255 research outputs found
Fables, Vol. I
No full textEighteen months ago I thought that purchasing a set of Rousset for about 300 may have been another mistake. But it has been a fascinating mistake! Why? First, this set of four volumes is signed by the author. Secondly, there is a surprising pattern: though some images overlap in the two sets, images missing in that set are in this set and vice versa. Thus this copy lacks the decorative title-page, an image of an inscribed log with surrounding leafage. On that page we find In this deep impression "Imp. Dantzell. Lyon," about as close as either version comes to announcing a publisher. Our new volume has a title-page beginning Livre I with a cherub. Our new volume does not have for the first fable the full-page image of a figure (Poesie?) looking over the shoulder of another figure (Sagesse?). But fable II in the new-bought copy has an image of a narcissus and a butterfly. It has full-page images for Fables III and VI but none for VII, which has an image in the earlier copy. And so it goes, apparently throughout the volume. How strange! At last in Book II Fable III both have the identical full-page illustration. There is a third anomaly here. The printer or bookbinder botched his job! This volume is missing 121 to 172. It skips from III 5 to IV 6. That segment is found in the middle of an even greater lapse in the second volume (120 to 240). My! In this volume, a particularly good image portrays a group of rats abandoning a house for Book II Fable VIII, an illustration not present in the other version. Another is "Lion and Ass" facing 280 (also not in the earlier copy). My favorite printer's device is on 58: A lion plays piano. Many of these devices are lively! The illustration facing 52 has a fine moral: "Les bons et les méchants pursuivent le Bonheur. Mais les bons seuls peuvent l'atteindre." 285 pages, followed by a T of C for the five books here. The illustrated interior title-page pays homage to Aesop and La Fontaine. I am not so sure the fables do. 5.5" x 8.5".This is a hardbound book (hard cover)Language note: FrenchAlexis Rousse
On the transverse instability of one dimensional capillary-gravity waves
No full textInternational audienceThis text represents the content of a talk given by the second author at ENS Paris on January 28, 2009 at the conference "Mathematics and Oceanography". We are grateful to David Gerard-Varet, David Lannes and Laure Saint-Raymond for the kind invitation to present our recent work on the water waves. The proofs of the results announced here will appear in [18]
« Soudaines clartés et ombres sanglantes » : Jean Rousset éditeur de La Ceppède
No full textCet article se propose d’étudier l’édition par Jean Rousset en 1947, chez l’éditeur Guy Lévis Mano (GLM), d’une sélection de sonnets tirés des Théorèmes spirituels. Cette édition est importante pour deux raisons. La première, c’est qu’elle est la première réédition moderne de Jean de La Ceppède. La seconde, c’est qu’elle constitue dans la trajectoire de Jean Rousset un événement qui s’inscrit dans la constitution de sa définition d’un baroque poétique français. Le choix des sonnets, la matérialité du recueil ainsi que la préface signée par Rousset sont autant d’éléments qui témoignent des débuts de la constitution d’un corpus poétique baroquiste. Le geste anthologique traduit également la lecture spécifique qu’il a faite de La Ceppède (dont il édite les Théorèmes en 1966), auteur duquel il a tiré des éléments d’une poétique baroque, en sélectionnant certains sonnets dont les caractéristiques stylistiques ou thématiques l’ont attiré et qu’il a agencés d’une façon qui annonce déjà ses travaux ultérieurs.This article proposes to study Jean Rousset’s 1947 edition, by the publisher Guy Lévis Mano (GLM), of a selection of sonnets drawn from Théorèmes spirituels. The edition is noteworthy for two reasons: first, it is the first modern re-edition of Jean de La Ceppède and second, it marks an event in Jean Rousset’s trajectory that falls within his definition of a French Baroque poetics. The choice of sonnets, the materiality of the collection and the preface signed by Rousset are all elements pointing to the start of the constitution of a Baroque poetic corpus. The anthological gesture also reflects his specific reading of La Ceppède (whose Théorèmes he edited in 1966), an author from whom he drew elements of a Baroque poetics by selecting certain sonnets whose stylistic or thematic characteristics appealed to him and which he arranged in a way that foreshadowed his subsequent work
“Soudaines clartés et ombres sanglantes”: Jean Rousset, editor of La Ceppède
