Статті в журналах: "Maurice Denis"

1

Vanlaer, Monique. "Un Nabi, Maurice Denis." Diplômées 148, no. 1 (1989): 17–18. http://dx.doi.org/10.3406/femdi.1989.5988.

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2

Stahl, Fabienne. "Maurice Denis dans la Grande Guerre1." Revue LISA / LISA e-journal, Vol. X – n° 1 (March 13, 2012): 15–33. http://dx.doi.org/10.4000/lisa.4814.

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3

Cerman, Jérémie. "Les Bateaux roses de Maurice Denis." Nouvelles de l'estampe, no. 238 (March 1, 2012): 20–35. http://dx.doi.org/10.4000/estampe.1054.

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4

Genty, Gilles. "Maurice Denis : des métamorphoses d’Éros à Clio." Histoire de l'art 5, no. 1 (1989): 99–107. http://dx.doi.org/10.3406/hista.1989.2320.

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5

Stahl, Fabienne. "Maurice Denis (1870-1943) et le Stic B." Histoire de l'art 58, no. 1 (2006): 93–103. http://dx.doi.org/10.3406/hista.2006.3137.

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6

Canovas, Frédéric. "De Gide à Denis ou de Cézanne à Athman : la relation peintre–écrivain face à la question du classicisme." Romanica Wratislaviensia 64 (October 27, 2017): 57–73. http://dx.doi.org/10.19195/0557-2665.64.6.

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FROM GIDE TO DENIS OR FROM CÉZANNE TO ATHMAN : THE PAINTER–WRITER RELATIONSHIP AND THE ISSUE OF CLASSICISMIn 1900, French writer André Gide purchased Maurice Denis’s Homage to Cézanne, nowadays in the collection of Musée d’Orsay. Considered a turning point in Denis’s career, the painting celebrates the new values of classicism that Denis discovered in the company of Gide while in Rome two years earlier. This essay discusses the similarities between the painter’s and the writer’s own definitions of classicism, while focusing also on the way in which each one of them applied this definition to their own work.

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7

Marlais, Michael. "CONSERVATIVE STYLE/CONSERVATIVE POLITICS: MAURICE DENIS IN LE VÉSINET." Art History 16, no. 1 (March 1993): 125–46. http://dx.doi.org/10.1111/j.1467-8365.1993.tb00515.x.

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8

Moulin, Isabelle. "Apostu, Andreea, Réminiscences médiévales dans l’œuvre de Maurice Denis." Revue des sciences religieuses, no. 97/1 (August 1, 2023): 115. http://dx.doi.org/10.4000/rsr.13534.

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9

Meunier, Emmanuel. "Un dispositif d’accueil des élèves exclus temporairement." Diversité 161, no. 1 (2010): 168–72. http://dx.doi.org/10.3406/diver.2010.7566.

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En 2003, à la demande de parents de Stains en Seine-Saint-Denis, inquiets de voir leurs enfants traîner dans le quartier pendant les temps d’exclusion temporaire, l’Association pour la promotion culturelle intercommunautaire stanoise (APCIS) a proposé au collège Maurice-Thorez d’accueillir les élèves exclus dans ses locaux. Au quartier du Clos-Saint-Lazare, cette inquiétude parentale n’est pas exagérée…

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10

Therrien, Ève Irène. "De l’inanimé à l’Anima. Le fil conducteur entre l’acteur et le spectateur chez Denis Marleau." Globe 11, no. 2 (February 8, 2011): 117–33. http://dx.doi.org/10.7202/1000524ar.

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Cet article propose une étude du travail « sacrificiel » de l’interprète dans les spectacles de Denis Marleau. Nous examinerons plus en détail deux productions des Aveugles de Maurice Maeterlinck, soit celles de 2002 et de 2004, pour comprendre le processus de « désincarnation » que les acteurs marlusiens effectuent tout au long des répétitions et les réactions que le metteur en scène espère obtenir de son public.

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11

Cordonnier, Lucile. "The Temporalities of Agony." tba: Journal of Art, Media, and Visual Culture 4, no. 1 (January 6, 2023): 30–43. http://dx.doi.org/10.5206/tba.v4i1.14924.

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In 1893, painter Maurice Denis collaborated with his friend, the novelist André Gide, for the illustrations of Le Voyage d'Urien. This short novel narrates the story of a symbolic and fantasised journey, which leads Urien and his fellow travelers to land on an island struck by the plague. With the lithograph on page 48, representing four plague-stricken individuals, I argue that Denis transposed his theories on the decorative, formulated in his "Définition du Néo-Traditionnisme" in 1890. I contend in this essay that through this lithograph Denis synchronizes multiple temporal levels by representing the same figure four times. On the level of the subject, the agony of the plague-stricken relates to a private time distinct from society’s public time. Moreover, the sequencing of the disease into four stages partakes in the journey towards absolution. Regarding the composition of the work, the decorative elements belong to their own temporality which is integrated on the spatiality of the page and recalls a so-called “archaic” and “primitive” time.

