86 research outputs found
"Il faut que le public sache". L'aveu (homo)sexuel dans l'autobiographie de Julien Green
No full textRésumé – Dès qu’il s’agit de raconter sa propre histoire, Julien Green doit faire face au conflit intérieur qui oppose des fortes résistances au désir d’avouer sa propre homosexualité. L’auteur de cet article cherche à démontrer que le projet d’écrire une autobiographie s’organise pour Green autour de l’urgence de traiter ce sujet, qu’il juge très épineux, mais en même temps fondamental pour la compréhension de sa personnalité. Green arrive à surmonter ses difficultés grâce à une écriture qui recourt à une « rhétorique de l’aveu » très personnelle, qui résulte de deux exigences de nature opposé : le souhait de parler ouvertement de sa vie intime et la tentation de censurer tout ce qui touche à sa vie affective et érotique. Avoir écrit sa confession se révèle pour l’auteur un acte libérateur, qui ressemble à certains égards à un « coming out » ; une confession faite, dans ce cas, non pas à ses proches mais à ses lecteurs. Un acte qu’il juge nécessaire, car, comme il le note dans son Journal, « il faut que le public sache ».
Abstract – When it comes to telling his own story, Julien Green has to face up the inner conflict that opposes a strong resistance to the desire to confess his homosexuality. In this article, the author tries to show that, according to Green, the project of writing an autobiography pivots on the urgent need to tackle this subject, which he considers very thorny, but at the
same time essential for the comprehension of his personality. Green manages to overcome his difficulties thanks to a form of writing which rests on a highly personal « rhetoric of confession », resulting from two opposite necessities. On the one hand, the desire to discuss openly his private life and on the other the temptation to suppress all that relates to his emotional and erotic life. For the author, the writing of his confession represents a liberating action, which somehow looks like a « coming out » ; a confession made not to his family or friends but to his readers. An action, that he considers as necessary, because, as he says in his Journal, « il faut que le public sache » (it is necessary that the public knows)
Zur Sache des Denkens
No full textTübingen, Niemeyer, 1969
Call #: B3279.H48 Z78
Contains underlining, marginal lining and is inscribed by author.
PDF Information: 22 pages – 8mbhttps://digitalcommons.bard.edu/hapl_marginalia_all/1248/thumbnail.jp
Selbstbevorzugung verboten! - Das Urteil des EuGH in der Sache Google Search (Shopping)
No full textDie Verfasserin hat bereits in ihrer Dissertation mit dem Titel „Geschäfte mit Nahestehenden: Eine grundsätzliche Lösung für das Außensteuer-, Handels- und Gesellschaftsrecht - Unter besonderer Berücksichtigung von BEPS Bericht 8 und des Wettbewerbsrechts“ historisch untersucht, auf welcher Grundlage auf den international agierenden Konzern geblickt wird. Hierbei hat sie zwei maßgeblich unterschiedliche Sichtweisen herausgearbeitet, die sich insbesondere im Wettbewerbsrecht auswirken. Die Heimatstaaten international agierender Konzerne vertreten den funktionalen Unternehmensbegriff, der das Konzernprivileg zur Folge hat. Die Expertensicht lehnt diesen funktionalen Unternehmensbegriff und das Konzernprivileg hingegen ab. In Anbetracht des Urteils des EuGH in der Sache Google Search (Shopping) stellt sich nunmehr die Frage, inwiefern die Expertensicht im Vordringen begriffen ist. Denn auch wenn dies nicht augenfällig ist, hat der EuGH möglicherweise erstmals in einem Fall, in dem nicht ein ehemaliges Staatsunternehmen eine marktbeherrschende Stellung innehat, die Tür ein Spalt weit für die Sichtweise geöffnet, die den funktionalen Unternehmensbegriff und das Konzernprivileg ablehnt.In her dissertation the author has already historically examined the basis on which multinational corporations are looked at. In doing so, she has identified two significantly different perspectives that have a particular impact on competition law. The homecountries of multinational corporations represent the functional corporate concept, which results in corporate privilege. The expert view, however, rejects this functional corporate concept and the group privilege. In view of the ECJ ruling in the Google Search (Shopping) case, the question now arises to what extent the expert view is gaining ground. Even if this is not obvious, the ECJ may have opened the door a crack for the view that rejects functional corporate concept and group privilege for the first time in a case in which not a former state-owned company hold a dominant position
Sache des Rechts oder Sache der Ehre? | Autorschaft und Plagiat in der Wissenschaft
No full textWelche Funktion erfüllt die Angabe eines Autornamens in Büchern, Aufsätzen und anderen wissenschaftlichen Texten und wer darf sich mit der Autorschaft schmücken? Insbesondere die letzte Frage bietet, wenn sie auf das Schlagwort »Plagiat« zugespitzt wird, der Wissenschaftswelt stetig Anlass für Diskussionen, Affären und Skandale. Die Arbeit von Jonas Völkel widmet sich der Erforschung der ethischen und rechtlichen Konzepte, die das vorherrschende Verständnis von Autorschaft und Plagiat prägen. Das hat nicht nur theoretische Bedeutung: Ein aufgeklärtes Verständnis der Konzepte von Autorschaft und Plagiat ist Voraussetzung dafür, gerechte und zielführende Maßnahmen zu finden, wenn es darum geht, die »richtige« Autorschaft durchzusetzen und Plagiate zu verfolgen. Die Arbeit leistet mit einem eigenständigen Blickwinkel auf das Thema einen Beitrag zu dieser Aufklärung.»A Matter of Law or a Matter of Honour? Authorship and Plagiarism in Science«: For which purpose do (scientific) texts indicate their author? What qualifies a person to claim authorship and what is the difference between original and plagiarism? The work of Jonas Völkel is dedicated to exploring the prevailing concepts of authorship and plagiarism. It offers an independent perspective and aims to create an informed and objective understanding in order to find a just and purposeful (legal) approach in practice
No exit from the joint decision trap? Can German federalism reform itself?