No full textCet article se propose d’étudier l’édition par Jean Rousset en 1947, chez l’éditeur Guy Lévis Mano (GLM), d’une sélection de sonnets tirés des Théorèmes spirituels. Cette édition est importante pour deux raisons. La première, c’est qu’elle est la première réédition moderne de Jean de La Ceppède. La seconde, c’est qu’elle constitue dans la trajectoire de Jean Rousset un événement qui s’inscrit dans la constitution de sa définition d’un baroque poétique français. Le choix des sonnets, la matérialité du recueil ainsi que la préface signée par Rousset sont autant d’éléments qui témoignent des débuts de la constitution d’un corpus poétique baroquiste. Le geste anthologique traduit également la lecture spécifique qu’il a faite de La Ceppède (dont il édite les Théorèmes en 1966), auteur duquel il a tiré des éléments d’une poétique baroque, en sélectionnant certains sonnets dont les caractéristiques stylistiques ou thématiques l’ont attiré et qu’il a agencés d’une façon qui annonce déjà ses travaux ultérieurs.This article proposes to study Jean Rousset’s 1947 edition, by the publisher Guy Lévis Mano (GLM), of a selection of sonnets drawn from Théorèmes spirituels. The edition is noteworthy for two reasons: first, it is the first modern re-edition of Jean de La Ceppède and second, it marks an event in Jean Rousset’s trajectory that falls within his definition of a French Baroque poetics. The choice of sonnets, the materiality of the collection and the preface signed by Rousset are all elements pointing to the start of the constitution of a Baroque poetic corpus. The anthological gesture also reflects his specific reading of La Ceppède (whose Théorèmes he edited in 1966), an author from whom he drew elements of a Baroque poetics by selecting certain sonnets whose stylistic or thematic characteristics appealed to him and which he arranged in a way that foreshadowed his subsequent work
Slow Dynamics in turbulent Helium flows
No full textThe presence of slow dynamics is a recurrent feature of many turbulent flows. This behaviour can be created by instabilities of the mean flow or by other mechanisms. In this work we analyze the behavior of a highly turbulent Helium flow (maximum Reynolds number Re=10^8, with a Reynolds based on the Taylor microscale Re_\lambda=2000). We have performed velocity measurements using home-made Pitot tubes. The analysis of the data series reveals that below the injection frequencies there are different dynamical regimes with time scales two orders of magnitude below the injection scale
Oscillating grid high Reynolds experiments in superfluid
No full textThe study of particle preferential concentration in oscillating grid turbulence is described. Clustering in normal helium and superfluid helium is presented
Guignol parodies Shakespeare: A case study of Guignol et Juliette and Hamlet by Pierre Rousset
No full textInternational audienceThis article examines the parodies of Romeo and Juliet and Hamlet written by Pierre Rousset for the Guignol Theatre (Lyon, France) in the second half of the nineteenth century. The first part analyses the process of writing the parody, which involves a double transposition from Shakespeare's play to the opera libretto and from the libretto to the puppet play. The second part focuses on the complex encounter between Guignol theatre types and the Shakespearean character. Through these two questions, the article seeks to show that parody does not ‘destroy’ Shakespeare or Guignol, but rather offers an ironic take on both
Elisabeth Rousset e o Realismo de Maupassant: Uma Análise da Protagonista de Bola de Sebo
No full textTCC (graduação) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Letras Francês.O presente trabalho tem como objetivo apresentar uma reflexão sobre o complexo desenvolvimento social e emocional da protagonista Elisabeth Rousset do conto Bola de Sebo (1991 [1880]) por meio da análise de sua descrição pelo narrador, de suas falas e das percepções dos demais personagens sobre ela, considerando suas relações com a anti-heroína. Para isso, foram realizadas leituras do conto, de elementos biográficos do autor, Maupassant (1850-1893), e de estudos acadêmicos relevantes para a discussão. Dessa forma, foi possível observar que os personagens coadjuvantes funcionam como uma espécie de micro-sociedade, refletindo, através de figuras que representam a nobreza, o clero, a alta e baixa burguesia, e a classe política, os preconceitos e hipocrisias da sociedade da época. Foi possível perceber, também, como a protagonista rompe com os padrões de representação feminina vigentes, apresentando-se como uma anti-heroína complexa e multifacetada do século XIX. A tragédia da personagem evidencia formas de controle e repressão, principalmente sobre o corpo feminino marginalizado.The