116 research outputs found
Fantaisies gastronomiques : pour piano : menu de dîner / Armand Bolsène
No full textPiano, Musique de -- +* 1900......- 1999......+:20e siècle:Fantaisies (piano) -- +* 1900......- 1999......+:20e siècle
Poèmes chinois de l'époque Song, pour chant et piano. Traduit par Georges Soulié de Morant
No full textComprend : P. 2 - Une jonchée de fleurs de pêcher (Li Tsring-Tchao) - P. 8 - Pluie légère (Li Tsring-Tchao) - P. 14 - Retour au soir d'une promenade sur le lac (Tchou Chou-Tchean) - P. 17 - En goûtant la fraicheur (Tchou Chou-Tchean) - P. 22 - Assise, seule (Tchou Chou-Tchean) - P. 28 - Nuit de lune en bateau (Tac Fou-Kou
Bibliographie des Livres de Fables de La Fontaine Illustrées
No full textHere is a reprint of a precis of a scholarly work since overtaken by at least two works I am aware of: Les Fables de La Fontaine: Quatre Siècles d'illustration by Alain-Marie Bassy in 1986 and Das Illustrierte Fabelbuch by Wolfgang Metzner, Paul Raabe, and Ulrike Bodemann in 1998. Despres' work seems to have concluded in 1888; the original from which this reproduction is made was published in 1892. What one finds here is more difficult for contemporary researchers to work with, I believe. The author works in categories that include fables alone, complete works, diverse editions, suites of illustrations, and cheap editions. Two supplements make for accuracy but harder searching. I find, in the original group from 1888, the following totals: 138 fables alone editions, 18 complete works, 6 diverse editions, 9 suites of illustrations, and 24 cheap editions. The first supplement adds some 37 publications and the second supplement about 10 more. This may be a helpful secondary source in tracking down less known editions of La Fontaine.Language note: FrenchExtrait de l'ouvrage du Dr. Armand Despré
Vers une globalisation ?
No full textGlobal village, global community, global events, global information society, global democratic marketplace, global leaders, etc.: in record time globalization terminology in the English language has caught on in most languages throughout the world. While the term reflects the new modes of generalized interconnection of economies and societies, it also characterizes an ideology. This article traces the sources of that ideology back to the 1960s. It also explores the uses to which this particular view of the reorganization of the world lends itself in debates on the liberalization of cultural and information flows, held in the major international decision-making bodies since the early 1990s. As a counterpoint, the author suggests critical ways of addressing the new phase of the clash and interpénétration of cultures.Village global, Communauté globale, Global events, Société globale de l'information, Global democratic marketplace, Leaders globaux, etc. : la terminologie anglo-américaine de la globalisation a fait, en un temps record, mouche dans la plupart des langues du globe. Si le terme traduit les nouvelles modalités de l'interconnexion généralisée des économies et des sociétés, il s'insère aussi dans une idéologie. Cet article étudie les sources de cette dernière en remontant aux années soixante et explore les usages auxquels se prête cette vision particulière du réordonnancement de la planète dans les débats qui se déroulent dans les grandes instances internationales depuis le début des années quatre-vingt-dix sur la libéralisation des flux culturels et informationnels. En contrepoint, sont exposés les nouvelles manières critiques d'aborder la nouvelle phase du choc et de l'interpénétration des cultures.Mattelart Armand. Vers une globalisation ?. In: Réseaux, volume 18, n°100, 2000. Communiquer à l'ère des réseaux. pp. 81-105
L'âge de l'information : genèse d'une appellation non contrôlée
No full textThe 1960s and '70s were a key phase in the construction of representations of the "information age" and "information society". Neologisms defining the shape of the future technological society proliferated. In this paper the author explores the origins of these concepts. Three sources emerge: the sociological debate; the forecasts of consultants; and the first expressions of the advent of a new form of universalism. The first, centred on the concept of the post-industrial society for which Daniel Bell claims paternity, is closely linked to the tortuous path of discourse on ends, starting with that of ideology. The second reveals the misadventures of forecasting which strives to socialize the idea of a new society. Finally, the