Search results for ""author jean"

At the center of this book stands the story of a great but forgotten newspaper: the Gazette de Leyde, edited by Jean Luzac from 1772 to 1798. A French-language biweekly newspaper published in the Dutch city of Leiden from 1677 to 1811, the Gazette de Leyde was regarded as the international newspaper of record, occupying the cultural niche filled today by the New York Times and Le Monde.Jeremy D. Popkin reconstructs the Gazette's history, providing a comprehensive picture of the environment that produced it, how it gathered and printed its reports, its relationship with its readers, and the way it depicted the great events of three critical decades. In rich detail he shows that absolutist regimes often cooperated with the Gazette's editors, providing information and condoning its publication in open violation of their own censorship regimes.He also examines the Dutch context which fostered both the freedom that made the paper's publication possible and the technology and business skills that allowed for its rapid publication and successful marketing. In addition, he draws on a wide reading of the press of the period to compare the Gazette with other major newspapers. He concludes with a treatment of the paper's fortunes during the era of the French Revolution.

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Jean-Paul Sartre: Mind and Body, Word and Deed celebrates Sartre’s polyvalence with an examination of Sartrean philosophy, literature, and politics. In four distinct yet related sections, twelve scholars from three continents examine Sartre’s thought, writing and action over his long career. “Sartre and the Body” reappraises Sartre’s work in dialogue with other philosophers past and present, including Maine de Biran, Maurice Merleau-Ponty and Didier Anzieu. “Sartre and Time” offers a first-hand account by Michel Contat of Sartre and Beauvoir working together, and a “philosophy in practice” analysis by François Noudelmann. “Ideology and Politics” uses Sartrean notions of commitment and engagement to address modern and contemporary politics, including insights into Castro, De Gaulle, Sarkozy and Obama. Finally, an important but neglected episode of Sartre’s life—the visit that he and Beauvoir made to Japan in 1966—is narrated with verve and humour by Professor Suzuki Michihiko, who first met Sartre during that visit and remained in touch subsequently. Taken together, these twelve chapters make a strong case for the continued relevance of Sartre today.

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Knowledge of Life Today presents the thoughts of Jean Gayon, a major philosopher of science in France who is recognized across the Atlantic, especially for his work in philosophy and the history of life sciences. The book is structured around Gayon's personal answers to questions put forward by Victor Petit. This approach combines scientific rigor and risk-taking in answers that go back to the fundamentals of the subject.As well as the relationship between philosophy and the history of science, Gayon discusses the main questions of the history and philosophy of biology that marked his intellectual journey: Darwin, evolutionary biology, genetics and molecular biology, human evolution, and various aspects of the relationship between biology and society in contemporary times (racism, eugenics, biotechnology, biomedicine, etc.).

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Tu sais, mon vieux Jean-Pierre is inspired by the work of archaeologist Jean-Pierre Chrestien (1949-2007), who worked hand-in-glove with a generation of researchers in helping to unearth unexpected and always interesting aspects of New France. Contributions focus first upon the door to New France in the Gulf of St. Lawrence, Newfoundland and Acadia. A second set of essays move further up the St. Lawrence and into the heartland of the continent. The final section examines aspects of Canadian culture: popular art, religion and communication. The essays share a curiosity for material culture, a careful regard for detail and nuance that forms the grain of New France studies, and sensitivity to the overall context that is part and parcel of how history proceeds on the local or regional scale. Happily we can now dispense with old-fashioned and facile generalizations about the allegedly absent bourgeoisie, the purportedly deficient commercial ethic of the habitants and the so-called underlying military character of the colony and get down the business of understanding real people and their possessions in context.

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The two essays in the volume follow a long tradition in critical discourse that turns to Art's domain as a source of inspiration, instruction, and as material for the construction of its concepts and the development of its problems. The case study of Suite Grunewald, 159+1 variations, by the artist Titus-Carmel, returns to a subject that has been eclipsed in past decades by the imperative to remember: namely, the creation of the new as an event, or rather, the event of the new as creation. This is an especially vexatious problem following, on the one hand, the massive displacement of the subject as the author and creator of its works and, on the other, the introduction of the influential Deleuzian-Bergsonian notion of the new as immanent continuity rather than -- as the commonsense notion would have it -- a rupture, interruption, and discontinuity. The first essay develops this problematic by working alongside with Titus-Carmel variations / deconstruction of Grunewald's original painting of the "Crucifixion" as an exemplary site where the creation of the new -- at once incalculable and necessary -- finds a living and urgent expression. The second essay stages an encounter and sets free the resonances between the writing of Jean-Luc Nancy on and around the "body" and the cinema of Claire Denis as a cinema that mobilises the force of bodies that it itself invents, and to which it gives a unique form of presence.

