugal, familial, the epistolary relationship of Jean and Suzanne Schlumberger is also artistic. Both freeing themselves from a prohibitive common education and driven by advanced ideas, the spouses gradually blossomed in their respective art, Jean writing, Suzanne painting. Privileged tools of an interactionist study between the human being and the work, the conjugal letters are as many signs that make sense and illustrate the intimate history of two artists. Even if Jean Schlumberger told his friend Aline Mayrisch that he had "jealously guarded" his private life away from his literary life, the intimate and artistic correspondence nevertheless blends, at the very heart of Jean's letters, the account of his professional and public encounters, which are fertilizer for the literary history of the time. And for good reason, as Jean Schlumberger's career as a writer developed and his place, which was to be crucial within La Nouvelle Revue Française, private correspondence, though by definition closed in on itself, opened up to the literary world. The oxymoronic notions of "private" and "public" collide at the heart of the Schlumberger couple's correspondence, making us discover Suzanne's minimal but unknown role within the editorial enterprise that is La Nouvelle Revue Française. In Jean Schlumberger's letters, the increasingly frail boundary between inside and outside is further weakened by the exponential presence of the future Nobel Prize winner for literature (1947), André Gide, encroaching on Suzanne's epistolary legitimacy. Suzanne then adopted new enunciative strategies and turned her friendship with Madeleine Gide, Sabine Schlumberger's godmother, into a new enunciative duo that made the epistolary discourse polyphonic. The letters mirror the literary and artistic relationships of the time. The correspondence of the Schlumberger couple therefore has multiple interests, historical, sociological, biographical, psychological, generic, literary and artistic

La fiction longue entièrement composée d'une lettre ininterrompue – le roman (ou la pièce) épistolaire monologique – représente un cas de figure négligé, souvent même refusé, par la théorie. Son existence est démontrée ici par un corpus de quinze textes en anglais, français, italien et allemand, de Gide (1902) à Norman (2011) via Yourcenar, Coetzee, Celestini, ou Amis.Ce travail mesure dans un premier temps les dimensions de cet inventaire : sa largeur, grâce à la mise en place d'un cadre formel ; sa longueur historique ; la profondeur de ses interactions avec la lettre réelle, le genre épistolaire, et enfin avec les qualités épistolaires de toute fiction, dont la lettre monologique est un miroir aux déformations calculées.Le corpus révèle l'intérêt de ce cadrage technique grâce à des thèmes récurrents, qui interrogent trois caractéristiques-clé de l'écriture épistolaire. Le thème de la mort de soi (Yourcenar, Coetzee, Bernstein, Robinson, Amis) se conjugue à une réflexion sur la structure physique de tout texte que la lettre rend soudainement tangible, établissant une réflexion sur la lettre-cadavre. Une imagerie apocalyptique (Auster, Coetzee, Amis) problématise ensuite cette idée de la lettre qui se résumerait comme manifestation physique de la mort de l'auteur ; il met en scène un portrait de la temporalité qui ouvre à des superpositions et des rencontres. Ces deux chapitres établissent les pôles du débat pour un dernier, qui emprunte l'imagerie du double pour parler de la communication épistolaire (Gide, Coetzee, Bernstein, Celestini). Après l'absence et la correspondance, ce chapitre interroge le problématique “avec” du titre ; le plan narré de la lettre et le plan dramatique de son envoi sont rejoints par un troisième, pragmatique, posant la question de l'éthique de la correspondance épistolaire, et à travers elle, l'éthique de la fiction même
Long fictions composed of one uninterrupted letter – monologic epistolary fictions – are underrepresented in critical discourse, and frequently shunted more or less overtly beyond its margins. Their existence is brought to light here by one play and fourteen novels in French, English, Italian and German, ranging from 1902 (Gide) to 2011 (Norman) via a cast of authors including Yourcenar, Coetzee, Amis and Celestini.This study aims firstly to fill the critical lacuna, establishing the dimensions of this new sub- genre. It measures the breadth of the formal definitions of the single-letter epistolary novel, the length of its inscription in literary history, and the depth conferred upon it by critical discourse about real letters, the letter-novel genre and a certain epistolary quality to be found in all literature, which our novels set themselves up to reflect and refract.Our rather disparate corpus of texts reveals the interest of this technical framework, haunted as it is by recurrent themes which illuminate the characteristics of monological epistolary writing. Firstly, the theme of one's own death (Yourcenar, Coetzee, Bernstein, Robinson, Amis) shines a light on the physical structure of any text, rendered visible in the format of the letter; this conjunction suggests the idea of the text as corpse. A series of apocalyptic universes complicates this rather empirical portrait, which reads like the symbol of the Death of the Author; novels by Coetzee, Amis and Auster use complex portraits of fictional time to suggest the possibility of coincidence, overlap, meetings both epistolary and literary. These two chapters set up the terms of a final debate concerning literary communication, investigated via the symbol of the double (Gide, Coeztee, Bernstein, Celestini). After the narrative of the text itself and the implied drama of the letter's trajectory, a pragmatic dimension comes to light. This final analysis allows us to investigate the ethics of correspondence, and the letter as one key to understanding those of fiction itself