third gives the geopolitical key of prophecies on the techno-social future: the birth of the first global society in history is no other than that which is presently embodied in the US. Even before the end of the seventies, the slump attested to the linear conception of history guiding many of these speculations.Les années soixante et soixante-dix occupent dans la construction des représentations de « l'âge de l'information » et de « la société de l'information » une place stratégique. Les néologismes foisonnent qui ont pour mission de dessiner les contours de la société technologique de l'avenir. C'est Farchéologie de ces notions qu'entreprend l'auteur. Trois sources d'émission apparaissent : le débat sociologique, les scénarios d'anticipation des experts-consultants, les premières formulations sur l'avènement d'une nouvelle forme d'universalisme. La première, centrée sur le concept de société post-industrielle dont Daniel Bell revendique la paternité, est intimement liée au parcours sinueux du discours des fins, à commencer par celle de l'idéologie. La seconde révèle les avatars des démarches prévisionnelles qui cherchent à socialiser l'idée de nouvelle société. La troisième annonce la couleur en donnant la clé géopolitique des prophéties sur le futur techno-social : la naissance de la première société globale de l'histoire qui n'est autre que celle qu'incarnent dans le présent les Etats- Unis. Avant que ne s'achève la décennie soixante-dix, la crise donne à voir la conception linéaire de l'histoire qui oriente nombre de ces spéculations.Mattelart Armand. L'âge de l'information : genèse d'une appellation non contrôlée. In: Réseaux, volume 18, n°101, 2000. Questionner la société de l'information. pp. 19-52
The works of the multipurposes poet-translator Armand Robin: marks of a fleeing existence
No full textArmand Robin era um tradutor prodigioso: foram encontrados textos dele traduzidos de pelo menos 22 línguas, sem contar os que desapareceram. Para seu boletim de escutas na rádio, foi possível enumerar 18 línguas fluentemente receptadas. Prodigioso pelo número de línguas, ele também o era por sua concepção da tradução; o sentido não lhe bastava: era necessário recriar o original, sentido por sentido, som por som, língua por língua. Desde a publicação de sua primeira obra, Ma Vie sans Moi, Armand Robin quis que suas traduções fossem apresentadas como obras de sua própria autoria, e mesmo que não se pudesse fazer a diferença entre as duas, antes de dar definitivamente a prioridade às traduções, tanto nas publicações quanto na rádio. Em 1942, a Gallimard publica o seu único “romance” Le temps qu’il fait, O trabalho maior sobre o poeta privilegiou o sujeito tradutor, com ênfase à problemática da pulsão, mais visível nos textos do sujeito tradutor.Neste artigo, privilegiamos a obra do sujeito escritor, e mais especificamente a sua escritura, em seu romance e em seus fragmentos, como forma de aprofundar sua experiência e buscar entender o tão dramático e peculiar discurso presente em sua obra.Armand Robin was a prodigious translator, that is to say: his works were translated into 22 different languages, not to mention his missing texts. During his bulletin on the radio, it was also possible to notice that 18 idioms were fluently received. This poet was notable not only because of his capacity of knowing several languages, but also because of his conception about translation. According to Robin, the meaning was not enough; a target text (TT) must be based on the recreation of the source text (ST), signification by signification; sound by sound, language by language. Since his first book, Ma Vie sans Moi, was released, Robin always wanted his translated texts were presented as works of his own, creating the idea that there was no difference between ST and TT, before giving priority to translation, either in publications or in radio transmissions. In 1942, ÉditionsGallimard published his single “novel”, Le temps qu’ilfait, which was object of studies related to the poet as a translator, emphasizing the pulse of life, which was visible in his TTs. However, in our paper, we are going to observe his production as an author, more specifically his writings, his novel and some of his fragments, in order to deepen the knowledge about his experience and also understand the dramatic and peculiar speech which is present in his writings
A obra do poeta politradutor Armand Robin: marcas de uma existência em fuga
