1,381 research outputs found
Black Lives Matter Reading Group: Hosted by Dr. Camille Isaacs
No full textSlides that accompanied a lecture by Dr. Camille Isaacs on the work of author and activist Desmond Col
Contes Kabyles recueillis par Leo Frobenius. Traduction des textes allemands par Mokran Fetta. Préface de Camille Lacoste-Dujardin. Edisud, Aix-en-Provence, 1995
No full textBreteau Claude H., Roth Arlette. Contes Kabyles recueillis par Leo Frobenius. Traduction des textes allemands par Mokran Fetta. Préface de Camille Lacoste-Dujardin. Edisud, Aix-en-Provence, 1995. In: Bulletin critique des annales islamologiques, n°14, 1998. pp. 25-28
Quand le web éclaire la transformation des messages
No full textcontribution à un site webOn sait que la transmission de messages entre individus est souvent imparfaite et/ou partielle. Il peut suffire qu’un mot ou un ensemble de mots soient transformés pour en altérer le sens véhiculé initialement. Nombreux sont les chercheurs qui s’attèlent à décortiquer la marche et les effets de ce phénomène.C’est cet objectif que Camille Roth, professeur à Sciences Po et chercheur au médialab, et Sébastien Lerique, jeune chercheur à l’École des hautes études en sciences sociales, ont poursuivi dans des travaux qu’ils exposent dans “The Semantic Drift of Quotations in Blogspace: A Case Study in Short-Term Cultural Evolution”, paru dans Cognitive Science
De Dieter Roth à Michel Blazy, le protocole en question
No full textCet article propose de reconsidérer le travail de Michel Blazy à la lumière de celui de son aîné Dieter Roth, en historicisant la production de l’artiste contemporain à travers les expérimentations de Roth dans les années 1970. La matérialité des œuvres organiques de Blazy sera ainsi discutée à partir de la question du protocole et du rapport que les institutions entretiennent avec de telles créations.With this article, I offer to reconsider Michel Blazy’s work in light of his elder’s, Dieter Roth, and by historicizing his production through Roth’s experimentations in the 1970s. I will discuss the materiality of Blazy’s organic works through the issue of the procol, and the relation the institutions have with such creations
French ski resort' attractiveness through Instagram
No full textThe purpose of this thesis was to examine the different ways to use Instagram for French ski resorts to support their branding strategy.
The research was executed in three stages: literature reviews, observations and an interview. In the literature review, the author first focused on branding and its components, the consumer decision-making process, consumer engagement and the different Instagram’s features to achieve emotional connections between a brand and its followers/users. Building strong connections with customers is essential for brands to develop and maintain a loyal and lifelong customer relationship.
Observations examined the differences between the three most followed French ski resorts about their practices on Instagram. After this, the author focused on Val Thorens which is the highest resort in Europe. The two most successful posts and the two less were analyzed to determine which factors are causing success and which ones generate less engagement in the eyes of its followers. Then, the community manager of Val Thorens was interviewed regarding the branding strategy of the resort and his insights about Val Thorens’ Instagram profile.
It was discovered that it would be beneficial for Val Thorens to create more appealing content, captions with more hashtags to have a better and bigger visibility. However, one of the main and relevant factors about Val Thorens’ habits on Instagram and which reflects the global idea of the resort is to provide the best atmosphere for its visitors. It is achieved through the community manager’s team which takes care of every tourists and skiers in a personalized and humanized way on Instagram. Val Thorens is a good example of a ski resort which has built strong emotional connections with its visitors
Le pharmacien Camille Charaux (1861-1941), précurseur en phytochimie
No full textDer Apotheker Camille Charaux (1861-1941), ein Vorbote der Phytochemie.
Der Verfasser skizziert kurz Leben und Arbeitsbedingungen bei C. Charaux und entwirft eine Tabelle seiner veröffentlichten und nicht veröffentlichten phytochemischen Arbeiten.The pharmacist Camille Charaux (1861-1941), a precursor in phytochemistry.
