8 research outputs found
Once upon a time, there was a stranger on the road
No full textv anglickém jazyce: This thesis mainly analyzes the five-part novel Gargantua and Pantagruel written by the French author Francois Rabelais. Emphasis is based particularly on an inclusion of Rabelais's work in historical and literary context of the period of transformation between medieval and Renaissance society. More specifically, it deals with the author's humanist opinion and his critique of contemporary society, which is the main line of the work itself. The aim of our thesis is especially an attempt to outline the various possible meanings of the terms « road or path » and « stranger » in Rabelais's work and explain the role of these thematic concepts in the author's concept of criticism of society
Originea și evoluția statului
No full textThe paper is an attempt to describe and explain the evolution of the state and in particular in Western Europe, an area were the modern democratic regimes originated. As in the early stages of the political thought wast stated by Aristotle, men is a “political animal”. Still, being aware about the constraint resulted from the living under the strain of the rules imposed by the forms of human association called states, the question is what were the motives that determined the human beings to accept and even develop such kind of organizations. Also, it is important to understand why the modern democratic political regimes developed in a such narow geographical area as Western Europe and what were the conditions that favorized this particular kind of evolution. As is presented in the paper, the Western European societies evolved from a stage characterized by a high level a desorder and violence to what the french author Francois Guizot is designing as “the Government and the Country”.</p
AS AVENTURAS DE TELÉMACO E DIÓFANES: A FORMAÇÃO VIRTUOSA ATRAVÉS DE NARRATIVAS ROMANESCAS NO SÉCULO XVIII | THE ADVENTURES OF TELÉMACO AND DIÓFANES: THE VIRTUOUS UPBRINGING THROUGH NOVELISTIC NARRATIVES IN THE EIGHTEENTH CENTURY
No full textEste artigo procura mostrar de que maneira os romances As aventuras de Telémaco (2006), do autor francês François Fénelon, e Aventuras de Diófanes (1993), da escritora luso-brasileira Teresa Margarida da Silva e Orta, contribuíam para a formação virtuosa de crianças durante o século XVIII. As narrativas resgataram personagens e mitos da antiguidade clássica greco-romana para difundir determinados valores morais e cívicos, também envolvendo críticas ao contexto político e social de França e Portugal. Para embasar nosso trabalho, nos valemos principalmente de Abreu (2003), Coelho (1991) e Hipolito (2004), compreendendo as obras em seu contexto histórico de produção e circulação. Abstract: This article aims to show how the novels As aventuras de Telémaco (2006) by the French author Francois Fénelon and Aventuras de Diófanes (1993) by the Luso-Brazilian writer Teresa Margarida da Silva e Orta contributed to the virtuous upbringing of children during the eighteenth century. The narratives not only revived characters and myths of Greco-Roman antiquity to diffuse certain moral and civic values but also entailed criticism of the political and social context of France and Portugal. As the basis for the discussion, the works of Abreu (2003), Coleho (1991) and Hipolito (2004) are utilized to assist in the understanding of the novels in the historical context of their production and circulation
Albert Einstein with Paul Painleve and Andre Francois-Poncet and two others at the French Embassy in New York
No full textDigital ImageDigital ImagePaul Painleve, 1863—1933. French mathematician and politician. Member of Chamber of Deputies (from 1910); minister of public instruction (1915—16), of war (1917), and premier of France (1917); president of Chamber of Deputies (1924) and unsuccessful candidate for presidency of France; again premier(1925); minister of war (1925—29) and of air (1930—32). Also known as a patron of French aviation.Andre Francois-Poncet, June 13, 1887--January 8, 1978; French diplomat, journalist, and author. Francois-Poncet served as French ambassador to Germany during Hitler's rise to power. Though he repeatedly warned his government of Germany's rearmament, his warning went unheeded. After the war, he held the post of French High Commissioner in West Germany until 1955 when the republic became independent and he was named French ambassador in Bonn. After his retirement from the diplomatic service, he wrote a regular column for the conservative Paris daily, Le Figaro. He was the author of books on German literature and politics and several volumes of memoirs. He died in Paris, France.Record added to DigiTool. Aleph record suppressed. J. Palmisano 09/15/2010
Aligning Strategic Human Resource Management To Human Resources, Performance And Reward
No full textIn a rapidly changing business environment, one may recognise the words “the only thing constant in life is change” by French author Francois de la Rockefoucauld. Yet, with on-going change, it can be difficult to know what to do and how to do it. The world out there is harsh and competition is fierce. Indeed, the world is changing at a rapid pace. Therefore, both public and private sectors have to plan for the future and prepare for any unforeseen circumstance. This paper will discuss the link between Strategic Human Resource Management, Human resources, Performance and Reward, what we know, and the future direction of Strategic Human Resource Management. Strategic Human Resource Management involves making those decisions that define the overall vision, mission, core values and objectives of the organisation, thus determining the most effective utilisation of its resources. Walker (1992: 16) states that Strategic Management enables managers to respond to environmental changes based on a defined business mission, vision and values. Strategies are directional plans that guide management actions in the pursuit of opportunities. In essence, strategies point the way for the most promising changes. They are plans that give direction and address people related business issues. Human Resource strategies are important because they help determine how to manage people in relation to business strategies. Strategic Human Resource Management aligns Human Resources, which is necessary for the success of the organisation
Byl jednou jeden cizinec na cestě.
