310 research outputs found
The Final Act of Juliette Willoughby
No full textFrom the author of The Club, a Reese Witherspoon Book Club Pick, The Final Act of Juliette Willoughby is Ellery Lloyd's compulsive multiple - timeline mystery – a story of love and madness, of obsession and revenge. This novel was co-written by Paul Vlitos (University of Greenwich) and Collette Lyons (writing together as Ellery Lloyd). In a prestigious starred notice, the influential US journal Kirkus Review noted that: “Lloyd’s novel interweaves the stories of three distinct time periods [1930s Paris, 1990s Cambridge, present-day Dubai] to create an elegant tapestry—and a novel of love, suspense, family secrets, Egyptology, surrealism, and corruption. […] A delightful puzzle box of a novel.” The Final Act of Juliette Willoughby was also one of ’10 noteworthy books for June’ in the Washington Post, a Crime Fiction Pick of the Month in The Sunday Times – and Heat magazine’s book of the week! The novel was published on the 20th June 2024 by Macmillan in the UK and on the 11th June by Harper Collins in the US
Tucker Carlson and Juliette Dively
No full textNoted author and political commentator Tucker Carlson poses with Juliette Dively on February 4, 2003 at the Dively Frontiers of Globalization Lecture event. Carlson was the featured speaker, held in the Green Center.https://spiral.lynn.edu/dively-photos/1003/thumbnail.jp
Opening the door, but not entering: adult college students who apply, but do not enroll
No full textThis study used a mixed method research design and employed an explanatory sequential design, which collected, analyzed, and combined both quantitative and qualitative methods to explore why adult, non-traditional students would apply to a college, but not enroll. This disconnect affects not only the applicant, but also the institution, as multiple resources for both parties will be utilized and not recovered. The quantitative component of the study included data from an established segment of applicants who did not enroll at Thomas Edison State University (TESU). The qualitative component utilized a phenomenological approach and included the data gathered through interviews with prospective students who applied to but did not enroll in TESU. Thematic analysis was used to organize and interpret the data gathered through both quantitative and qualitative research. Findings suggest that there are many factors which contribute to the disconnect between application and enrollment. Institutions could proactively address some of these factors to assist more applicants to progress to enrollment. Further research suggestions include identifying the generational expectations and differences of: prospective college students who have yet to apply, college applicants, and admitted applicants who did not enroll; understanding the perceived value and economic return of an academic degree; exploring the role of Artificial Intelligence and its use as a tool to bridge the gap between prospective students, applicants and enrolled students; and discerning the relevance of an academic credential within the expectations of industry and career growth
Ordinary Escapes and Other Magic
No full textCatalogue of an exhibition held at SASA Gallery, Adelaide, 2 April-10 May 2013.This exhibition brings together two South Australian artists that focus on fantasy states as a means to escape from reality or negotiate the difficult terrain of existence.Artists: Celeste Aldahn and Ray Harris
External scholar: Juliette Peers.
Includes bibliographical references
Juvenile problem/needs analysis : Oregon
No full textsubmitted to: Youth Development Division, Oregon Department of Education ; submitted by: Adrian J. Johnson, M.S.W. Lisa M. Lucas, B. A. Juliette R. Mackin, Ph.D.Title from PDF cover (viewed on February 1, 2023).This archived document is maintained by the State Library of Oregon as part of the Oregon Documents Depository Program. It is for informational purposes and may not be suitable for legal purposes.Mode of access: Internet from the Oregon Government Publications Collection.Text in English
Artigiano delle riforme. Stile rustico e ricerca della sapienza nell'opera di Bernard Palissy (1510-1590).
No full textArtigiano delle riforme. Stile rustico e ricerca della sapienza nell'opera di Bernard Palissy (1510-1590).
Questa tesi intende proporre una nuova lettura, complessiva e aggiornata, dell’opera artistica, figurativa e scritta, di Bernard Palissy, ceramista francese vissuto tra il 1510 e il 1590.