Get PDFArmand Robin was a prodigious translator, that is to say: his works were translated into 22 different languages, not to mention his missing texts. During his bulletin on the radio, it was also possible to notice that 18 idioms were fluently received. This poet was notable not only because of his capacity of knowing several languages, but also because of his conception about translation. According to Robin, the meaning was not enough; a target text (TT) must be based on the recreation of the source text (ST), signification by signification; sound by sound, language by language. Since his first book, Ma Vie sans Moi, was released, Robin always wanted his translated texts were presented as works of his own, creating the idea that there was no difference between ST and TT, before giving priority to translation, either in publications or in radio transmissions. In 1942, ÉditionsGallimard published his single “novel”, Le temps qu’ilfait, which was object of studies related to the poet as a translator, emphasizing the pulse of life, which was visible in his TTs. However, in our paper, we are going to observe his production as an author, more specifically his writings, his novel and some of his fragments, in order to deepen the knowledge about his experience and also understand the dramatic and peculiar speech which is present in his writings.Armand Robin era um tradutor prodigioso: foram encontrados textos dele traduzidos de pelo menos 22 línguas, sem contar os que desapareceram. Para seu boletim de escutas na rádio, foi possível enumerar 18 línguas fluentemente receptadas. Prodigioso pelo número de línguas, ele também o era por sua concepção da tradução; o sentido não lhe bastava: era necessário recriar o original, sentido por sentido, som por som, língua por língua. Desde a publicação de sua primeira obra, Ma Vie sans Moi, Armand Robin quis que suas traduções fossem apresentadas como obras de sua própria autoria, e mesmo que não se pudesse fazer a diferença entre as duas, antes de dar definitivamente a prioridade às traduções, tanto nas publicações quanto na rádio. Em 1942, a Gallimard publica o seu único “romance” Le temps qu’il fait, O trabalho maior sobre o poeta privilegiou o sujeito tradutor, com ênfase à problemática da pulsão, mais visível nos textos do sujeito tradutor.Neste artigo, privilegiamos a obra do sujeito escritor, e mais especificamente a sua escritura, em seu romance e em seus fragmentos, como forma de aprofundar sua experiência e buscar entender o tão dramático e peculiar discurso presente em sua obra
A obra do poeta politradutor Armand Robin: marcas de uma existência em fuga
No full textArmand Robin was a prodigious translator, that is to say: his works were translated into 22 different languages, not to mention his missing texts. During his bulletin on the radio, it was also possible to notice that 18 idioms were fluently received. This poet was notable not only because of his capacity of knowing several languages, but also because of his conception about translation. According to Robin, the meaning was not enough; a target text (TT) must be based on the recreation of the source text (ST), signification by signification; sound by sound, language by language. Since his first book, Ma Vie sans Moi, was released, Robin always wanted his translated texts were presented as works of his own, creating the idea that there was no difference between ST and TT, before giving priority to translation, either in publications or in radio transmissions. In 1942, ÉditionsGallimard published his single “novel”, Le temps qu’ilfait, which was object of studies related to the poet as a translator, emphasizing the pulse of life, which was visible in his TTs. However, in our paper, we are going to observe his production as an author, more specifically his writings, his novel and some of his fragments, in order to deepen the knowledge about his experience and also understand the dramatic and peculiar speech which is present in his writings.Armand Robin era um tradutor prodigioso: foram encontrados textos dele traduzidos de pelo menos 22 línguas, sem contar os que desapareceram. Para seu boletim de escutas na rádio, foi possível enumerar 18 línguas fluentemente receptadas. Prodigioso pelo número de línguas, ele também o era por sua concepção da tradução; o sentido não lhe bastava: era necessário recriar o original, sentido por sentido, som por som, língua por língua. Desde a publicação de sua primeira obra, Ma Vie sans Moi, Armand Robin quis que suas traduções fossem apresentadas como obras de sua própria autoria, e mesmo que não se pudesse fazer a diferença entre as duas, antes de dar definitivamente a prioridade às traduções, tanto nas publicações quanto na rádio. Em 1942, a Gallimard publica o seu único “romance” Le temps qu’il fait, O trabalho maior sobre o poeta privilegiou o sujeito tradutor, com ênfase à problemática da pulsão, mais visível nos textos do sujeito tradutor.Neste artigo, privilegiamos a obra do sujeito escritor, e mais especificamente a sua escritura, em seu romance e em seus fragmentos, como forma de aprofundar sua experiência e buscar entender o tão dramático e peculiar discurso presente em sua obra
