709 research outputs found
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Edmond White
No full textHandwritten notes about author Edmond (sic) White
New approaches to preventing, diagnosing, and treating neonatal sepsis.
No full textKaren Edmond and Anita Zaidi highlight new approaches that could reduce the burden of neonatal sepsis worldwide
Edmond Rostand ou la communion perdue
No full textFor Edmond Rostand, dramatic writing is a medium ensuring communion between the author and the spectator, a bond questioned by Plato. This article studies how Edmond Rostand’s poetic plays illustrate the quest for the public’s understanding of the poet and how the characters thrive for their lost social recognition. His works shed light on the poet at work, each of the characters being an accomplished or budding versifier to reveal that poetry is legitimate work, which requires skills. Edmond Rostand’s poetic style deconstructs literary and social norms that have led to his contemporaries’ loss of authenticity. Misunderstood by theater goers and critics, disappointment led the playwright to improvisation and to pantomime, in which gestures could not alter the fragile and fleeting idea, making poetry easier to comprehend and bridging the gap between the author and his audience, establishing the poet as a worthy citizen again.For Edmond Rostand, dramatic writing is a medium ensuring communion between the author and the spectator, a bond questioned by Plato. This article studies how Edmond Rostand’s poetic plays illustrate the quest for the public’s understanding of the poet and how the characters thrive for their lost social recognition. His works shed light on the poet at work, each of the characters being an accomplished or budding versifier to reveal that poetry is legitimate work, which requires skills. Edmond Rostand’s poetic style deconstructs literary and social norms that have led to his contemporaries’ loss of authenticity. Misunderstood by theater goers and critics, disappointment led the playwright to improvisation and to pantomime, in which gestures could not alter the fragile and fleeting idea, making poetry easier to comprehend and bridging the gap between the author and his audience, establishing the poet as a worthy citizen again.For Edmond Rostand, dramatic writing is a medium ensuring communion between the author and the spectator, a bond questioned by Plato. This article studies how Edmond Rostand’s poetic plays illustrate the quest for the public’s understanding of the poet and how the characters thrive for their lost social recognition. His works shed light on the poet at work, each of the characters being an accomplished or budding versifier to reveal that poetry is legitimate work, which requires skills. Edmond Rostand’s poetic style deconstructs literary and social norms that have led to his contemporaries’ loss of authenticity. Misunderstood by theater goers and critics, disappointment led the playwright to improvisation and to pantomime, in which gestures could not alter the fragile and fleeting idea, making poetry easier to comprehend and bridging the gap between the author and his audience, establishing the poet as a worthy citizen again
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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
Edmond Rostand ou la communion perdue
No full textFor Edmond Rostand, dramatic writing is a medium ensuring communion between the author and the spectator, a bond questioned by Plato. This article studies how Edmond Rostand’s poetic plays illustrate the quest for the public’s understanding of the poet and how the characters thrive for their lost social recognition. His works shed light on the poet at work, each of the characters being an accomplished or budding versifier to reveal that poetry is legitimate work, which requires skills. Edmond Rostand’s poetic style deconstructs literary and social norms that have led to his contemporaries’ loss of authenticity. Misunderstood by theater goers and critics, disappointment led the playwright to improvisation and to pantomime, in which gestures could not alter the fragile and fleeting idea, making poetry easier to comprehend and bridging the gap between the author and his audience, establishing the poet as a worthy citizen again
Complexo de revestimentos cerâmicos do sul de Santa Catarina :
No full textDissertação (Mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas
Placemaking in Practice Volume 2: Engagement in placemaking: Methods, strategies and approaches.
No full textStarting from theoretical concepts and experiences, the volume is interested in a variety of methods, techniques, approaches and conceptualisations that shape these engagements as well as different methodologies. Engage the community of residents, of different interests, of virtual communities, and community of places at different scales, understanding how these forms of engagements were achieved by using particular methods. Also, the combination of different groups engaged in the placemaking like professionals, citizens, stakeholders, NGO, students and combination of virtual and physical communities is in the very aim of the chapters
Digital Collaborative Mapping Tools for Engaging Residents in Placemaking
No full textThe main objective of this chapter is to present and assess research approaches designed to involve urban residents in placemaking processes. A critical examination of these research approaches, which utilise digital collaborative mapping tools to engage residents and gather data on their perceptions of public places in urban environments, reveals their potential to support subsequent placemaking efforts. Through three case studies we mainly demonstrate how these research approaches, based on the use of digital collaborative mapping tools, can engage people and encourage them to share their perceptions of public places. We show the data these approaches provide and, more broadly, how the data impact placemaking. The first case study, conducted in Olomouc (Czech Republic), utilised mental mapping to identify public places where residents experience fear of crime. The survey employed a computer-assisted web interviewing method to engage local residents in data collection. The second study, conducted in Vienna (Austria), aimed to explore how perception influences navigation choices, in order to enhance route-planning services. The EmoMap project developed a digital system to collect affective evaluations of the environment as a means of understanding how these evaluations influence people’s navigation decisions. The third case study presents research conducted in Bergamo (Italy), where perception was methodologically used to explore the “happy relationship” between inhabitants and places. The Happy Places digital consultation system was employed to identify common traits shared by various places, based on people’s experiences. Despite the different spatial contexts and methodological limitations of the evaluated approaches, our findings demonstrate the importance of digital tools for engaging communities in the processes involved in the transformation and sustainable development of urban environments. In this sense, digital collaborative mapping tools represent an opportunity for future efforts to capture data concerning the knowledge of local residents.
Only by using this data can the reproduction and transformation of the urban environment be effectively and sustainably planned to best meet the needs of its users
Edmond Couchot teorico delle immagini digitali
No full textAuthor of some of the first interactive artworks (La plume and Je sème à tout vent), Edmond Couchot was more prolific as a theoretician than as an artist. This paper seeks to reflect on his writings of the 1980s and early 1990s, when digital technologies were not pervasive yet. Defining a digital image as the product of a mathematical language, Couchot reflects on the born of a “new visual order” and its cultural consequences in the creation, perception and circulation of images
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