11,703 research outputs found
Jeunesse: Lecture suivie
No full textI am delighted to have found this little paperback in a favorite bookshop in Paris. I look forward to using it myself. It brings two of his best illustrators to a pupil's book of Florian's fables. The colored illustrations are not the only help for those of us trying to understand a sometimes difficult author. There are vocabulary notes, comments, and -- especially -- a short discussion of each fable's moral. These discussions are pleasantly candid, as in this comment on "La taupe et les lapins": "La fable de Florian est peut-être moins claire qu'elle n'y paraȋt" (55). Great work on rendering the colored illustrations!Language note: FrenchFloria
Fables de Florian, Nouvelle Edition
No full textHere is a small edition, 3¼" x 5¼," of 162 pages. It seems to be identical to Bodemann #274, published by the same people two years earlier. As Bodemann notes in a very short description, the illustrations come as three panels per page. One panel often represents two fables. My favorites among these very small illustrations are "The Blind and the Lame" (18); "Two Bachelors" (48); "Owl and Pigeon" (83); and "Ass and Flute" (111). Do not miss the gigantic crocodile on 120! Illustrations occur facing these pages: 1, 12, 18, 29, 38, 48, 66, 83, 111, and 120. There is an AI at the back.This is a hardbound book (hard cover)Language note: FrenchNo Autho
Das Gerücht. Ballett in einem Prolog und drei Szenen von Wolfgang Kudrnovsky und Florian Wiefler.op.34
No full textFlorian Wiefler. - Autograph, Part. und Klavierauszug - [s.l.], 1972. - 54 S.Florian Wiefler. - Autograph, Part. und Klavierauszug - [s.l.], 1972. - 54 S
Conceptualising inclusive pedagogy:The inclusive pedagogical approach in action
Full text linkThis chapter provides an overview of inclusive pedagogy, also referred to as the inclusive pedagogical approach (Florian & Black-Hawkins, 2011). Conceptually, the approach is predicated on a shift in pedagogical thinking away from conventional approaches that work for most learners existing alongside something additional or different for those (some) who experience difficulties, towards one that involves providing rich learning opportunities that are sufficiently made available for everyone, so that all learners are able to participate in classroom life. By focusing on how achievements in learning are realised through participation in the community of a classroom, the inclusive pedagogical approach acknowledges that there are individual differences between learners but avoids the problems and stigma associated with marking some learners as different. The second part of the chapter explains how the approach can be incorporated into the daily life of classroom activity using the Inclusive-Pedagogical-Approach-in-Action framework that was developed as a tool for assessing and gathering evidence about practice (Florian, 2014; Florian & Spratt, 2013)
Interview with Florian Bieber
No full textInterview with Florian Bieber, lecturer in East European Politics at the University of Kent in Canterbury, England. Interview conducted in Ithaca, NY on March 13, 2009. Dr. Bieber has worked in Belgrade (Serbia) and Sarajevo (Bosnia-Herzegovina) for the European Centre for Minority Issues and has taught at the Central European University, at the University of Sarajevo and at the University of Bologna. He is also the author of a book about Serbian nationalism, entitled Nationalism in Serbia from the Death of Tito to the Fall of Milosevic (Muenster: Lit Verlag, 2005, in German), and another book, Post-War Bosnia: Ethnic Structure, Inequality and Governance of the Public Sector (London: Palgrave, 2006). He?s at Cornell this spring semester of 2009 as the Luigi Einaudi Chair in European and International Studies.Bieber's current book project (01:30)
Bieber's reflections on the 20th anniversary of 1989 (02:00)
On Bieber's background in political science and history (03:19)
When interdisciplinarity works best (5:22)
On the "ghettoization" of the Balkans and its causes/possible solutions (6:30)
Unique contribution of our field to other fields (9:38)
Addressing the ongoing perception of a division of Europe into "East" and "West" (12:04)
On Bieber's interest in the study of nationalism (16:17)
Is there such a thing as "good nationalism"? (19:12)
On Bieber's "European" upbringing and early education (21:34)
Bieber on experiences/opportunities all Europeans should ideally have (24:56)
On the future of Southeastern Europe (26:17)1_ruh0kx6
Fables de Florian
No full textNouvelle édition, ornée de figures. This diminutive but complete edition (3¼ x 5¼) is not in Bodemann. The British Library seems to have an edition of Florian published by Genets Jeune in 1808. There are four illustrations here: The Cat and the Binoculars (56); The Children and the Partridges (122); The Savant and the Farmer (138); The Countryman and the River (182). There is an AI at the back. The first title-page lists 1821 as the publication date, but the second title-page has 1820.This is a hardbound book (hard cover)Language note: FrenchJean-Pierre Claris de Floria
Fables de M. De Florian