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Understanding 1968: the case of Brest
No full textThis article examines the dominance of Paris in how May '68 has been portrayed over the years. It will be argued, through a case-study of the revolt in the Breton city of Brest, that the Paris-centred approach is one that belies the true nationwide aspect of May/June 1968. As one of a range of characteristics, the concentration on the Latin Quarter has helped mould what Kristin Ross has described as the 'official history' of 1968. An examination of how the events were played out within different regional contexts would go a long way towards helping overcome the shortcomings of the increasingly narrow portrayal that has come to dominate the stereotypical image of 1968
The works of the multipurposes poet-translator Armand Robin: marks of a fleeing existence
No full textArmand Robin was a prodigious translator, that is to say: his works were translated into 22 different languages, not to mention his missing texts. During his bulletin on the radio, it was also possible to notice that 18 idioms were fluently received. This poet was notable not only because of his capacity of knowing several languages, but also because of his conception about translation. According to Robin, the meaning was not enough; a target text (TT) must be based on the recreation of the source text (ST), signification by signification; sound by sound, language by language. Since his first book, Ma Vie sans Moi, was released, Robin always wanted his translated texts were presented as works of his own, creating the idea that there was no difference between ST and TT, before giving priority to translation, either in publications or in radio transmissions. In 1942, ÉditionsGallimard published his single “novel”, Le temps qu’ilfait, which was object of studies related to the poet as a translator, emphasizing the pulse of life, which was visible in his TTs. However, in our paper, we are going to observe his production as an author, more specifically his writings, his novel and some of his fragments, in order to deepen the knowledge about his experience and also understand the dramatic and peculiar speech which is present in his writings.Armand Robin era um tradutor prodigioso: foram encontrados textos dele traduzidos de pelo menos 22 línguas, sem contar os que desapareceram. Para seu boletim de escutas na rádio, foi possível enumerar 18 línguas fluentemente receptadas. Prodigioso pelo número de línguas, ele também o era por sua concepção da tradução; o sentido não lhe bastava: era necessário recriar o original, sentido por sentido, som por som, língua por língua. Desde a publicação de sua primeira obra, Ma Vie sans Moi, Armand Robin quis que suas traduções fossem apresentadas como obras de sua própria autoria, e mesmo que não se pudesse fazer a diferença entre as duas, antes de dar definitivamente a prioridade às traduções, tanto nas publicações quanto na rádio. Em 1942, a Gallimard publica o seu único “romance” Le temps qu’il fait, O trabalho maior sobre o poeta privilegiou o sujeito tradutor, com ênfase à problemática da pulsão, mais visível nos textos do sujeito tradutor.Neste artigo, privilegiamos a obra do sujeito escritor, e mais especificamente a sua escritura, em seu romance e em seus fragmentos, como forma de aprofundar sua experiência e buscar entender o tão dramático e peculiar discurso presente em sua obra.Universidade Estadual Paulista Júlio de Mesquita Filho, Departamento de Teoria Lingüística e Literária, Instituto de Biociências Letras e Ciências Exatas de São José do Rio Preto, Sao Jose do Rio Preto, Rua Cristóvào Colombo, 2265, Jardim Nazareth, CEP 15054000, SP, BrasilUniversidade Estadual Paulista Júlio de Mesquita Filho, Departamento de Teoria Lingüística e Literária, Instituto de Biociências Letras e Ciências Exatas de São José do Rio Pret
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