No full textv českém jazyce: Diplomová práce se zabývá analýzou pětidílného románu Gargantua a Pantagruel francouzského spisovatele Francoise Rabelaise. Důraz je kladen zvláště na zařazení Rabelaisovy tvorby do historicko-literárního kontextu doby přechodu mezi středověkou a renesanční společností. Konkrétněji se zabývá autorovými humanistickými myšlenkami a jeho kritikou soudobé společnosti, které tvoří hlavní linii samotného díla. Cílem práce je především pokus o nastínění různých možných významů pojmů « cesta » a « cizinec » v Rabelaisově díle a vysvětlení role těchto tematických pojmů v autorově pojetí kritiky společnosti.v anglickém jazyce: This thesis mainly analyzes the five-part novel Gargantua and Pantagruel written by the French author Francois Rabelais. Emphasis is based particularly on an inclusion of Rabelais's work in historical and literary context of the period of transformation between medieval and Renaissance society. More specifically, it deals with the author's humanist opinion and his critique of contemporary society, which is the main line of the work itself. The aim of our thesis is especially an attempt to outline the various possible meanings of the terms « road or path » and « stranger » in Rabelais's work and explain the role of these thematic concepts in the author's concept of criticism of society.Katedra francouzského jazyka a literaturyFaculty of EducationPedagogická fakult
Daily Reflections (Meditations) on the Scriptures from the Roman Catholic Lectionary.
No full textWe are still basking in the afterglow of Easter. The Resurrection continues to work its transforming and renewing power. Spring moves gradually towards summer. The Church hurries towards Pentecost, the celebration of the outpouring of God's life-giving spirit. We work and walk, play and pray, as an Easter people.||Our scripture today echoes the Acts of the Apostles as it relates to the centrality of the Easter mystery in the life of the Christian. In the Resurrection we are confronted with the irreducible core of our belief, namely that Jesus died and rose from the dead. This is what the apostles proclaimed, this is what animated the early Christian communities; this is what remains the core of Christian faith. We must remember that the Resurrection is the belief around which the Church grew.|On this Feast of Saints Philip and James, we are reminded that the heart of discipleship _ theirs and ours _ is being a dedicated witness to the Resurrection. As disciples, as followers of Jesus, we, too, are compelled to stand before the world as witnesses that God lives! We are to proclaim that Jesus is the way, the truth and the life!|The Christian vocation is, of its nature, a vocation to be apostles. Like Philip and James we are called by God as "ministers of a new covenant," "servants of God," "ambassadors for Christ," and witnesses to the Resurrection. Just as the first apostles received both the mandate for their mission and the power to carry it out from Jesus himself, so it is for us through the grace of our baptism. Baptism is intimately related to the renewing and transforming power of Jesus, the Easter mystery.|How we live out our discipleship is unique to each of us. Only you know your capacity for compassion and love; only you know how you feed the hungry and embrace the poor; uniquely yours is your contribution to craft a more just and humane society, an environmentally sensitive and violent free society.|Of course, we do not accomplish the tasks of a follower of Jesus alone. As St. John says in today's gospel: "Amen, I say to you, whoever believes in me will do the works that I do, and will do greater ones than these, because I am going to the Father. And whatever you ask in my name, I will do..." Thusly empowered by the grace and the presence of a faithful God we can go about our tasks as followers of the Risen Lord. This is especially so in the Easter season. For as the French author, Francois Mauriac, noted "Since the resurrection we are apt to encounter the Lord when and where we least expect.