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Jean Epstein, the great unknown amongst the pioneers of independent filmmaking, was also an essential figure in the invention of modern cinema-both as a theorist and as an artist. For the first time, a selection of Epstein's writings on film are published in German in this volume. Nicole Brenez' essay on Epstein contextualizes his achievements.

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The imagined Instagrams of art history’s “influencers,” from Gauguin to Warhol With his sharp-witted illustrations and insightful one-liners, the French illustrator, painter and writer Jean-Philippe Delhomme (born 1959) is a deft observer and loving critic of our contemporary culture. In his latest book, Artists' Instagrams, Delhomme imagines what the masters of modern art would have posted if they had access to Instagram and shared our addiction to the platform. The results are hilarious: Picasso collaborates with a car brand and compares his follower-count with Braque’s; Mondrian paints his IKEA kitchen; Gauguin incites #FOMO with his travel photographs of tantalizing, exoticizing Polynesian nudes. They are all here, from Joseph Beuys to Andy Warhol. Artists' Instagrams: The Never Seen Instagrams of the Greatest Artists is one of the first art books to engage Instagram’s influence in our visual culture (Kim Kardashian’s pioneering efforts notwithstanding). But Artists’ Instagrams is not only an amusing mash-up of high culture and everyone's favorite social media platform; it's a veritable history of modern art through hashtags.

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It is a curious and relatively little-known fact that for two decades--from the end of World War II until the late 1960s--existentialism's most fertile ground outside of Europe was in the Middle East, and Jean-Paul Sartre was the Arab intelligentsia's uncontested champion. In the Arab world, neither before nor since has another Western intellectual been so widely translated, debated, and celebrated. By closely following the remarkable career of Arab existentialism, Yoav Di-Capua reconstructs the cosmopolitan milieu of the generation that tried to articulate a political and philosophical vision for an egalitarian postcolonial world. He tells this story through the use of new Arabic and Hebrew archives, including unpublished diaries and interviews. Tragically, the warm and hopeful relationships forged between Arab intellectuals, Sartre, Simone de Beauvoir, and others ended when, on the eve of the 1967 war, Sartre failed to embrace the Palestinian cause. Today, when the prospect of global ethical engagement seems to be slipping ever farther out of reach, No Exit provides a timely, humanistic account of the intellectual hopes, struggles, and victories that shaped the Arab experience of decolonization and a delightfully wide-ranging excavation of existentialism's non-Western history.

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Sous le nom de Jean Malalas nous est parvenue une Chronique universelle, la plus ancienne qui soit conservée en grec. Rédigée au VIe siècle, d'abord dans l'Orient syrien, puis à Constantinople, elle embrasse l'histoire des hommes depuis la création du monde jusqu'au règne mémorable de Justinien. Récits bibliques, mythes antiques, traditions hermétiques, légendes de fondation, descriptions de monuments, histoire des règnes y sont étroitement imbriqués. Ce foisonnement narratif qui, tout comme son système chronologique original, distingue l'ouvrage de Malalas des autres chroniques byzantines donne à l'oeuvre un intérêt extraordinaire. Pour rendre compte d'une telle richesse, il faut des compétences multiples. L'équipe de recherche aixoise qui prépare une traduction française de la Chronique a donc organisé, en mars 2003, un colloque pluridisciplinaire: il a réuni des historiens s'intéressant au monde classique ou à l'Antiquité tardive et des philologues, connaisseurs des langues classiques ou orientales. Le présent volume rassemble, sous un forme plus développée, dix contributions présentées à cette occasion. Elles ont pour thèmes la genèse du texte, qu'il s'agisse des récits des origines ou de l'histoire des temps chrétiens, et sa transmission dans les traditions grecque, slave, syrienne et latine.