No full textHow about that?! I am holding in my hand a first edition of Florian's fables. Before looking into this little (3½ x 5¼) volume, I learned from French Wikipedia that Florian published 112 fables while still alive, but that twelve were published posthumously. I thought that there might have been a number of editions of fables in his lifetime, but there was just one, in 1792, two years before he died. And that first edition is this very one that I am holding! Here are Florian's five books of fables, with 21, 19, 20, 20, and 20 fables in them, respectively. There are five illustrations after a frontispiece portrait of Florian. In an illustration under this oval portrait, is that a swan pulling a hare over the surface of water? The first fable of each book is illustrated here: La Fable et la Vérité; La Mere, l'Enfant et les Sarigues; Les Singes et le Léopard; Le Savant et le Fermier; and Le Berger et le Rossignol. The joy of finding this book has led me to dig deeper into these fables. In I 1, Truth emerges from a well as an old hag, naked, and people flee from her. Fable gives Truth her cloak and recommends that they travel together: the wise will accept truth for her sake, and fools will accept truth because of the attractive cloak. In III 1, monkeys are playing a game like Blind Man's Buff, only what is hit here is an extended arm. Leopard comes by. The lower class monkeys are impressed that the noble leopard would want to play with them. One swipe from the leopard and the blindfolded person, who knows well who hit him, leaves silently. One by one, all the others leave too. It is better not to have the noble play with the commoners, since hid beneath their softest paws are very sharp claws. In V 1, the shepherd enjoys the nightingale's song and asks her to sing again. She says that she is giving it all up, because the frogs are drowning out her song. No, answers the shepherd. When I listen to you, I'm not even conscious of them. IV 1 has this lovely saying under its illustration: je fais souvent du bien pour avoir du plaisir. The farmer has been answering the question where he got his wisdom. He got it from observing nature and taking his part in it. I bet one can hear a bit of Kant's Ode to Duty in this farmer's Enlightenment answer.This is a hardbound book (hard cover)Language note: FrenchFirst editionFloria
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These here withins
No full textFocused on the physicality of the encounters between different materials, bodies or surfaces, Florian Roithmayr explores some of the practices, gestures and techniques that define sculptural practice. By experimenting and investigating across different procedures and possibilities, Florian Roithmayr is specifically interested in generating and tracing material transformations in the processes of making. Through his work, he aims at registering the consequences of one surface or material yielding another through capturing the unexpected occurrences that characterise artistic production. Such a peculiar approach might be described as a sort of micro-exploration, a journey into those small gestures and events that are often regarded as marginal to the overall process. As such he often engages in an open and organic process in which the remains of a production or the objects conceived in function to it, fold into potential new trajectories.
For his first solo show at the gallery, the artist presents a series of new works conceived and produced in relation to the space of the gallery as well as a reconfiguration of his most recent productions. In particular, the exhibition features a series of sculptural pieces emerging from his exploration into processes of moulding and casting, a subject that sits at the very core of Florian’s most recent research-project: “The humility of plaster”. As a matter of fact, these here withins emerges from – and is part of – this long-term trajectory of research culminating in a program of exhibitions, public events that examine and unravel the infrastructure of historical and academic practices defining the tradition of moulding and casting. Such major project – “The humility of plaster” – results from the tight collaboration and partnership among a number of international funding bodies, art organisations and institutions such as The University of Cambridge Museums, The Wysing Art Centre (Bourn), Kettle Yard (Cambridge), HS Projects (London), Elephant Trust, Arts Council England, the Henry Moore Foundation and the Paul Mellon Centre.
Through this body of works not only he looks at the widespread application of casting processes beyond the artistic canon, but also at the moulds which make up the very fabric of cast production themselves. While usually regarded as simple tools or templates for reproduction, within Florian’s research these moulds are being studied and questioned in relation to actual sculptural thinking. The artist re-think/re-position the status of these objects, questioning their actual role as key components within an artistic process
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International El Kurru project
No full textThe International El Kurru Project is a collaborative excavation project co-directed by Rachael J Dann (Associate Professor, Egyptian & Sudanese Archaeology) of the University of Copenhagen, Geoff Emberling (Research Scientist) of the Kelsey Museum, University of Michigan and Professor Abbas Sidahmed Mohammed Ali of the University of Dongola, Kareima.
El Kurru is part of the UNESCO World Heritage site of “Gebel Barkal and the Sites of the Napatan Region”. It was the burial place and royal city of many of the earliest Napatan Kings and Queens, including a number of the 25th Dynasty Kings who conquered and ruled Egypt.
The excavation aims to investigate the archaeological remains of the royal city and cemetery areas in their broader landscape context, and to undertake necessary conservation work. A further step is to make the site ready for presentation to the public.
The Art, Archaeology and Sensory Knowledge project (AASK) is part of our interdisciplinary research, and has been running concurrently with the International Kurru Archaeological Project.
This work was established in collaboration with Dr Helen Wickstead of Kingston University, London. The first artists Melanie Jackson and Florian Roithmayr came to site in 2014
Ideas for a New Perspective on Social Movements and Protest
Full text linkPart of:
Ullrich, Peter ; Papst, Andrea ; Heßdörfer, Florian: Introduction: Prevent and Tame : Ideas for a new
perspective on social movements and protest. - In: Heßdörfer, Florian ; Pabst, Andrea ; Ullrich, Peter:
Prevent and tame : Protest under (self-)control. - Berlin: Dietz, 2010. - (Rosa-Luxemburg-Stiftung:
Manuskripte ; 88) - ISBN 978-3-320-02246-4
- …