Questo autore poliedrico ha suscitato un grande interesse nell’Ottocento dando luogo a diverse biografie, ma cadde di nuovo nell’oblio della storia dell’arte fino agli scavi del giardino delle Tuileries negli anni 1980, scavi che fecero emergere il suo forno e migliaia di frammenti di materiale ceramico. Questa fondamentale scoperta generò nuove ricerche e la prima monografia di stampo storico-artistico ad opera dello studioso americano Leonard Amico (1996). Spesso considerato in modo isolato per la peculiarità delle sue opere, esclusivamente dedicate alla rappresentazione minuziosa della natura osservata nella sua regione del sud ovest della Francia, il fenomeno Palissy necessitava una riflessione aggiornata che potesse aiutare a comprendere i manufatti che ancora oggi continuano a stupire l’osservatore, per la peculiarità dei loro soggetti e il virtuosismo della loro realizzazione. In particolare, mancava una riflessione di carattere storico artistico sullo statuto, la funzione e la ricezione di tali opere, nonché del loro stretto legame tra la fede protestante dell’artista, i suoi interessi scientifici e le sue scelte iconografiche. Sempre menzionato nella letteratura relativa, ma mai veramente interrogato, questo nesso tra la religione rivendicata dall’autore e la sua arte in un certo modo iconoclasta mancava ancora di una riflessione dedicata.
Il presente lavoro si compone di cinque capitoli. Il primo si propone di fare il punto circa le conoscenze certe relative alla vita e all’attività di Palissy, nonché dello stato della storiografia a lui dedicata. Prosegue con una riflessione metodologica sugli obiettivi e i mezzi di questa tesi, e presenta il catalogo delle opere che saranno contemplate in seguito. Considerata la natura frammentaria dei numerosissimi reperti che costituirebbero l’opera completa, questo corpus non è esaustivo e si deve dunque intendere come un campione significativo dell’arte ceramica qualificata come “rustica”. Vengono inoltre presentati i tre scritti di cui fu autore il ceramista, opere che sono il pilastro della nostra riflessione, perché al di là del fatto di custodire il pensiero palissiano, essi racchiudono la descrizione dettagliata della grotta realizzata per il Connestabile Anne de Montmorency, e di un progetto di giardino, oltre a un racconto autobiografico sulla vocazione artistica dell’autore stesso.
Il secondo capitolo entra nel merito della questione del contesto riformatore in cui presero forma le opere di Palissy. Viene sviluppata la definizione di Riforma, intesa sia sul piano spirituale, con la diffusione del calvinismo che toccò principalmente la borghesia gli artigiani e gli artisti francesi, sia sul piano artistico, con l’affermazione degli artigiani quali detentori di un sapere pratico affidato a trattati scritti in lingua vernacolare, di cui fanno parte appunto le pubblicazioni del nostro protagonista. A proposito della religione protestante si affrontano la concezione dell’arte e i fondamentali cambiamenti imposti alle immagini di culto, alla luce dei quali tenteremo di spiegare la decisione del Nostro di abbandonare l’iniziale professione di pittore di vetrate destinate alle chiese per intraprendere una la carriera di ceramista naturalista.
Il terzo capitolo intende soffermarsi sulla nozione di “rustico” che Palissy utilizza per qualificare le sue opere, sia le rustiques figulines sia la grotta per il Connestabile di Montmorency. Partendo dal lessico architettonico, si cerca di collocare l’antro palissiano nell’orizzonte artistico che vede diffondersi su scala europea il gusto per l’estetica rustica. È analizzata la simbologia legata alle erme che ornano la grotta, motivo ricorrente dell’arte rinascimentale e prediletto dal Nostro. Evidenziate le radici contestuali che sottintendono la nascita delle grotta, si evidenzia l’originalità dell’interpretazione del “rustico” da parte del ceramista di Saintes.
Il quarto capitolo è dedicato alla descrizione del giardino di Palissy, un giardino che però rimase solo sulla carta in quanto, sino ad ora, non si è potuta determinare l’esistenza di alcuna traduzione pratica di quell’elaborato progetto. In questo capitolo si cerca di approfondire alcune argomentazioni lasciate in sospeso dalle ricerche precedenti ovvero la natura stessa della pubblicazione in cui l’autore sviluppa il prospetto del giardino, in bilico fra utopia e concreta realizzazione, e la controversa riflessione sulle fonti che ispirarono le didascalie bibliche grazie alle quali Palissy scandisce la visita ai diversi luoghi del giardino. Vengono inoltre proposti nuovi confronti con altri giardini dell’epoca, ponendo la questione della dimensione religiosa dei parchi rinascimentali.