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Jean, Lady Hamilton's diaries remained forgotten and hidden in the Liddell Hart Centre for Military Archives, King's College, London, for fifty years. The story begins with the young couples' wedding, a dazzling bride, Jean Muir, marrying a star-struck Major Ian Hamilton. The daughter of the millionaire businessman Sir John Muir, Jean had all the money whilst Hamilton was penniless. Having spent their early married years in India the Hamilton's returned and set up house in the prestigious Hyde Park area of London, also eventually buying Lullenden Manor, East Grinstead, that they purchased as a country home from Winston Churchill when he could no longer afford it. Jean chronicled Ian's long army career that culminated in the Gallipoli campaign in 1915\. The failure there ended her husband's distinguished career and almost ended Churchill's as he had to leave his job as First Lord of the Admiralty. From new evidence it is possible to judge how close the campaign came to succeeding and the failure seems greatly due to the absence of fresh troops not being supplied by Lord Kitchener to the peninsula. Winston Churchill in particular was like family in the Hamiltons' home, he used to go there and practice his speeches, and painted alongside Jean to whom he sold his first painting. Because the Churchill's were in genteel poverty, Clementine could not afford the GBP25 fee to enter a nursing home to give birth to her 4th child Marigold. Mary, the Lady Soames, Clementine's daughter, supported Celia Lee in publishing the story. Marigold's secret grave was uncovered in Kensal Green Council cemetery in 2001\. The child's life ended in tragedy just before her 3rd birthday when she died in the post-First World War Spanish influenza epidemic. Unable to conceive, Jean adopted two children, Harry Knight, who had been abandoned on the doorstep of the creche of which she was President, and Phyllis Ursula James that she preferred to call Rosaleen and who was nicknamed Fodie in the family. Fodie's mother was unmarried and abandoned by her soldier lover during the First World War. Harry was killed in action in the Libyan desert during the Second World War. Fodie, having been sent to be educated at a private school was trapped in war-torn Europe and never returned home again.

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Norman Foster and Renzo Piano invoke his name. For many architects he is a landmark - Jean Prouvé, creator of the metal curtain wall, pioneer in its application and early initiator of industrialised building techniques. His unfailing ability to combine functional engineering achievements with artistic sensitivity commands recognition. The period covered in this latest volume is significant in many respects. The post-war years placed enormous demands on housing and school construction. In his Maxéville factory Prouvé developed pre-fabricated housing, facade panelling, light filtering and other systems on a large scale. He was inspired by the works of the automobile and aeronautics industry, developing new applications for aluminium, which he presented in the 1954 Aluminium Centenary Pavilion. Moreover, Prouvé s furnitures of this period have become valuable collectors items, some of which are now being reissued under licence.

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jean Prouvé (1901-1984) was one of the most renowned design engineers of the 20th century. This volume, the second in Birkhäuser s 4-volume edition of Prouvé s Complete Works, covers the period between 1934 and 1944, including such significant works as the "semi-metal" Chair no. 4 and its variations, which went into serial production from 1935 onwards, office furniture for the Parisian Electricity Supply Works and seating for the lecture hall of the École des sciences politiques in Paris. In 1934 Prouvé s workshop commenced production of entirely pre-fabricated sheet metal buildings such as the Flying Club at Buc. One of the triumphs of this period is the Maison du Peuple communal hall in Clichy, an outstanding monument of functionalism and a "hymn to metal and folded sheet". This volume also includes texts of previously unpublished conversations with Prouvé about the Flying Club and Maison du Peuple.

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Jean-Luc Godard is one the most influential filmmakers of the last fifty years. Scorsese, Tarantino, Wong Kar-Wai and Lars von Trier are but a few of the directors who have fallen under the spell of his freewheeling style. In his 1960s heyday Godard - always in dark shades, cigarette in hand - epitomised European cool. But he subsequently grew into one of the most formidable artists the cinema has produced. Writer and film-maker Richard Brody, one of the few to have interviewed Godard in his Swiss retreat, here offers an accessible account of this extraordinary and fascinating artist.

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Color is inextricably linked with architecture; as a design element and also as an inherent quality, it characterizes the shape and texture of the built fabric.The book presents extraordinary color schemes, both in terms of technology and aesthetics, for ground-breaking architecture with a wide spectrum of functions: from apartment to concert hall, from flagship store to city park.The focus is on the works of the three architects Frank O. Gehry, Jean Nouvel and Wang Shu. This is expanded by the works of other practices such as BIG, Zaha Hadid, Herzog & de Meuron, Toyo Ito and SANAA.This publication presents a compendium that documents color schemes in architecture in the context of very different aesthetic approaches. The large-format photographs by Iwan Baan, Christian Richters, Roland Halbe and Philippe Ruault fascinate with their clarity and presence.