The author retraces briefly the life and the working conditions of C. Charaux, and draws up a list of his published and unpublished work in phytochemistry.Plouvier Victor. Le pharmacien Camille Charaux (1861-1941), précurseur en phytochimie. In: Revue d'histoire de la pharmacie, 79ᵉ année, n°288, 1991. pp. 75-84
Unveiling Camille Claudel\u27s Identity through Biographical and Autobiographical Sources: Une Femme, by Anne Delbée and Correspondence, by Camille Claudel
No full textCamille Claudel: sculptor, Paul Claudel’s sister, Rodin’s mistress, madwoman. Throughout her life, Camille’s relationships with others forged her identity. Her own voice comes through in her personal correspondence, which author Anne Delbée uses to create the identity Camille never could make for herself, posthumously, through biographical and autobiographical techniques in “Une Femme.” Although her book is technically a biography, by creating her identity, Delbée writes Camille’s autobiography for her. The author portrays her as a victim of her relationships with powerful people: her family who reduced her to a lunatic in an insane asylum, her love for Rodin who exploited her talent, and her brother, a famous writer, who delivered her into captivity in the asylum. Delbée focuses on Camille’s thirty years of creativity and genius work rather than the last half of her life spent in an asylum. She notes the paradox that Camille could coax meaning and identity out of a piece of marble or stone to create a beautiful sculpture, but could not create her own identity. In order to accomplish this in her book, Delbée uses three voices: the narrator, who knows the full story and reveals it bit by bit; Camille through her surviving letters; and the author herself by presenting her reactions and the personal significance of her journey to free Camille’s true identity from its imprisonment. She uses several other writing techniques, including straying from the chronological order of Camille’s life to emphasize certain points, as well as taking artistic liberty to recreate a dramatic and moving story based on limited factual information about Camille’s life. The result is a combination of Camille’s voice crying out to be freed in her letters and Delbée’s creation of Camille’s identity to free her story after her death
Autofiction in Camille Laurens's Literary Universe
No full text"Camille Laurens'ın Yazın Evreninde Özkurmaca" başlıklı bu çalışma, benli anlatıların yapısal, biçimsel ve izleksel çözümlemesinde önemli bir rol oynayan Serge Doubrovsky, Gérard Genette, Philippe Lejeune, Philippe Gasparini, Roland Barthes gibi kuramcıların çalışmalarından yola çıkarak Camille Laurens'ın yoğun olarak özyaşamöyküsel unsurlar içeren Philippe, Erkeklerin Arasında, Aşkın Romanı, Cet absent-là, Ni toi ni moi, Romance nerveuse adlı yapıtlarında özne/ben kavramının işlev ve durumlarını irdeler. İlk romanlarında kendi yaşamından izleri gizli saklı bir tutum sergileyerek yapıtlarına yansıtan Camille Laurens oğlu Philippe'in doğumu ve ölümünü öykülediği Philippe'te ilk kez özyaşamöyküsel anlatıyı tecrübe eder. Sarsıcı bir deneyimle karşı karşıya kalan yazar kendini yazarak sağaltır. Philippe adlı yapıtından itibaren Laurens kimi zaman yazar-anlatıcı-kişi mutlak ad benzerliğine ait yapıtlar yayımlar kimi zaman anlatıcının kendisiyle aynı adı taşımaksızın kendine gönderme yaptığı romanlar yayımladığı görülür. Yazarın özkurmaca yapıtlarında geçen kişiler, belli başlı olaylar, tarihler ve uzam olabildiğince gerçekliğe uygun bir şekilde yer almaktadır. Bu noktada, söz konusu yapıtlar Doubrovsky'nin "tam anlamıyla gerçek olaylardan ve olgulardan oluşan kurmaca" tanımlamasına uyar. Kendi benini ve varlığının en saf, en çelişkili durumunu açığa çıkarma amacıyla kurmacadan özkurmaca yazarına dönüşen Camille Laurens'ın yaşamıyla yazı iç içe girer. Bundan böyle, Camille Laurens'da roman bir arayış, düşünme, sorgulama aracına dönüşür. Yazar kendine bir kimlik inşa edebilmek için kendini nasıl gördüğüne ve yaşamındaki ötekiler tarafından nasıl görüldüğüne odaklanır. Beni ve ötekiler arasındaki beni tanımak için de dilin tüm olanaklarından yararlanır ve bu yolla da kendi derinliklerine inmeye çalışır. Camille Laurens'ın beni ancak ötekiyle olan ilişkisinde gelişir.Based on the studies of theorists such as Serge Doubrovsky, Gérard Genette, Philippe Lejeune, Philippe Gasparini, and Roland Barthes, who play a crucial role in structural, stylistic and thematic analysis of self-narratives, this study entitled "Autofiction in Camille Lauren's Literary Universe", examines the function and states of the notion of subject/I in Lauren's works Philippe, In His Arms, L'amour, roman, Cet absent-là, Ni toi ni moi, Romance nerveuse, which include autobiographical elements. Reflecting traces of her life by adopting an obscure attitude in her first novels, Laurens tries autobiographical narrative for the first time in Philippe, in which she narrates the birth and death of her son Philippe. The writer, who experiences a traumatic event, heals herself through writing. While in some of her works author-narrator-character share name similarities, in some of her works, it is also seen that the narrator makes direct references to herself without having the same name. The characters she creates, certain events she narrates and space and time she employs in her novels conform to reality. At this point, the afore-mentioned works correspond to Doubrovsky's definition of "fiction, of strictly real events and facts". The writing intertwines with the life of Camille Laurens, who transforms herself from a fiction writer to autofiction writer in order to reveal the purest, the most contradictory aspects of her self. Henceforth, the novel turns into a vehicle for searching, thinking and interrogation for Camille Laurens. The author focuses on how she sees herself and how she is seen by others in order to create an identity for herself. Laurens employs all the possibilities of language to identify the self as well as the self among others and in this way she attempts to explore the depths of her own self. Camille Laurens' self is solely developed with its relation to the other
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