Full text linkThe unique institutions that make up Germany's unitary federal state, long considered part of the country's post-war success story, are now generally perceived as a joint-decision trap impeding effective policy responses to new economic and demographic challenges at both levels of government. Nevertheless, a high-powered bicameral Commission set up in the fall of 2003 failed to reach agreement on constitutional reforms. The paper analyzes the misguided procedural and substantive choices that led to this failure, and it discusses the possibility of asymmetric constitutional solutions that might enhance the capacity for autonomous action at both levels. -- Die im internationalen Vergleich einmaligen Institutionen des unitarischen Bundesstaats erschienen lange as Element der deutschen Erfolgsgeschichte in der Nachkriegszeit. Heute erscheinen sie jedoch als Politikverflechtungsfalle, welche die Politik in Bund und Ländern an der Bewältigung der neuen ökonomischen und demographischen Herausforderungen hindert. Trotzdem gelang es einer im Herbst 2003 eingesetzten und politisch potent besetzten gemeinsamen Kommission von Bundestag und Bundesrat nicht, sich auf eine Verfassungsreform zu einigen. Der Text analysiert die prozeduralen und sachlichen Fehlentscheidungen, die das Scheitern erklären, und er erörtert die Möglichkeit asymmetrischer Lösungen, die den Spielraum für autonomes politisches Handeln auf beiden staatlichen Ebenen erweitern könnten.
L'auteur et ses possibles
No full textInternational audienceThe Author and His Could BesCaillois’ works, which are generally considered in the light of the history of surrealism, prove to also have affinities with structuralism, among other things because of the close attention they pay to the figure of the author and to its disappearance. From the beginning of the 30s to the last texts in 1978, his work enacts possible variations on the absence of the author, whether a given author is replaced by another, by something else, or finally can’t figure out where he stands. This putting into question of the figure of the author through a constant attention to the processes of creativity is without doubt one of the major sources for the emotions Caillois’ work arouses.La plupart du temps rattachée à l’histoire du surréalisme, l’œuvre de Caillois révèle également une certaine proximité avec le structuralisme, entre autres par l’attention toute particulière qu’elle témoigne à la figure de l’auteur et à sa disparition. Du tout début des années 1930 aux derniers textes de 1978, elle met ainsi en scène diverses modalités possibles de son absence, qu’un auteur donné se trouve remplacé par un autre, qu’il se trouve remplacé par autre chose ou qu’il ne sache enfin à quoi s’en tenir. Cette mise en cause de la figure de l’auteur à partir d’une attention jamais démentie aux processus de la créativité est sans aucun doute l’une des sources les plus vives du trouble que suscite l’œuvre de Caillois
« Les scénaristes sont les seuls auteurs des films : fais en sorte qu’on le sache. Amitiés »
Full text linkMarcel Achard intervient au cinéma comme scénariste, dialoguiste et cinéaste à partir des années trente, c’est-à-dire dans une période où la notion d’auteur est questionnée aussi bien au théâtre, avec l’émergence de l’auteur-metteur en scène, qu’au cinéma : les réalisateurs peuvent intégrer la SACD (Société des auteurs et compositeurs dramatiques) depuis 1929 ; ils seront considérés comme coauteurs, avec les scénaristes, grâce à la loi de 1957. C’est dans ce contexte que la correspondance de Marcel Achard avec Henri Jeanson ou Marc Allégret témoigne des débats et des tensions qui naissent autour du statut d’auteur, débats qui se prolongent dans certains films, jusqu’à en enrichir l’écriture et l’esthétique.Marcel Achard was active in the cinema from the 1930s, as a screen- and dialogue-writer as well as a filmmaker. This was a time when the status of « author » was a matter for controversy in the theatre (with the emergence of the « author-stage director ») as well as in the cinema (film directors had been able to join the SACD [Society of Dramatic Authors and Composers]) since 1929 and they were considered legal « co-authors », along with screenwriters, after the law of 1957. In this context, the correspondence between Marcel Achard and Henri Jeanson or Marc Allégret reflects the controversies and tensions arising from the « author » status – discussions which continued in certain films, enhancing both the writing and the aesthetics
Thinking Perspectives: The Layered Meaning of Heinrich Tessenow’s Drawings (1901 – 1926)
