2,372 research outputs found
Anne Simon | "Le Temps cherche des corps" | Séminaire d'agrégation de Dominique Carlat | Lyon 2 | 9 janvier 2023
No full text©Marion Dupuis « “Le temps cherche des corps“ : incorporation de la durée, possessions et retournements dans Le Temps retrouvé » Anne Simon, CNRS – République des savoirs Séminaire d'agrégation animé par Dominique Carlat Université Lyon II, 9 janvier 2023, 18h-20h Les pages du Temps retrouvé où Proust semble théoriser son programme stylistique et narratif ont souvent été lues comme une profession de foi idéaliste : la littérature, étape supérieure du développement de l’esprit, « contemplation..
Chlorite compositions during sedimentation, diagenesis and low grade metamorphism
No full textVelde Bruce, Proust Dominique, Meunier Alain. Chlorite compositions during sedimentation, diagenesis and low grade metamorphism. In: Phénomènes de transport de matière dans l'écorce terrestre. ATP - CNRS. Action thématique Programmée du Centre National de la Recherche Scientifique. Résultats scientifiques. Strasbourg : Institut de Géologie – Université Louis-Pasteur, 1979. pp. 71-73. (Sciences Géologiques. Mémoire, 53
Chlorite compositions during sedimentation, diagenesis and low grade metamorphism
No full textVelde Bruce, Proust Dominique, Meunier Alain. Chlorite compositions during sedimentation, diagenesis and low grade metamorphism. In: Phénomènes de transport de matière dans l'écorce terrestre. ATP - CNRS. Action thématique Programmée du Centre National de la Recherche Scientifique. Résultats scientifiques. Strasbourg : Institut de Géologie – Université Louis-Pasteur, 1979. pp. 71-73. (Sciences Géologiques. Mémoire, 53
Vincent Descombes. Entretien avec Alexandre Gefen et Dominique Rabaté
No full textAlexandre Gefen et Dominique Rabaté : Les littéraires vous lisent, lisent Proust et donc votre livre qui porte sur lui ; ils essaient aussi d’utiliser vos essais sur Les embarras de l’identité par exemple, pour penser le contemporain. Comme s’il y avait des parallèles entre les débats que vous avez avec la philosophie du sujet, et des débats que les écrivains contemporains ont avec les écritures du sujet. On a été frappé, en préparant ce numéro, de voir comment, malgré l’abandon supposé du p..
La synesthésie comme véhicule d'extase dans le "Côté de chez Swann" de Marcel Proust,
No full textSynaesthesia in Proust is achieved in a complex manner and it challenges the very same methods already adopted by Gérard Genette in analysing metaphors: the analogy link among different perceptive elements often rests upon a contiguity link and the intermingling of the two rhetorical figures (metonymy / metaphor) is based on the narrative evolution of the story, thus it is tied to the unfolding of time. This figure can be found at the core of many essential elements of the entire Proustian aesthetic: perception, time, metaphor, style. Synaesthesia takes the form of an “ecstatic aggregation” which recreates the world in its sensitive nature, by attributing a feeling of eternity to the real, which is the aim of art, and of the Recherche itself. We will try to analyse some passages from Côté de chez Swann where these rhetorical and aesthetic elements seem to be particularly manifest. We will refer to the works by Gérard Genette and to the book by Stefano Agosti on metaphor in Proust, Realtà e metafora. Indagine sulla “Recherche”, (Milano 1997).
Our references are not clearly limited to the studies mentioned above, but many publications on aesthetic and style in Marcel Proust will be included, as well as some critical works on the first volume of La Recherche
8. Problèmes d'historiographie religieuse
No full text8. Dominique Julia : Problems of religious historiography.