Il quinto capitolo, infine, è dedicato al vasellame e al nesso tra scienza religione e arte che si instaura nelle opere palissiane. Partendo dal contesto per cui furono creati, cioè quello dell’”arte del banchetto”, viene proposta una lettura di tali oggetti come manufatti destinati alle wunderkammern in virtù di un’iconografia ricorrente e di specifiche tecniche di realizzazione. Con quest’ultimo capitolo si propone una lettura spirituale delle rustiques sostanziata dall’insieme delle ricerche e delle interpretazioni elaborate lungo l’intero lavoro.This thesis proposes a new and up-to-date reading of the artistic, figurative and written works of Bernard Palissy, a French potter who lived between 1510 and 1590.
This work is divided into five chapters, the first of which takes on the current knowledge about Palissy’s life and work and the status of historiography about this artist. A methodological analysis will be achieved by studying a meaningful sample of his craftsmanship, as well as reflecting upon three of his written works.
The second chapter will examine the context in which the Reform influenced Palissy’s work. A definition of Reform is developed in this chapter both on a spiritual level, with the spread of Calvanism among the bourgeoisie, and French craftsmen and artists, and artistically, with the establishment of craftsmen as owners of a practical knowledge culminated in essays written in vernacular languages, of which the publications of our author are an example.
The third chapter focuses on the notion of “rustic” that Palissy uses to describe his works, the rustiques figulines as well as the cave for the Constable of Montmorency. Starting from the architectural lexicon we try to locate the palissian lair in the artistic horizon where the taste for rustic was spreading on a Europe-wide scale.
The fourth chapter is devoted to the description of Palissy’s garden, while trying to study in depth the nature of the publication itself, its possible sources and proposing new comparisons with other gardens of the time, raising the question of the religious dimension of the renaissance parks.
Finally, the fifth chapter concentrates on the pottery and the link between science, religion and art that is created in the works of Palissy. Starting from the context for which they were created, namely that of the “art of the banquet”, we propose an interpretation of this objects as artefacts destined to the wunderkammern by virtue of a recurrent iconography and of specific techniques of realisation. With this final chapter is suggested a spiritual reading of the rustiques which is substantiated within the research and interpretations developed throughout the thesis
Parution: Juliette Dumas, Au coeur du harem. Les princesses ottomanes à l’aune du pouvoir (XVe-XVIIIe s.), Brill, 2022
No full text Au coeur du haremLes princesses ottomanes à l’aune du pouvoir (XVe-XVIIIe s.) Author: Juliette Dumas Series: The Ottoman Empire and its Heritage, Volume: 75 Les femmes ottomanes n’auraient pas leur place en politique ; recluses dans leur harem, elles passeraient leur temps en distractions superficielles ou en intrigues pernicieuses : tel est l’héritage de l’orientalisme et de l’historiographie traditionnelle. Loin de ces poncifs, cet ouvrage propose une plongée dans les..
Renaissance Gardens and Tapestry as a Microcosm
No full textThis essay introduces the reader to the diversity and cultural and historical issues of the development of gardens during the Renaissance in Europe. Starting from the examination of the tapestries in the exhibition, the author shows how these ideal views reflect the characteristics of the garden renaissance: references to antiquity, interest in the study of nature and architecture, role of the garden in the collections exhibitio
La théâtralité dans l'Histoire de Juliette du marquis de Sade
No full textIn L'Histoire de Juliette, Sade challenges the reader's imagination by inviting them to conceive of horrors that surpass their own limits, while at the same time asserting that these limits will never be reached. This tension highlights the fundamental ambivalence of his work, in which the imagination is both unlimited and inadequate. Above all, this work highlights the richness and complexity of Sade's theatricality.Sade's writing is characterised by a hybridisation of genres - novel, philosophical essay and theatricality - that destabilises narrative conventions. For example, Crimes of Love and Philosophy in the Boudoir illustrate two complementary approaches to this theatricality. In Les Crimes de l'amour, the active narrative voice guides the reader through structured narratives in which dialogue becomes verbal confrontation, intensified by figures of speech such as aposiopesis. La Philosophie dans le boudoir also relies on didascalia to create a mental theatre, transforming provocative scenes into spaces where social norms are suspended. This theatricality