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12

Barruel, Thérèse. "Maurice Denis et Ernest Chausson. Correspondance inédite et catalogue des oeuvres de Denis ayant appartenu à Chausson." Revue de l'Art 98, no. 1 (1992): 66–76. http://dx.doi.org/10.3406/rvart.1992.348022.

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13

Sloan, Rachel. "Word into image: Maurice Denis, ‘Les Amours de Marthe’, and Amour." Word & Image 28, no. 4 (October 2012): 348–58. http://dx.doi.org/10.1080/02666286.2012.740184.

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14

Roberge, René-Michel. "BOURGEOIS, Henri, DENIS, Henri, JOURJON, Maurice, Les évêques et l’Église. Un problème." Laval théologique et philosophique 46, no. 1 (1990): 122. http://dx.doi.org/10.7202/400527ar.

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15

TILBY, M. J. "Review. Correspondence Jacques-Emile Blanche-Maurice Denis (1901-1939). Collet, Georges-Paul (ed.)." French Studies 46, no. 4 (October 1, 1992): 475. http://dx.doi.org/10.1093/fs/46.4.475.

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16

Scheppler, Gwenn. "Implication sociale et documentaire au Québec, de Maurice Proulx à Éric 'Roach' Denis." French Forum 35, no. 2-3 (2010): 157–79. http://dx.doi.org/10.1353/frf.2010.0002.

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17

Stahl, Fabienne. "Maurice Denis, en collaboration avec Marcel Poncet, au cœur du vitrail religieux moderne." Revue de l'art N° 214, no. 4 (December 23, 2021): 98–107. http://dx.doi.org/10.3917/rda.214.0098.

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18

Woods, David. "The Origin of the Legend of Maurice and the Theban Legion." Journal of Ecclesiastical History 45, no. 3 (July 1994): 385–95. http://dx.doi.org/10.1017/s0022046900017048.

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The primary account of the martyrdom of Maurice and the Theban legion occurs in a letter addressed by Eucherius, bishop of Lyons c. 434–50, to a fellow bishop, Salvius. This relatively brief document has attracted a degree of scholarly attention out of all proportion to its length, the purpose of which has been to investigate its historical basis. There are those who believe with varying degrees of certainty that there is a historical basis to the story which Eucherius relates, that there did indeed exist a group of Theban soldiers who were executed in the Alps during the early years of the reign of Emperor Herculius Maximianus because they refused, for religious reasons, to obey his commands. However their arguments have left many unconvinced. Denis Van Berchem's thorough examination of the story has raised many doubts about its veracity, and many commentators now incline to believe, with him, that no such martyrs ever existed.

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19

Bychkov, Victor. "Certain aesthetic aspects of art of the Symbolists." Философия и культура, no. 2 (February 2020): 50–65. http://dx.doi.org/10.7256/2454-0757.2020.2.32137.

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This article is dedicated to examination of the main creative motifs of the artists of Symbolism: eternal femininity, living landscape, mythological and religious images in their not uncommon intersection in a single artwork and expressed by fine artistic means. The goal is set to demonstrate how such pointers as Maurice Denis, Odelon Redon, Gustave Moreau, Franz von Stuck and Mikhail Vrubel, using the means of artistic reflection of the listed thematic lines, were able to create the unique symbolic images. Special attention is given to the symbolist specificity of creative expression, embrace of the metaphysical bases of the depicted. Such approach allowed determining the exquisite harmony of landscape and female images (Denis); initiation of the mystical and unknown in lilac-purple twilight demonic spirituality of the night landscape and artistic expression of the demonic itself (Vrubel); demonstration that being charmed by the mystical, embrace of the abstract origin of landscape lead the work with a religious theme to the expression of mystical elements of being (Redon); while combination of classicist clarity of the image with symbolist mystery and abstract picturesqueness creates a myth itself as an increment of the profound sacral nonverbal knowledge (Moreau).

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20

Kretzschmar, Marthe. "A ‘milky mass’ and ‘uniform material’: white marble in eighteenth-century French discourses on sculpture and geology." Sculpture Journal 30, no. 2 (November 1, 2021): 215–25. http://dx.doi.org/10.3828/sj.2021.30.2.9.

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Knowledge of the materiality of stone during the Enlightenment expanded following the exploration of mineralogical structure, to alter ideas about taxonomy and challenge the role of rocks in the history of the earth. Close studies of the material of marble sculpture generated expertise on grain size, surface varieties and stone deposits. This mode of reception became intertwined with contemporary controversies about the age of the earth. This article focuses on both French sculpture and geological discourses of the eighteenth century to reveal an international and interdisciplinary network centring on protagonists such as Denis Diderot, Paul-Henri Thiry d’Holbach and Étienne-Maurice Falconet; through these figures, debates can be connected concerning both geology and art theory. Within these contexts, the article discusses the translation processes between these artistic and geological interests.

