6,693 research outputs found
Denkmal wahrer Freundschaft bey dem Grabe unsers geliebten Freundes Iohann Ernst Wilhelm Weigand, d. G. G. Befl. aus Römhild
No full textGedächtnisgedicht auf Johann Ernst Wilhelm Weigand, +1790[H. T. Ch. Berger, d. G. G. Bef. aus Römhild. G. Ch. Büchner, d. g. G. Befl. a. d. Hildburgh. H. W. Dorn, d. G. G. Befl. a. d. Hennebergischen ...]Autopsie nach Exemplar der ULB Sachsen-AnhaltVorlageform des Erscheinungsvermerks: Iena, gedruckt mit Fiedlerischen Schriften 1790
L-R: Katie Lee; Leo Walters; Bruce Berger sitting on a boat on the Colorado River.
No full textPhoto of Photo of Arizona folk singer and author Katie Lee (far left), Leo Walters (center), and writer Bruce Berger (far right), sitting on a raft on the Colorado River, Glen Canyon, Uta
Berger, Julia
No full textRegister states death age as 68. Nathan Berger - husbandhttps://stars.library.ucf.edu/cfm-ch-memoranda-1941/1297/thumbnail.jp
Geoffroy Chaucer. Les Contes de Canterbury, traduction française avec une introduction et des notes par Th. Bahans, J. Banchet, Ch. Bastide, P. Berger, L. Bourgogne, M. Castelain, L. Cazamian, Ch. Cestre, Ch. Clermont, J. Delcourt, J. Derocquigny, C.-M. Garnier, R. Huchon, A. Koszul, L. Lavault, E. Legouis, L. Morel, Ch. Petit, W. Thomas, G. Vallod, E. Wahl
No full textBarbeau A. Geoffroy Chaucer. Les Contes de Canterbury, traduction française avec une introduction et des notes par Th. Bahans, J. Banchet, Ch. Bastide, P. Berger, L. Bourgogne, M. Castelain, L. Cazamian, Ch. Cestre, Ch. Clermont, J. Delcourt, J. Derocquigny, C.-M. Garnier, R. Huchon, A. Koszul, L. Lavault, E. Legouis, L. Morel, Ch. Petit, W. Thomas, G. Vallod, E. Wahl. In: Journal des savants. 8ᵉ année, Janvier 1910. pp. 45-46
Configurations of Values
No full textCentral to public debates about commonalities and differences between citizens of different religious and cultural backgrounds is the compatibility of cultural values and the norms through which these values are actualized. Values, and changes in value systems, are the central theme in Chapter 14 of this volume, in which Peter Berger discusses a specific strand of structural anthropology that he emphasizes can be useful in the analysis of both empirical and historical data: the theory of value as developed by Louis Dumont, which has its roots in Durkheim’s sociology of religion. Berger begins by contextualizing Dumont’s theory in the history of the discipline of anthropology by outlining the main features of Dumont’s analytical framework and how it has been developed by Joel Robbins. He sketches how Dumont, informed by his Indological and anthropological research on the Hindu caste system, developed a general theory of hierarchy, the latter being just the other side of the coin of value (as posing a value introduces hierarchy). While Lévi-Strauss was mainly concerned with binary oppositions in cultural structures, Dumont argued that relationships between ideas are hierarchical. Left and right, for instance, are not simply opposites but stand in a hierarchical relation. When taking an oath or shaking hands after making an agreement, only the right hand is appropriate because it stands for the whole person. Dumont discussed the various properties of value and added the concepts of “context” and “level” in order to account for a dynamic relationship between ideas and values within a certain framework he called ideology. Joel Robbins further developed the dynamic potential in Dumont’s theory in explaining processes of change and globalization. In line with Mason’s argument that the label of “religion” as a universal cultural category often obfuscates more than it illuminates outside the Western world, the author demonstrates that the theory of value as developed by Dumont and Robbins provides an important perspective from which to study religion, precisely because it does not depend on “religion” as a privileged analytical concept or domain
Loulou restons chez nous : chanson populaire créée par Bérard, Yzelle, Mary Legay, Berger [illustration Clérice frères]
No full textLoulou restons chez nous : chanson populaire créée par Bérard, Yzelle, Mary Legay, Berger ; illustration Clérice frères (dates de décès inconnues, droits réservés). Paroles F. Mortreuil ; musique Ch. Borel-Clerc, propriété de Ch. Borel-Clerc, imprimerie Ghidone [intérieur : aucune mention d’artiste ; cotage CBC60] ; verso catalogue ; incipit “Louloute est une fille sage”. Datation (titre) : 1911, par dépôt légal FRBNF42866818
Secularization as a provocation Christianity to the theological basis of the social theory of P. Berger and Ch. Taylor
No full textThis master thesis is focused on interpreting theological motives in the social theory of P. L. Berger and Ch. Taylor, particularly in relation to their interpretation of the concepts of secularization and secularity. The first objective of the thesis is to demonstrate whether these partial sociological concepts can be read as theologically conditioned. Consequently, to elucidate how the dependence of these concepts on their theological origins influences the explanation of the pertinence of Christianity in the contemporary world. The second aim of this thesis is to testify the inner connection between the ideas of both authors; in order to explain how and for what reason the concepts of secularization and secularity acquire the same or different expressions. This thesis is organized into four sections, the first section defines the framework of the secularization debate in which the topic of this work operates. The second and third sections provide an analysis of Berger and Taylor's sociological approach. The last section compares the concepts that prove to be essential for the interpretation of secularization and secularity in Berger and Taylor
René Berger. L'art vidéo
No full textVideo art history
René Berger, director of the Musée cantonal des Beaux-Arts in Lausanne from 1962 to 1981, and president of the International Association of Art Critics from 1969 to 1975, is a pioneering figure in the field of the theorization of video art, which he developed in parallel to the scientific symposia he organized at the VideoArt Festival in Locarno. Challenging the importance of exhibiting art and shaking up our apprehension of art by introducing a temporal factor, Berger suggests that video participates in an effect of dislocation and relocation of the work, which he considers one of the fundamental features of installations.
Borrowing tools of analysis from linguistics, cybernetics, and semiology, Berger positions video art as a practice situated at the intersection of different media, part of the development of mass-produced animated images, culminating with the explosion of technology. Berger’s reflexion on video, far from being limited to the claim of the medium’s specificity and to the promotion of its local actors (the “musketeers of the invisible” to use his well-known phrase), contributes to the renewal of the function of curator, considered as an author in their own right.
This publication gathers together for the first time the most important texts that René Berger dedicated to video art, published for the most part in magazines and exhibition catalogues between 1971 and 1997.
The book is part of the Documents series, co-published with Les presses du réel and dedicated to critical writings
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