culminates in L'Histoire de Juliette, where the spoken word becomes a weapon of power and a stage for fantasy. The narrative metalepses blur the boundaries between author, narrator and characters, engaging the reader in an ambiguous relationship of voyeurism and complicity.What is intriguing about Sade is his ability to provoke fascination and repulsion at the same time, as Jules Janin points out, seeing the reading of his works as a challenge requiring both courage and moral vigilance. Even today, Sadie's work questions our taboos and ideals, offering a profound reflection on the place of morality and individual freedoms. Its theatricality gives spectacular intensity to unavowable desires, while revealing the mechanisms of power behind social conventions.Dans L’Histoire de Juliette, Sade défie l’imagination du lecteur en l’invitant à concevoir des horreurs surpassant ses propres limites, tout en affirmant que ces limites ne seront jamais atteintes. Cette tension met en lumière l’ambivalence fondamentale de son œuvre, où l’imagination se révèle à la fois illimitée et insuffisante. Ce travail souligne avant tout la richesse et la complexité de la théâtralité chez Sade.L’écriture sadienne se distingue par une hybridation des genres – roman, essai philosophique et théâtralité – qui déstabilise les conventions narratives. Par exemple, les Crimes de l’amour et La Philosophie dans le boudoir illustrent deux approches complémentaires de cette théâtralité. Dans les Crimes de l’amour, la voix narrative active guide le lecteur à travers des récits structurés où les dialogues deviennent des affrontements verbaux, intensifiés par des figures de style telles que l’aposiopèse. Par ailleurs, La Philosophie dans le boudoir s’appuie sur des didascalies pour créer un théâtre mental, transformant les scènes provocatrices en espaces où les normes sociales sont suspendues. Cette théâtralité culmine dans L’Histoire de Juliette, où la parole devient une arme de pouvoir et une mise en scène du fantasme. Les métalepses narratives brouillent les frontières entre auteur, narrateur et personnages, engageant le lecteur dans une relation ambiguë de voyeurisme et de complicité.Ce qui intrigue chez Sade, c’est sa faculté à provoquer simultanément fascination et répulsion, comme le souligne Jules Janin, qui voit dans la lecture de ses œuvres un défi demandant à la fois courage et vigilance morale. Aujourd’hui encore, l’œuvre sadienne interroge nos tabous et nos idéaux, offrant une réflexion profonde sur la place de la morale et des libertés individuelles. Sa théâtralité donne une intensité spectaculaire à des désirs inavouables, tout en révélant les mécanismes de pouvoir derrière les conventions sociales
"I think, therefore the cinema exists" : relationships between film and philosophy according to Juliette Cerf
No full textCelem autorki artykułu jest przedstawienie różnych aspektów relacji kino - filozofia w ujęciu teoretycznym Juliette Cerf, badaczki, której w polskich opracowaniach filmoznawczych nie poświęcono dotąd publikacji. Związek tych dwu dziedzin istniał już na początku historii kina, a problemem tym zajmował się między innymi Henri Bergson. Jego myśl filozoficzna wywarła wpływ także na współczesną teorię filmu (Gilles Deleuze). Autorka artykułu wyszczególnia i prezentuje kilka zagadnień, którymi zajmuje się Cerf. Wśród nich są następujące tematy: filozofowie mówią o kinie; kino opowiada o filozofach; kino tworzy swoją własną filozofię; kino uczy filozofii. Główną tezą artykułu jest stwierdzenie, że kino nie powinno odtwarzać istniejących filozofii, tylko tworzyć filozofię własną, korzystając ze specyficznie filmowych środków wyrazu. Autorka przedstawia także, rozpowszechnioną w piśmiennictwie zachodnim, ale mało znaną w Polsce, koncepcję kinofilozofii, w ramach której film jest traktowany jako środek pomocniczy w nauczaniu filozofii akademickiej.This article presents various aspects of the relationship between cinema and philosophy in the theoretical works of Juliette Cerf, which have not yet been discussed in Polish film studies. These two fields have been related since the beginning of the cinema, and the problem itself was analysed by such figures as Henri Bergson. His philosophical thought has also influenced contemporary film theory (Gilles Deleuze). The author of the article specifies and presents several issues dealt with by Cerf, including: philosophers talking about the cinema; the cinema talking about philosophers; the cinema creating its own philosophy; the cinema teaching philosophy. The main thesis of the article is that the cinema should not recreate the existing philosophies; instead, it should create its own philosophy based on its specific means of expression. The author also presents the concept of filmosophy, which is widespread in Western literature, yet not well-known in Poland, in which film is treated as an auxiliary to the teaching of academic philosophy
- …