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21

Dagen, Philippe. "Le "moderne" et l'"abstrait": Rivière entre Cézanne et Matisse." Revue d'histoire littéraire de la France o 87, no. 5 (May 1, 1987): 858–74. http://dx.doi.org/10.3917/rhlf.g1987.87n5.0858.

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Résumé Jacques Rivière s'est sans cesse montré très réservé sur la peinture d'Henri Matisse, trop « maigre », trop raisonnée et inexpressive à son gré, composée de sang-froid au terme de réflexions et de calculs. A la suite de Maurice Denis et d'André Gide, Jacques Rivière tient ces caractéristiques pour les symptômes d'un art replié sur lui-même, seulement soucieux de son histoire et de sa définition en termes de rupture et d'avant-garde. Art « abstrait », le fauvisme ne peut aspirer qu'à une fausse plénitude, celle qui précède et annonce le renoncement artistique. A l'inverse, Paul Gauguin et, plus encore, Paul Cézanne se révèlent obsédés à la fois par leurs sujets et par la beauté de leurs oeuvres. Ils font aller de pair l'expression juste, précise, délivrée de l'enflure symboliste comme des banalités académiques, et la « grande » construction picturale, décorative et convaincante. Aussi font-ils figures de modèles. Leurs oeuvres garantissent qu'il demeure possible encore de renouveler la peinture par les voies de l'attention aux choses et de l'analyse sensible. Un art, pour être digne de ce nom, doit des lors se réclamer d'eux et s'inspirer de leurs découvertes. Ainsi font, après 1910, les cubistes avant de glisser à leur tour dans l'esthétisme exhibitionniste de Matisse. Ainsi font ceux que Rivière qualifie de classiques, les Denis par exemple, dignes héritiers de Poussin, « modernes » parce que « classiques ».

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22

Jacquet, Marie-Madeleine. "Donner à contempler une Nativité, d’hier à aujourd’hui Maurice Denis « Nativité » (1894), Musée des Augustins. Toulouse." psychologie clinique, no. 51 (2021): 133–42. http://dx.doi.org/10.1051/psyc/202151133.

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Une « Nativité » du peintre Maurice Denis (1894) donne lieu à une étude contemporaine et profane, à distance du fondement religieux traditionnellement associé à l’iconographie de la « Sainte famille ». Sur le modèle du rêve œuvrant par condensation et déplacement (Freud 1900), ce tableau permet de rencontrer différentes facettes du processus créateur. C’est le « peintre-rêveur » amoureux au moment déterminant où il s’apprête à devenir à 23 ans, père d’un « enfant-roi ». C’est aussi en lui « l’enfant-chercheur » donnant inconsciemment forme aux phantasmes de scène primitive qui nourrissent inconsciemment la sexualité infantile. C’est enfin une ouverture sur un futur que nous permet aujourd’hui la contemplation de ce tableau et de façon inattendue, en rattachant quelque peu, le drame des flux migratoires actuels mais aussi la prise de conscience récente d’un accès à de « nouvelles masculinités » à construire… Il s’agit donc de considérer le « don » de l’artiste comme à la fois, mode d’accès et de connaissance des processus psychiques à l’œuvre, en même temps que mise au présent du passé pour offrir à contemplation à qui veut bien s’y prêter aujourd’hui, et sur le vif, l’actualité socio-culturelle du moment.

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23

Maître, Claire. "De Saint-Maurice d’Agaune à Saint-Denis-en-France : la louange ininterrompue, fruit d’une volonté politique ?" Revue Mabillon 21 (January 2010): 5–36. http://dx.doi.org/10.1484/j.rm.5.101200.

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24

Nardout-Lefarge, Élisabeth. "Maurice LEMIRE et Denis SAINT-JACQUES (dirs), La Vie littéraire au Québec IV. 1870-1894. " Je me souviens "." Recherches sociographiques 41, no. 3 (2000): 582. http://dx.doi.org/10.7202/057401ar.

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25

Brussolo, Pritama Morgado. "SIMBOLISMO: QUEDA EM DIREÇÃO AO MUNDO INTERIOR." Revista Ensaios 2, no. 3 (May 3, 2010): 1. http://dx.doi.org/10.22409/re.v2i3.327.

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O presente artigo é uma tentativa de aprofundar no Simbolismo como um movimento que se afasta dos princípios acadêmicos, focando na subjetividade de cada artista que rejeita a representação da realidade na pintura, na busca de uma arte mais auto-consciente de seus próprios meios. Assim, o simbolismo é visto como um recuo da civilização moderna, que caminha em direção ao passado e proclama um elo com a tradição, na busca da autenticidade e do primitivo. Dentro desse conceito, será feita uma relação entre a espontaneidade da loucura e da apropriação de elementos da gravura japonesa, no Cloisonismo. Nesta mesma linha de pensamento, utilizo as relações entre a loucura e o primitivo, feitas pelos médicos Hans Prinzhorn, Arthur Ramos e o Osório César. Utilizo também, os conceitos decorativo, abstrato e sintético, nomeados pelos teóricos Albert Aurier, Wilhelm Worringer e Maurice Denis. Por último, proponho uma reflexão sobre a representação como mímesis, no qual Aristóteles, Ernst Gombrich e Odilon Redon discorrem sobre o ato criativo, a partir da teoria da equivalência e da deformação subjetiva da natureza.