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'The book is like the spoon: once invented, it cannot be bettered' - Umberto Eco.These days it is impossible to get away from discussions of whether the book will survive the digital revolution. Blogs, tweets and newspaper articles on the subject appear daily, many of them repetitive, most of them admitting ignorance of the future. Amidst the twittering, the thoughts of Jean-Claude Carrière and Umberto Eco come as a breath of fresh air. This thought-provoking book takes the form of a conversation in which Carrière and Eco discuss everything from how to define the first book to what is happening to knowledge now that infinite amounts of information are available at the click of a mouse. En route there are delightful digressions into personal anecdote. We find out about Eco's first computer and the book Carrière is most sad to have sold. And while, as Carrière says, the one certain thing about the future is that it is unpredictable, it is clear from this conversation that, in some form or other, the book will survive.

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Dans ce volume IV, 1 des Oeuvres de Jean Potocki (1761-1815) est publie le texte du "Manuscrit trouve a Saragosse" dans la version achevee telle qu'elle a ete reellement ecrite par son auteur, version dite "de 1810". Celle-ci differe sensiblement de celle - dite "de 1804" - qu'il avait elaboree precedemment, sans toutefois la conduire a son terme. La version de 1804 est editee dans le vol. IV, 2 de la presente serie. Ces deux etats du roman-culte de Potocki presentent deux conceptions esthetiques tres differentes appliquees a une meme matiere narrative. Bien que l'une d'elles soit demeuree inachevee, il sera desormais necessaire, pour se faire une idee pleine de ce chef-d'oeuvre, de prendre connaissance de ces deux versions. On dispose ainsi pour la premiere fois d'une edition integrale et fiable, etablie sur la base de toutes les sources disponibles, dont une partie etait restee inconnue a ce jour.

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A radical re-interpretation of the chivalric biography of Boucicaut. The Livre des fais du bon messire Jehan le Maingre (1409) is one of the most famous chivalric biographies of the Middle Ages. It presents Jean II Le Meingre, known as Boucicaut (1366-1421), as an ideal knight and role model, and has frequently been seen by modern scholars as a last-ditch effort to defend traditional chivalric values that were supposedly in decline. Here, however, Craig Taylor argues that the biography is a much more complex and interesting text, fusing traditional notions of chivalry with the most fashionable new ideas in circulation at the French court at the start of the fifteenth century. Rather than a nostalgic criticism of contemporary knighthood, it should be seen as a showcase of the latest ideas on chivalry, written to renew the enthusiasm of the great French princes for a man who was in grave danger of falling out of favour: its purpose was to celebrate and to defend a beleaguered Boucicaut against his critics at the royal court, and to explain his actions as governor of Genoa, his failed crusading enterprises in the Eastern Mediterranean and his unsuccessful efforts to broker a solution to the Papal Schism. CRAIG TAYLOR is a Reader in Medieval History at the University of York; he was Director of its Centre for Medieval Studies from 2010 to 2011 and from 2014 to 2017.

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"I wanted this to be a narrative. So finally Jean-Luc went all the way: every line in the script a quotation from somewhere else. Every blessed line. Love doesn't die. It's people who die. Love just goes away." -from "NOUVELLE VAGUE / New Wave (1990)" Stephen Scobie celebrates "the greatest film director of his age" with poetry exploring 44 of Godard's films. Subtle yet profound unities play from poem to poem. Characters, locations, images, and the generous use of quotation jump-cut and recur to send the imagination reeling through the larger works of both artists. Readers will be seduced to linger within the writing and encouraged to seek beyond, to Godard's own oeuvre. The book is sharply envisioned and carefully cadenced so as to delight readers who may not be familiar with Godard's films. Those already acquainted with Godard's work will find At the limit of breath a most rewarding experience.

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'I raced through this murder mystery' Good Housekeeping, 10 Books to Read Right Now!'Smiley is a masterful writer' Sunday Times'Outstanding. Her sentences are sublime' Roxane GayFrom a brilliant Pulitzer Prize-winning and best-selling author: a rollicking murder mystery set in Gold Rush California, as two young prostitutes follow a trail of missing girls.Monterey, 1851. Ever since her husband was killed in a bar fight, Eliza Ripple has been working in a brothel. It seems like a better life, at least at first. The madam, Mrs. Parks, is kind, the men are (relatively) well behaved, and Eliza has attained what few women have: financial security. But when the dead bodies of young women start appearing outside of town, a darkness descends that she can't resist confronting. Side by side with her friend Jean, and inspired by her reading, especially by Edgar Allan Poe's detective Dupin, Eliza pieces together an array of clues to try to catch the killer, all the while juggling clients who begin to seem more and more suspicious.Eliza and Jean are determined not just to survive, but to find their way in a lawless town on the fringes of the Wild West - a bewitching combination of beauty and danger - as what will become the Civil War looms on the horizon.As Mrs. Parks says, 'Everyone knows that this is a dangerous business, but between you and me, being a woman is a dangerous business, and don't let anyone tell you otherwise . . .'