No full textAn architectural perspective drawing gives a naturalistic spatial representation of an architectural project, which is usually represented in orthographic drawings, such as floorplans, sections, and elevations. However, that same perspective drawing can also express theoretical architectural concepts and ideas in a non-verbal, but highly communicative way. To investigate that particular quality, this dissertation takes a systematic look at the historical case of the perspective drawings made by the German architect Heinrich Tessenow (1876-1950), focusing on the period between 1901 and 1926. Tessenow, one of the key figures in early twentieth-century German architecture, was mostly interested in the Kleinwohnung (small workers’ and lower-middle-class house) and the Kleinstadt (small town) Initially, Tessenow’s perspectives appeared in various well-read architectural journals, such as Bautechnische Zeitschrift and Deutsche Bauhütte. These journals not only offered the drawings (and their maker) a publishing platform but also actively invited various writers to respond to them, thus contributing to a lively public discourse on architecture. As a consequence, perspective drawings played a major role in Tessenow’s first three publications, Zimmermannsarbeiten (1907), Der Wohnhausbau (1909) and Hausbau und dergleichen (1916). In all three books, perspective drawings were much more than illustrations or building visualisations to his texts: they actively contributed to Tessenow’s architectural thinking and his emerging visual theory of architecture. This dissertation wants to address some basic questions that relate to this: what is the meaning of these perspectives in Tessenow’s visual theory of architecture and what role did they play in the development of his thinking on the Kleinwohnung? To answer these questions, a great number of perspective drawings are collected from various sources. Quite deliberately, these drawings are detached from their immediate context, regarding the projects they depict, the media in which they appeared and their chronological order. This collection of detached drawings is then subdivided into three main thematic categories that summarize Tessenow’s oeuvre in these years and all relate to the Kleinwohnung: Haus (house); Raum (room or space) and Sache (thing or object). To relate Tessenow’s perspective drawings to his architectural thinking, three epistemic architectural notions are distilled from writings by both Tessenow and some of his contemporaries. These notions are Empfindung (sensibility), Abstraktion (abstraction) and Gewöhnlichkeit (ordinariness) and their epistemic character follows from the fact that they not only define Tessenow’s architectural thinking but relate to a broader German architectural culture. By intersecting these notions with the drawings arranged in the categories of Haus, Raum and Sache, it becomes possible to select more than 20 sets of related drawings that are then subjected to a comparative iconographic architectural analysis, in which the typological organization of building, space or object; and the formal composition of its appearance are linked to aspects such as its immediate setting, spatial delineations and material expression. The method of juxtaposing perspective drawings with a similar subject and subsequently comparing these drawings makes it possible to reveal general patterns and qualities related to the depicted subject beyond the individual case. Together, these analyses form the basis of a series of speculative reconstructions of Tessenow’s inquiries into several relevant topics related to the Kleinwohnung. Besides the historical significance of Tessenow’s case, the analyses presented in this dissertation also demonstrate the significance of perspective drawing. They make clear that this kind of drawing was, and is, able to bring together different scales, elements and atmospheres in one image, which is immediately understandable to both architects and to all the others involved in architecture and building. They also show how perspective drawing can contribute to architectural thinking and thus forms an important theoretical tool that continues to be relevant in the present day. Situated Architectur
Les scénaristes sont les seuls auteurs des films : fais en sorte qu’on le sache. Amitiés
No full textInternational audienceMarcel Achard was active in the cinema from the 1930s, as a screen- and dialogue-writer as well as a filmmaker. This was a time when the status of « author » was a matter for controversy in the theatre (with the emergence of the « author-stage director ») as well as in the cinema (film directors had been able to join the SACD [Society of Dramatic Authors and Composers]) since 1929 and they were considered legal « co-authors », along with screenwriters, after the law of 1957. In this context, the correspondence between Marcel Achard and Henri Jeanson or Marc Allégret reflects the controversies and tensions arising from the « author » status – discussions which continued in certain films, enhancing both the writing and the aesthetics.Marcel Achard intervient au cinéma comme scénariste, dialoguiste et cinéaste à partir des années trente, c’est-à-dire dans une période où la notion d’auteur est questionnée aussi bien au théâtre, avec l’émergence de l’auteur-metteur en scène, qu’au cinéma : les réalisateurs peuvent intégrer la SACD (Société des auteurs et compositeurs dramatiques) depuis 1929 ; ils seront considérés comme coauteurs, avec les scénaristes, grâce à la loi de 1957. C’est dans ce contexte que la correspondance de Marcel Achard avec Henri Jeanson ou Marc Allégret témoigne des débats et des tensions qui naissent autour du statut d’auteur, débats qui se prolongent dans certains films, jusqu’à en enrichir l’écriture et l’esthétique
- …