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26

Antropova, Nataliya D. "HISTORICAL AND PHILOSOPHICAL ASPECTS IN THE RENEWAL OF THE LANGUAGE OF CHURCH MONUMENTAL PAINTING IN FRANCE AT THE TURN OF THE 20th CENTURY ON THE EXAMPLE OF PAINTINGS BY MAURICE DENIS." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 21. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-21.

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The study analyzes the historical and philosophical origins of the renewal in church monumental art in French culture at the turn of the 20th century. The crisis that broke out in the second half of the 19th century within the philosophical knowledge and classical religion and an attempt to rethink the evolution of Christianity entailed significant changes in artistic creativity devoted to the sacred theme. The author explores the topic based on the church mural paintings of the French painter Maurice Denis, who stood at the origins of the transformation of the language of religious painting and whose role is significant for the further history of European art. The relevance of the work lies in the fact that all previous studies on this topic were primarily art criticisms. They paid special attention to the analysis of the artistic language and pictorial and expressive means. At the same time, questions of historical and philosophical nature and their role in the formation of new European religious painting were analyzed to a much lesser extent.

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27

Dubu, Jean. "Mithridate, pourquoi?" Revue d'histoire littéraire de la France o 99, no. 1 (January 1, 1999): 17–40. http://dx.doi.org/10.3917/rhlf.g1999.99n1.0017.

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Résumé Une situation inédite, unique dans le domaine de la tragédie : une femme entre trois hommes, liés par la filiation ou la fraternité, et une esthétique verbale qui n’est pas sans analogie avec celle que définissait le peintre Maurice Denis lorsqu’il considéràit un tableau comme « un certain nombre de couleurs en un certain ordre assemblées ». Dans Mithridate , il s’agit d’un certain nombre de mots, rares, dans le théâtre de Racine, ici rassemblés, rendus singulièrement significatifs par les rappels qu’ils fournissent (des tragédies de Corneille, mais aussi du La Fontaine de la fable..’.), par leurs récurrences et leurs contrastes ; ils amènent à s’interroger sur « les dangereux détours » empruntés par le héros, leur efficacité réelle, le degré de lucidité dont ils témoignent ou qu’ils suscitent chez les divers protagonistes. Ils justifient sans doute pour une bonne part l’intérêt que Louis XIV n’a cessé de: porter à cette oeuvre révélatrice. Le peu d’occasions fournies au public des théâtres de l’apprécier de nos jours constitue en soi une interrogation nouvelle à son sujet.

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28

Dorigny, Marcel. "Denis Piat , L’île Maurice. Sur la route des épices. 1598-1810 , Paris, Les Éditions du Pacifique, 2010, 256 p." Dix-huitième siècle 43, no. 1 (July 1, 2011): CXXIX. http://dx.doi.org/10.3917/dhs.043.0725dy.

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29

Tatilon, Claude. "Maurice Pergnier, Du sémantique au poétique avec Baudelaire, Cocteau, Magritte (Préface de Denis Slatka). Paris-Montréal, L’Harmattan, 1997, 127 p." TTR : traduction, terminologie, rédaction 12, no. 1 (1999): 196. http://dx.doi.org/10.7202/037361ar.

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30

Polshchak, Aneliya. "Preraphaelites and Christian Literature Renewal in Great Britain." NaUKMA Research Papers. Literary Studies 3 (September 2, 2022): 115–19. http://dx.doi.org/10.18523/2618-0537.2022.3.115-119.

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The article considers about the general tendencies of Christian and Catholic art renewal in Great Britain. This movement is the part of the wider one i.e. Christian art renewal, which is the important phenomenon in all western literatures and cultures (Francois Mauriac, Georges Bernanos, Julien Green, Paul Claudel, Charles Péguy, Gertrud von Le Fort, Heinrich Boll, Sigrid Undset, Graciya Deledda, Ramiro de Maeztu, Hose Bergamin, Miguel Unamuno, Maurice Denis, Paul Gauguin, Georges Rouault, Francis Jean Marcel Poulenc, Arthur Honegger, Olivier Messiaen, etc.) English Christian and Catholic Renewal were caused by the deep crisis, which found its place after the period of positivism. In British literature the phenomenon of Christian renewal manifested itself in the creative work of Evelyn Arthur St. John Waugh, Muriel Spark, Gilbert Keith Chesterton, Graham Green, Clive Staples Lewis and others. Tendencies of Christian renewal also appeared in the other kinds of art. In the painting of Great Britain of the period these tendencies display themselves in the intention of the painters to find the sense of the life, which in the same time also include the interest in Christianity. It made itself apparent in new approaches to sacred matters, which include Bible themes as well as Church tradition. In the fine art of Great Britain Christian renewal echoed in the works of Pre-Raphaelites (William Holman Hunt, John Everett Millais, Dante Gabriel Rosetti, Madox Brown, Edward Berne-Jones, William Morris, Arthur Hughes, Walter Crane, and John William Waterhouse. Strong will to return to the cultural and religious roots of Europe is the core of this art movement of Christian and Catholic renewal in Britain. Revision of “Good News Bible” message actuality for their contemporaries, which is manifested in the sense of the works, images and structural elements, is the important task and inspiration for painters and writers of this style.