present study aims to reflect on the complex social and emotional development of the protagonist Elisabeth Rousset from the short story Boule de Suif (1991 [1880]), through the analysis of her description by the narrator, her dialogues, and the perceptions of the other characters about her, considering their relationships with the anti-heroine. For this purpose, readings of the short story, biographical elements of the author, Maupassant (1850-1893), and relevant academic studies were conducted. This analysis made it possible to observe that the supporting characters function as a kind of micro-society, reflecting, through figures representing the nobility, the clergy, the upper and lower bourgeoisie, and the political class, the prejudices and hypocrisies of the society of the time. It was also possible to perceive how the protagonist breaks with the prevailing patterns of female representation, presenting herself as a complex and multifaceted 19th-century anti-heroine. The tragedy of the character highlights forms of control and repression, especially over the marginalized female body.Ce travail a pour objectif de réfléchir sur le complexe développement social et émotionnel de l’héroïne Elisabeth Rousset, protagoniste de la nouvelle Boule de Suif (1991 [1880]), à travers l’analyse de sa description par le narrateur, de ses dialogues et des perceptions des autres personnages à son égard, en tenant compte de leurs relations avec l'anti-héroïne. Pour cela, des lectures de la nouvelle, des éléments biographiques de l'auteur, Maupassant (1850-1893), et des études académiques pertinentes ont été réalisées. Ainsi, il a été possible d'observer que les personnages secondaires fonctionnent comme une sorte de micro-société, reflétant, à travers des figures représentant la noblesse, le clergé, la haute et basse bourgeoisie, et la classe politique, les préjugés et les hypocrisies de la société de l'époque. Il a été possible également de constater comment la protagoniste brise les modèles dominants de représentation féminine, en se présentant comme une anti-héroïne complexe et nuancée du XIXe siècle. La tragédie du personnage met en évidence des formes de contrôle et de répression, notamment sur le corps féminin marginalisé
Translator’s notes and enunciative heterogeneity in journalistic discourse: Salvador Mañer and Mr. Rousset in the Spanish version of Mercure historique et politique (1738-1744)
No full textEste artículo estudia un corpus de textos periodísticos redactados por Salvador Mañer, introductor en España de una de las cabeceras más importantes de los inicios de la prensa en español, el Mercurio histórico y político, que traduce, entre 1738 y 1744, de un original francófono que publicaba en La Haya Jean Rousset. El objetivo principal es analizar las funciones de las notas del traductor en el tratamiento de la información y en la construcción de la relación diafónica entre el traductor, el autor original y el resto de fuentes enunciativas presentes en esta obra. El estudio aplica las nociones de oralidad concepcional, interacción in abstenía y reformulación diafónica, que ofrecen diversos autores del ámbito de la lingüística de las variedades y de la lingüística de la enunciación. El análisis revela que, en su papel de anotador, Mañer es una instancia altamente comprometida que interacciona con el autor de la fuente original mediante el discurso traducido para crear una variedad de dispositivos en los que la heterogeneidad enunciativa del conjunto aparece explícitamente reflejadaThis paper studies a corpus of journalistic texts written by Salvador Mañer, who introduced in Spain one of the most important newspapers during the earliest stages of the Spanish press, Mercurio histórico y político —which he translated between 1738 and 1744 from an original that was published in French in The Hague by Jean Rousset. The aim sought consists in analyzing the functions performed by the Translator’s notes in the transmission of information and in the construction of a diaphonic relationship between the translator, the original author and the rest of the enunciative sources present in this work. Starting from the conceptualization of notions such as conceptional orality, interaction in absentia and diaphonic reformulations, offered by various authors in the field of linguistics of varieties and enunciation, our analysis reveals that, in his role as Translator’s notes author, Mañer is a highly committed instance that interacts with the author of the original source through the mediation of the translated discourse to create a variety of structures in which the enunciative heterogeneity of the whole is explicitly shown
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