4,319 research outputs found
Responses to Emma Lazarus Memorial Issue of The American Hebrew
No full textIncludes “To the Memory of Emma Lazarus,” by S. Morais; “The Dead Singer,” by Allen Eastman Cross; “Emma Lazarus,” by M.J. Savage; “A First Visit to the Poet” by Mary M. Cohen; “Emma Lazarus” by John G. Whittier; "To Emma Lazarus" by Charles de Kay; and “To Emma Lazarus: 1905” by Richard Watson Gilder. Also includes letters from Claude G. Montefiore, editors of The Atlantic Monthly, John Hay (calling her early death “an irreparable loss to American Literature”), Helen Gray Cone (thanking the editor for the opportunity of paying a “trifling tribute to the noble memory of Emma Lazarus”), Charles A. Dana of New York Sun (about conversations with Lazarus), Julian Hawthorne, Joseph B. Gilder (stating that "morally as well as intellectually, she moved on a decidedly higher plane than the average man or woman whom one meets in cultivated society"), Jeannette L. Gilder, E.L. Godkin (describing Emma’s "masculine vigor" in defense of the "Jewish race"), John Burroughs, Maurice Thompson, Charles Dudley Warner, Mary Mapes Dodge, Mariam Del Banco, Charles de Kay, J.B. Gilder, Edmund C. Stedman, M.J. Savage, George William Curtis, G.W. Cable, Mary A. Dodge, and Frances Hellman.Digital ImageDigital finding aid available
Le statut des mouvements de libération nationale à l'Organisation des Nations Unies
No full textLazarus Claude. Le statut des mouvements de libération nationale à l'Organisation des Nations Unies. In: Annuaire français de droit international, volume 20, 1974. pp. 173-200
Letter From Claude Monet to George Petit
No full textabstract: Concerning a letter written from Claude Monet to George Petit.Transcription Details: Transcription forthcoming
Some Reactions to the Black Manifesto (Johnson), 1969
No full textEditorial in the National Baptist Forum newspaper, by Reverend Dr. Louis Johnson, Pastor of Friendship Baptist Church, Detroit, MIchigan, titled "Some Reactions to the Black Manifesto," delivered aloud by the author of the manifesto, James Forman, at the annual meeting in Kansas City, Missouri in 1969. Claude W. Black, Jr. was editor at the time
Claude A. Buss Interview
No full textProfessor Claude Albert Buss is interviewed for the Naval Postgraduate School's student-run magazine, The Classmate, as part of its December 1994 - January 1995 issue.Professor Claude A. Buss is an area specialist on Asia on staff at the Naval Postgraduate School whose career includes stints as an ambassador to China, the Philippine Islands and Japan as well as professorships at the University of Southern California, Stanford University and San Jose State University. He is the author of numerous books on war and diplomacy in Asia and was recently cited for teaching excellence in the National Security Affairs curriculum. He lives with his wife of five years in Palo Alto. He recently granted an interview to Classmate writer Connie Lynch. Following are excerpts from that interview
« Face chevaline » et « tête d’échassier » : la caricature anthropozoomorphe dans l’œuvre de Claude Simon
No full textDe nombreux personnages simoniens sont décrits selon des procédés de déconstruction largement employés dans la caricature : la distorsion des traits de leur visage et leur disproportion anatomique les dotent de caractéristiques physiques animales et les métamorphosent en figures hybrides. Pour autant, le caractère satirique de la caricature animalière réalisée dans les descriptions simoniennes pose question, dans la mesure où l’auteur revendique de ne pas être un moraliste. L’article se propose ainsi d’interroger l’influence de la caricature anthropozoomorphe du xixe siècle sur l’écriture de Claude Simon, à la fois dans ses dimensions esthétique et éthique, entre effet de collage, satire sceptique et figures grotesques.Many Claude Simon’s characters are described with deconstructive processes widely used in caricature. The distortion of their facial features and their anatomical disproportion endow them with animal characteristics and metamorphose them into hybrid figures. However, Claude Simon’s animal caricatures are not necessarily of a satirical nature, since the author claims not to be a moralist. This article explores the question of the influence of anthropozoomorphic nineteenth-century caricature on Claude Simon’s writing both in its aesthetic and ethical dimensions, between collage effect, sceptical satire and grotesque figures
Revue des revues
No full textBrouillet Alain, Audeoud Olivier, Chambault Jean-François, Decaux Emmanuel, Distel Michel, Lazarus Claude, Merlin Christian, Tavernier Paul, Wolf Didier, Ziller Jacques. Revue des revues. In: Annuaire français de droit international, volume 21, 1975. pp. 1181-1208
Revue des revues
No full textBrouillet Alain, Audeoud Olivier, Chambault Jean-François, Decaux Emmanuel, Distel Michel, Lazarus Claude, Merlin Christian, Tavernier Paul, Wolf Didier, Ziller Jacques. Revue des revues. In: Annuaire français de droit international, volume 21, 1975. pp. 1181-1208
Three Women/Three Margins: Political Engagement and the Art of Claude Cahun, Jeanne Mammen, and Paraskeva Clark
No full textEThOS - Electronic Theses Online ServiceGBUnited Kingdo
Claude Simon, un écrivain « romanesque » ? Figures et postures de l’auteur dans l’œuvre, dans la théorie et dans les médias
No full textDans les romans de Claude Simon, les représentations de la figure de l’auteur constituent autant d’avatars, de modèles ou contremodèles possibles. Dans ses écrits théoriques et ses interventions médiatiques, Simon a également construit une théorie de l’auteur qui fait écho à ces figures fictives. Cet ensemble transversal et cohérent finit par générer une image de Claude Simon lui-même et de la conception simonienne du romancier, dans un jeu romanesque entre vie et œuvre, entre fictif et biographique.In Claude Simon’s novels, the representations of the figures of the author are made of so many avatars, models or counter-models. In his theoretical essays and his media activities, Simon has also built a theory of the author which echoes these fictional figures. This coherent and transversal whole builds up a picture of Simon himself and also gives a picture of the conception of Simon as a novelist, setting a novelistic game closely intertwined between life and the work and between fictional and biographical
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