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31

Stahl, Fabienne. "Un art religieux alliant tradition et modernité : l'exemple du décor de Maurice Denis dans la chapelle des Franciscaines de Rouen (1930)." Études Normandes 62, no. 2 (2013): 53–60. http://dx.doi.org/10.3406/etnor.2013.1897.

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32

Sirois, Antoine. "Maurice LEMIRE et Denis SAINT-JACQUES (dirs), La Vie littéraire au Québec, tome 3, 1840-1869. Un peuple sans histoire et littérature." Recherches sociographiques 38, no. 3 (1997): 553. http://dx.doi.org/10.7202/057162ar.

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33

Laflamme, Jean. "LEMIRE, Maurice, et Denis SAINT-JACQUES (dir.), La vie littéraire au Québec. III : 1840-1869, Sainte-Foy, Les Presses de l’Université Laval, 1996." L’Annuaire théâtral: Revue québécoise d’études théâtrales, no. 21 (1997): 175. http://dx.doi.org/10.7202/041321ar.

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34

Caron, Sylvain. "Delphine Grivel. 2011. Maurice Denis et la musique. Lyon : Symétrie. Coll. « Perpetuum Mobile », 328 p. ISBN 978-2-914373-53-1 (couverture souple)." Intersections: Canadian Journal of Music 32, no. 1-2 (2012): 234. http://dx.doi.org/10.7202/1018586ar.

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35

Koos, Marianne. "Malerei als Augentrug. Alexander Roslins Selbstporträt mit Marie-Suzanne Giroust-Roslin an der Staffelei." Zeitschrift für Kunstgeschichte 83, no. 4 (December 16, 2020): 506–53. http://dx.doi.org/10.1515/zkg-2020-4004.

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AbstractThis article examines the unique self-portrait of Alexander Roslin and his artist wife, Marie- Suzanne Giroust-Roslin (1767, Stockholm, Nationalmuseum), in which a male painter for once leaves the place at the easel to a painting woman. This complex multi-figure painting not only commemorates the couple’s friendship with the sitter, Henrik Villhelm Peill. Rather, it is conceived as a double image of love and advertisement – especially for her art. Further, with this painting Roslin takes a programmatic stand for his own concept of painting as much as for that of his wife: Criticized by Denis Diderot in 1765 for not painting but – like women at the toilet table – literally applying makeup, in this selfportrait with his painting wife Roslin undertakes a conspicuous narrowing of these (so different) activities. Roslin takes up the reproach of beautiful appearance and deception in order to let this criticism collapse in a second moment in the artistic concept of the artful deception of the eye – in a deceptively real painting, which – unlike women’s makeup – negates all difference between being and appearance. An in-depth analysis of the extraordinarily refined self-portrait of Madame Roslin with the laughing self-portrait of Maurice-Quentin de La Tour supports this interpretation. In a broader perspective this study is understood as a contribution to the investigation into the metaphorization of painting layers, picture surfaces, and forms of color application in pre-modern art and art criticism.

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36

Fortin, Andrée. "Denis Saint-Jacques et Maurice Lemire (dirs), La vie littéraire au Québec, V, 1895-1918, Québec, Les Presses de l’Université Laval, 2005, 680 p." Recherches sociographiques 46, no. 3 (2005): 596. http://dx.doi.org/10.7202/012495ar.

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37

Trusova, Polina. "Monuments of Antique Architecture in Maurice Denis’ Landscapes at the Turn of the Century: in the Context of Discussion about Classical Tradition of French Art." Actual Problems of Theory and History of Art 5 (2015): 703–10. http://dx.doi.org/10.18688/aa155-8-77.

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Holland, M. "Maurice Blanchot: le principe de fiction. By Marie-Laure Hurault. (L'Imaginaire du texte). Saint-Denis, Presses Universitaires de Vincennes, 1999. 240 pp. 140F; euro 21.34." French Studies 55, no. 3 (July 1, 2001): 423–24. http://dx.doi.org/10.1093/fs/55.3.423.