In a first section, the author attempts to define the historical conditions which have organised research into the field of religion since the beginning of the century. The distinction religious/ non religious tends, in a society on the road to secularisation, to disappear, giving way to cleavages which separate methods of investigation from models of interpretation (historical, sociological or psychological). In the second section he attempts to present some directions of research in need of urgent exploration : sociology of religious groups and culture, analysis of discourse, study of exclusions, revolutionary historiography.Julia Dominique. 8. Problèmes d'historiographie religieuse. In: Dix-huitième Siècle, n°5, 1973. Problèmes actuels de la recherche, sous la direction de Jacques Proust . pp. 81-88
Édition électronique des "Pensées" de Pascal
No full textSite réalisé par Gilles Proust ; 455 fragments mis en ligne en octobre 2014.International audience455 fragments mis en ligne accessible à l'adresse suivante : http://www.penseesdepascal.f
Édition électronique des "Pensées" de Pascal
No full textSite réalisé par Gilles Proust ; 455 fragments mis en ligne en octobre 2014.International audience455 fragments mis en ligne accessible à l'adresse suivante : http://www.penseesdepascal.f
Pauline Moret-Jankus, Race et imaginaire biologique chez Proust
No full textInternational audienceCompte rendu de l'ouvrage "Race et imaginaire biologique chez Proust", de Pauline Moret-Jankus, Paris, Classiques Garnier, 2016, 316 p
On Pina Bausch’s Legacy: an interview with Dominique Mercy
No full textPerhaps no other author has better characterized the work of Pina’s
dancers – and, therefore, the artist’s herself – than José Sasportes – a
remarkable Portuguese dance critic and historian. This brief observation of
Sasportes, made in a text entitled Acção para bailarinos [Action for dancers],
and regarding an event held in Lisbon in honor to Pina Bausch, allows to perceive in quite clearly the meaning of the experience and legacy of a remarkable artist, that are summarized in the figure of one of her greatest collaborators, Dominique Mercy.
Certainly, there is no need to introduce Dominique. It is worthy,
though, to recover some moments that preceded his fortuitous encounter with Pina in the early 1970’s in Saratoga, United States. Born in 1950 in the city of Mauzac, France, Dominique’s first professional steps in the dance world from the mid-1960’s on were in the Bordeaux Grand Théâtre,
later followed by the Amiens Ballet du Art Contemporain. In 1973, two
years after his first encounter with Pina in the Summer Festival of Saratoga,
in 1971, Dominique goes to Germany, to Wuppertal, to be part of the
recently founded Tanztheater.
His close relationship with Pina allowed, in fact, that her legacy could
be kept alive following her sudden death in 2009. Dominique took over the
artistic direction of the Company with Robert Sturm for some of the
following years, having later transferred the position to his co-worker and
dancer Lutz Forster. It was beside Pina and so many others from the
Wuppertal ensemble that Dominique ended up writing one of the major
pages in the annals of dance history in the 20th century.
The experience of – or rather, with – Pina that each one of us
apparently has with her when meeting her work for the first time, allowing
to understand in a certain extent the fascination that she exerts until
nowadays on the audience, passes as well and indispensably through those
who worked with her and by her means. My first time with Pina was, for
sure, beside Dominique Mercy, or rather, in front of him. Dominique was
half-naked, wearing only a tutu and carrying a watering can. It was 2006,
for the presentation of Fur die kinder von gestern, heunte und morgen, in
Porto Alegre. Pina was also there.
The unusual encounter – even though separated by the proscenium
arch – would happen again years later in Paris. However, this time, in
2011, without Pina and with no line dividing us. I was introduced to
Dominique following one of the presentations of Como el musguito em la
piedra..., by the also Tanztheater Wuppertal dancer Daphnis Kokkinos. On
that occasion, Dominique had an extremely light and welcoming attitude.
Over the years, I noticed that it was not a protocol way of introduction, but
Dominique Mercy; Marcelo de Andrade Pereira – On Pina
Bausch’s Legacy: an interview with Dominique Mercy
the very donation of part of what he was, how he was, not in a way, but in
his way, with or without tutu. In January 2018, when recollecting that
encounter with Dominique in his house in Barmen, Wuppertal, he did not
remember it. And he certainly could not, as I, absorbed in my amazement,
had articulated little – or nothing – at that moment. However, even in my
involuntary contemplation, something had been given to me, a long-lasting
presence.
It was according to Dominique’s generous, honest and delicate way
that this interview actually happened. I thank him for the attention and for
the coffee. I also thank my dear friend Eddie Martinez, who made this and
so many other happy encounters possible to me
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