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Jean Genet and the politics of theatre is the first publication to situate the politics of Genet's theatre within the social, spatial and political contexts of France in the 1950s and 1960s. The book's innovative approach departs significantly from existing scholarship on Genet. Where scholars have tended to bracket Genet as either an absurdist, ritualistic or, more recently, a resistant playwright, this study argues that his theory and practice of political theatre have more in common with the affirmative ideas of thinkers such as Henri Lefebvre, Jacques Rancière and Alain Badiou. By doing so, the monograph positions Genet as a revolutionary playwright, interested in producing progressive forms of democracy. This original and interdisciplinary reading of Genet’s late work will be of interest to students and practitioners of Theatre, as well as those interested in French and History.

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Written in 1456 and purporting to be the biography of the actual fourteenth-century knight of its title, Jean de Saintré has been called the first modern novel in French and one of the first historical novels in any language. Taken in hand at the age of thirteen by an older and much more experienced lady, Madame des Belles Cousines, the youth grows into an accomplished knight, winning numerous tournaments and even leading a crusade against the infidels for the love of Madame. When he reaches maturity, Jean starts to rebel against Madame's domination by seeking out chivalric adventures on his own. She storms off to her country estates and takes up with the burly abbot of a nearby monastery. The text moves into darker and uncourtly territory when Jean discovers their liaison and lashes out to avenge his lost love and honor, ruining Madame's reputation in the process. Composed in the waning years of chivalry and at the threshold of the print revolution, Jean de Saintré incorporates disquisitions on sin and virtue, advice on hygiene and fashion, as well as lengthy set pieces of chivalric combat. Antoine de La Sale, who was, by turns, a page, a royal tutor, a soldier, and a judge at tournaments, embellished his text with wide-ranging insights into chivalric ideology, combat techniques, heraldry and warfare, and the moral training of a young knight. This superb translation—the first in nearly a hundred years—contextualizes the story with a rich introduction and a glossary and is suitable for scholars, students, and general readers alike. An encyclopedic compilation of medieval culture and a window into the lost world of chivalry, Jean de Saintré is a touchstone for both the late Middle Ages and the emergence of the modern novel.

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As well as Jean-Claude Parrot's story, this is also the story of the formation of a union. It is a story of how union democracy was built - of how the grassroots union membership became an integral part of decision making in the union. In the pages of this book you will follow the life of one of Canada's greatest union leaders as he fought to give the workers a voice. In the course of the struggle, Parrot often put his union work and commitments before his own personal life and spent time in prison rather than sacrifice his principles and the cause of the workers in the union. Through Parrot's recounting of these years we learn about how the struggle was waged, how democracy was built and how a union leadership worked tirelessly in the service of the union membership.

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The popular image of a mid-century ad woman is of a feisty girl beating men at their own game, a female Horatio Alger protagonist battling her way through the sexist workplace. But before the fictional rise of Peggy Olson or the real-life stories of Patricia Tierney and Jane Maas came Jean Wade Rindlaub: a female powerbroker who used her considerable success in the workplace to encourage other women--to stick to their kitchens. The Angel in the Marketplace is the story of one of America's most accomplished advertising executives. It is also the story of how advertisers like Rindlaub sold a postwar American dream of capitalism and a Christian corporate order. Rindlaub was responsible for award-winning, mega sales-generating advertisements for all things domestic, including Oneida Silverware, Betty Crocker Cake Mix, Campbell's Soup, and Chiquita Bananas. Her success largely came from embracing, rather than subverting, the cultural expectations of women. She believed her responsibility as an advertiser was not to spring women from their trap, but to make that trap more comfortable. Rindlaub wasn't just selling silverware and cakes, she was selling the virtues of free enterprise. By following the arc of Rindlaub's career from the 1920s through the 1960s, we witness how a range of cultural narratives--advertising chief among them--worked powerfully to shape women's emotional and economic behavior in support of the free market system. Alongside Rindlaub's story, Ellen Wayland-Smith provides a riveting history of how women were repeatedly sold the idea that their role as housewives was more powerful, and more patriotic, than any outside the home. And by buying into the image of morality through an unregulated market, many of these women helped fuel backlash against economic regulation and socialization efforts throughout the twentieth century. The Angel in the Marketplace is a nuanced portrayal of a complex woman, one who both shaped and reflected the complicated cultural, political, and religious forces defining femininity in America at mid-century. This compelling account of one of advertising's most fervent believers is a tale of a Mad Woman we haven't been told.

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