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Bowen, E. G., Gordon L. Davies, T. J. Hughes, B. Lane, Ronald H. Buchanan, P. N. O'Farrell, M. Dillon, et al. "Reviews of Books." Irish Geography 6, no. 3 (December 31, 2016): 346–57. http://dx.doi.org/10.55650/igj.1971.964.

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IRISH GEOGRAPHICAL STUDIES IN HONOUR OF E. ESTYN EVANS, edited by Nicholas Stephens and Robin E. Gfasscock. Belfast: Department of Geography, Queen's University, 1970. xvi + 403 pp. £4.75.IRELAND, by A. R. Orme. London: Longman, 1970. xviii + 276 pp. Paper covers. £1.50.SAINTS, SEAWAYS AND SETTLEMENTS IN THE CELTIC LANDS, by E. G. Bowen. Cardiff: University of Wales Press, 1969. 245 pp. £2.50.THE IRISH ECONOMY SINCE 1922, by James Meenan. Liverpool: the University Press, 1970. 422 pp. £6.00RURAL EXODUS: A STUDY OF THE FORCES INFLUENCING THE LARGE‐SCALE MIGRATION OF IRISH YOUTH, by Damian Hannan. London: Geoffrey Chapman, 1970. 348 pp. £3.50.RURAL INDUSTRIALIZATION: THE IMPACT OF INDUSTRIALIZATION ON TWO COMMUNITIES IN WESTERN IRELAND, by Denis I. F. Lucey and Donald R. Kaldor. London: Geoffrey Chapman 1969. 208 pp. £1.75.GEOGRAPHICAL FIELDWORK IN AN IRISH BORpER AREA — LONDONDERRY‐MOVILLE, by Alan Robinson. Lincoln: Bishop Grosseteste College of Education, 1969. xv + 133 pp. 47½ p.GUIDE TO THE NATIONAL MONUMENTS IN THE REPUBLIC OF, IRELAND, by Peter Harbison. Dublin: Gill and Macmillan, 1970. 284 pp. £1.50.IRELAND OBSERVED, by Maurice Craig and the Knight of Glin. Cork: The Mercier Press, 1970. 118 pp. £2.50.ORDNANCE SURVEY MEMOIR FOR THE PARISH OF ANTRIM (1838), with an introduction by Brian Trainor. Belfast: Northern Ireland Public Record Office, 1969. xlii and 109 pp. 20 plates. 25 p.RAILWAY HISTORY IN PICTURES: IRELAND, VOL. 2, by Alan McCutcheon. Newton Abbot: David & Charles, 1971. 112 pp. £2.75.BULLETIN OF THE GROUP FOR THE STUDY OF IRISH HISTORIC SETTLEMENT. No. 1, 1970. 41 pp. 25p.IRISH BOOKLORE. Belfast: Linenhall Library. Vol. 1, No. 1, 1971. 131pp. 70p.THE PAST, No. 8. Wexford: The Ui Cinsealaigh Historical Society, 1970. 105 pp. (text, 82 pp). 37½p.Map reviewÉIRE. 1 : 575,000. An tSuirbhéireacht Ordanáis, Baile Átha Cliath, 1970. Praghas 12½p.

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Froissart-Pezone, Rossella. "Jérémy Cerrano, ed.,Pierre-Victor Galland, 1822-1892: Un Tiepolo français au XIXe siècle. Paris: Somogy Editions d'Art, 2006. 232 pp., 266 color pls., 13 b/w ills., bibliog. Paper, EUR 35.Jean-Paul Bouillon, ed.,Maurice Denis (1870-1943)., exh. cat. Paris: Réunion des Musées Nationaux, 2006. 304 pp., 242 color pls., 26 b/w ills., 1 map, 2 appendixes, bibliog., index. Paper, EUR 39.Jean-Paul Bouillon,Maurice Denis: Six essais. Paris: Somogy Editions d'Art, 2006. 191 pp., 46 color pls., bibliog., index. Paper, EUR 23.André Gide and Maurice Denis,Correspondance 1892-1945., ed., Pierre Masson and Carina Schäfer with, Claire Denis. Paris: Gallimard, 2006. 421 pp., 89 b/w ills., 4 appendixes, index. Paper, EUR 25.Agnès Delannoy ,Maurice Denis: La Légende de saint Hubert 1896-1897. Paris: Somogy Editions d'Art, 1999. 132 pp., 123 color pls., 24 b/w ills., bibliog., 3 appendixes. EUR 15." Studies in the Decorative Arts 15, no. 1 (September 2007): 210–17. http://dx.doi.org/10.1086/652854.

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Luneau, Marie-Pier. "LEMIRE, Maurice et Denis SAINT-JEAN, dir., La vie littéraire au Québec, 4 : « Je me souviens » 1870-1894 (Sainte-Foy, Les Presses de l’Université Laval, 1999), xxiv-670 p." Revue d'histoire de l'Amérique française 55, no. 3 (2002): 454. http://dx.doi.org/10.7202/010426ar.