POSTMODERNISM AS PRESENTIMENT IN THE THEORY OF “AUTHORIAL CINEMA” AND THE FILMS OF THE FRENCH “NEW WAVE” / ПОСТМОДЕРНИЗМ КАК ПРЕДЧУВСТВИЕ В ТЕОРИИ «АВТОРСКОГО КИНО» И ФИЛЬМАХ ФРАНЦУЗСКОЙ «НОВОЙ ВОЛНЫ»
No full textarticle examines the conception of “authorial cinema” and the aesthetics of the French “new wave” of cinema notionally connected with it, as some of the first prologues and theoretical foundations of cinematographic postmodernism. In the opinion of the author of the article, an essential moment of the conception of authorial cinema created in the mid-1950s on the pages of the journal “Cahier de cinema” is the negation of the elitist modernist context of understanding of producers’ activities in cinema as the work of the Artist with a capital letter. Almost simultaneously with an attack on the opposition between elite and mass culture undertaken by the founders of the Birmingham center for cultural studies and the Anglo-American “new left,” and over a decade before various variants of post-structuralism brought out their versions of the “death of the author,” Francois Truffaut, who was the first to have made use of the term “authorial cinema,” and other young cinema critics, who published their articles in the journal “Cahier du cinema,” got into an argument with this journal’s founder and editor-in-chief André Bazin, who defended the modernist, personalist-existentialist point of view about the cinema producer’s artistic activity. One of the most significant content-based aspects of this argument, known as the “argument about the ‘authors’ politics,’” was the paradoxical coexistence within the position of Bazin’s opponents: on the one hand, of the attitude toward the author in cinema not as the creator of a work of art, but as a subject of an integral artistic biography in which success and failure possess equal value; on the other hand, of the view as the most crucial value of the authorial film of the combination in it of what may be called the verbal-semantic secondary quality (genre or quotation quality), and that which is perceived as meaningless visual characteristics, affecting not the viewer’s reason, but rather, his “body.”
В статье рассматриваются концепция «авторского кино» и идейно связанная с ней киноэстетика французской «новой волны» как одни из прологов и теоретических оснований кинематографического постмодернизма. По мнению автора статьи, сущностным моментом концепции авторского кино, родившейся в середине 1950-х годов на страницах журнала «Кайе дю синема», является отрицание элитарно-го модернистского контекста понимания режиссерской деятельности в кинематографе как творчества Художника с большой буквы. Почти одновременно с атакой на оппозицию между элитарной и массовой культурами, предпринятой основателями бирмингемского центра cultural studies и англо-американскими «новыми левыми», и более чем за десятилетие до того, как различные варианты постструктурализма выдвинули свои версии «смерти автора», Франсуа Трюффо, впервые использовавший термин «авторское кино», и другие молодые кинокритики, публиковавшиеся в журнале «Кайе дю синема», вступили в спор с основателем и главным редактором этого журнала философом кино Андре Базеном, который отстаивал модернистскую, персоналистско-экзистенциалистскую точку зрения на творчество кинорежиссера. Важнейшим содержательным аспектом этого спора, известного как «спор о “политике авторов”», было парадоксальное сосуществование
в позиции оппонентов Базена, с одной стороны, отношения к автору в кино не как к создателю произведения, а как к субъекту целостной творческой биографии, в которой имеют равную ценность как удачи, так и неудачи; с другой стороны, ви́дения в качестве главной ценности авторского фильма сочетания в нем того, что можно назвать вербально-смысловой вторичностью (жанровостью, цитатностью), и того, что представляется бессмысленной визуальностью, воздействующей не на разум, а на «тело» зрителя