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Baudelot, Christian. "Hermann Krapoth et Denis Laborde (dir.) Erinnerung und Gesellschaft. Mémoire et société. Hommage à Maurice Halbwachs (1877-1945). Jahrbuch für Soziologiegeschichte Wiesbaden, VS Verlag für Sozialwissenschaften, 2005, 287 p." Annales. Histoire, Sciences Sociales 62, no. 1 (February 2007): 165–66. http://dx.doi.org/10.1017/s0395264900020266.

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Vanderpelen-Diagre, Cécile. "Saint-Jacques, Denis et Maurice LEMIRE, dir., La vie littéraire au Québec, V : 1895-1918. « Sois fidèle à ta Laurentie » (Sainte-Foy, Les Presses de l’Université Laval, 2005), 680 p." Revue d'histoire de l'Amérique française 59, no. 3 (2006): 375. http://dx.doi.org/10.7202/013092ar.

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Ровенко, Е. В. "Claude Debussy and the Painters-Symbolists: on the Problem of Arabesque as a Form-Building Principle in Art." Научный вестник Московской консерватории, no. 3(38) (September 25, 2019): 158–89. http://dx.doi.org/10.26176/mosconsv.2019.38.3.007.

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В данной статье определяются функции и качества арабески как базисного структурного принципа в музыке Дебюсси и изобразительном искусстве его современников — Мориса Дени и Одилона Редона, причем учитываются творческие контакты музыканта с художниками его времени. В качестве материала изучения используются вербальные тексты мастеров искусства, их произведения. Контекстуальный анализ арабески позволяет 1) продемонстрировать корреляции композиционных стратегий Дебюсси и живописцев; 2) охарактеризовать соответствие художественного мышления композитора эстетической доминанте эпохи; 3) выявить базисные конструктивные принципы, имманентные разным видам искусства — темпоральным и пространственным — и притом общие для них. Тем самым выводятся некоторые закономерности, репрезентирующие специфику французского художественного мышления рубежа XIX–XX веков: 1) арабеска есть феномен, сопряженный с Кантовым понятием pulchritudo vaga (лат. «свободная красота») и подразумевающий самоценность художественного смысла, который не зависит от декоративной функции арабески; 2) арабеска есть также имманентный принцип организации структурных связей внутри художественного целого; 3) арабеска одновременно выступает и украшением вещи (в декоративном аспекте), и ее смысловым ядром (в конструктивном аспекте), то есть — истинным парергоном. The goal of this article is to define the function of an arabesque as a basic structural principle in Debussy’s music and in the visual art of his contemporaries, Maurice Denis and Odilon Redon, while using as the material for the study their writings and their oeuvre. The contextual analysis of Debussy’s arabesque allows: 1) to correlate compositional strategies of the musician and the painters in order to establish similar creative concepts; 2) to characterize the conformity of Debussy’s thinking to the aesthetic predominant of the epoch; 3) to identify the basic constructive principles immanent to different types of art (temporal and spatial), and, moreover, common to them. Thus, some laws, that represent the specificity of French artistic thinking at the turn of the 19th and the 20th centuries, have been derived: 1) an arabesque is a phenomenon associated with Immanuel Kant’s concept of pulchritudo vaga (“free beauty” in Latin) and implying the intrinsic value of artistic meaning that does not depend on the decorative function of arabesque; 2) arabesque is also an immanent principle of the organization of structural relations within an artistic whole; 3) at the same time arabesque acts as an ornamentation of a thing (in its decorative aspect), and as its semantic core (in a constructive aspect), that is, as a true parergon.

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Savard, Pierre. "LEMIRE, Maurice et Denis SAINT-JACQUES, dir., La vie littéraire au Québec, 3 : 1840-1869 : « Un peuple sans histoire et sans littérature » (Sainte-Foy, Les Presses de l’Université Laval, 1996), xxiv-672 p." Revue d'histoire de l'Amérique française 51, no. 1 (1997): 108. http://dx.doi.org/10.7202/305630ar.

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Labrecque, Georges. "MAURICE, Pierre et GOHIN, Olivier (sous la direction de). Géopolitique et géostratégie dans l'hémisphère Sud. Saint-Denis (Réunion), Centre d'études et de recherches en relations internationales et géopolitique de l'océan Indien, 1992, 571 p." Études internationales 24, no. 2 (1993): 477. http://dx.doi.org/10.7202/703201ar.

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Ayvazyan, Armen. "A RESPONSE To Everett L. Wheeler’s Review of “The Armenian Military in the Byzantine Empire: Conflict and Alliance under Justinian and Maurice” (Alfortville: Sigest, 2012)." Armenian Folia Anglistika 9, no. 1-2 (11) (October 15, 2013): 175–87. http://dx.doi.org/10.46991/afa/2013.9.1-2.175.

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The present article-response denies the groundless statements in Everett L. Wheeler’s review of A. Ayvazyan’s monograph titled The Armenian Military in the Byzantine Empire: Conflict and Alliance under Justinian and Maurice (Alfortville: Sigest, 2012). Furthermore, the author has identified the amateurism, historical-factual and theoretical mistakes, bias and anti-Armenian motives of the writer in the article. The shortened version of the present article has been published in the Journal of Military History, July 2013 issue (vol. 77, no. 3), pp.1207-1210).

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Treadgold, Warren. "Strategikon: Handbook of Byzantine Military Strategy. Maurice, George T. Dennis." Speculum 61, no. 1 (January 1986): 176–78. http://dx.doi.org/10.2307/2854566.

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Jonkus, Dalius. "INTERSUBJEKTYVAUS KŪNO FENOMENOLOGIJA: PRISILIETIMO PATIRTIS." Problemos 75 (January 1, 2008): 129–40. http://dx.doi.org/10.15388/problemos.2008.0.1991.

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Straipsnis analizuoja Edmundo Husserlio, Jeano-Paulo Sartre’o ir Maurise Merleau-Ponty požiūrį į kūno vaidmenį intersubjektyviuose santykiuose. Jeanas-Paulas Sartre’as atmeta dvigubų jutimų sampratą. Jis neigia galimybę patirti kūną kaip subjektą ir objektą vienu metu. Sartre’as akcentuoja, kad kitas vizualiai pažįstamas tik jį paverčiant objektu. Edmundas Husserlis ir Maurise Merleau-Ponty ieško sąryšio su kitu kūniškumo plotmėje. Atrasdami prisilietimo grįžtamąjį ryšį su savimi, o vėliau išplėtodami šią kvazirefleksijos sampratą ir kitų juslių lygmeniu, Husserlis ir Merleau-Ponty sugriauna tradicinę sąmonės ir savasties sampratą. Sąmonė nebegali būti suprantama kaip vidujybė, o kūnas kaip išorybė. Pats kūnas atrandamas kaip susidvejinęs – patiriantis kitą ir save tuo pat metu. Suskyla ir savasties substanciškumas. Savastis visada pasirodo kitame, kitam ir per kitą. Kartu pasikeičia ir santykio su kitu traktuotė. Kitas nėra kažkoks transcendentiškas objektas, kurį reikia pažinti ar užvaldyti. Santykis su kitu atsiskleidžia kartu kaip santykis su savimi ir santykis su pasauliu. Jei mano kūnas nėra vien mano kūnas, bet jis yra tarp manęs ir kitų, tai tada galime suvokti, kodėl aš negaliu savęs sutapatinti su vieta, kurioje esu. Ir mano vieta, kaip ir mano kūnas, yra mano tiktai kitų atžvilgiu. Mano savastį iš esmės apibrėžia šis tarpkūniškumas, kurio patirtis sudaro sąlygas ne tik įsisąmoninti savąjį socialumą, bet ir suvokti savosios būties tarp – pasauliškumą. Pagrindiniai žodžiai: fenomenologija, intersubjektyvumas, kitas, gyvenamas kūnas, tarpkūniškumas, savipatirtis. Phenomenology of Intersubjective Body: the Experience of TouchDalius Jonku Summary The article deals with the conception of intersubjective body in Edmund Husserl’s, Jean-Paul Sartre’s and Maurice Merleau-Ponty philosophy. Jean-Paul Sartre rejects the conception of double sense, i.e. he denies the possibility to have bodily experience as a subject and an object at the same time. He argues that we can know Other visually only as an object. Husserl and Merleau-Ponty are in search of connection with the Other on a new plane. They investigate the preconditions of the openness to the Other. Their attention is focused on the bodily self-awareness in the experience of touch. Both philosophers develop the conception of bodily quasi-reflection. They transform the traditional conception of selfhood and show its paradoxical alienation from itself. The one’s own body is revealed as insisting on the otherness. The analysis of double senses in the experience of the sense of touch reveals the experience of “my” body as an inter-corporality. That’s because both philosophers can reject the prejudice of immanence and transcendence. The experience of a living body is always a relation with “myself”, with the other and with the world. Keywords: phenomenology, intersubjectivity, interreflectivity, Other, living body, self-awareness.ibri, sans-serif; font-size: 15px; line-height: 17px;">

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Impey, Edward. "La Ville de Cluny et ses Maisons: Xle-XVe siècles. By Pierre Garrigou Grandchamp, Michael Jones, Gwyn Meirion-Jones and Jean-Denis Salveque, with the participation of Susan Content, Philip Dixon, Frederic Guibal, Georges Lambert, Catherine Lambert, Catherine Lavier, Roger Leech and Brigitte Maurice. 320mm. Pp 247, ills. Paris: Picard, 1997. ISBN 2-7084-0516-0. FFr. 390.00." Antiquaries Journal 79 (September 1999): 422–23. http://dx.doi.org/10.1017/s000358150004484x.

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