19,588 research outputs found
Interview with Jean Francois Revel, author
No full textJean Francois Revel, the author of Without Marx or Jesus, has been quoted as saying, "The United States is now a microcosm for all of the problems man faces." In this interview with Meredith Watts, he discusses a new kind of revolution which could produce successful change without violent upheavalGrayscaleSoun
Jean-Louis Camicas (1940-2017) Obituary
No full textFigure 1 From left to right: Jean Paul Cornet, Beth Anne Schmidt, Hervé Zeller, Marc WiIson, Jean-Louis Camicas, Jean Paul Gonzalez.Published as part of Sylla, Massamba, Gonzalez, Jean-Paul, Saluzzo, Jean-Francois, Pourrut, Xavier, Uilenberg, Gerrit, Cornet, Jean-Paul & Cuisance, Dominique, 2018, Jean-Louis Camicas (1940-2017) Obituary, pp. 754-758 in Acarologia 58 (3) on page 754, DOI: 10.24349/acarologia/20184268, http://zenodo.org/record/539477
A propos de l’usage de l’imperfectif dans la narration de sequences d’evenements en tcheque
No full textIn this paper the Author deals with the usage of verbal aspect in narrated sequences
of events in Czech. Particular attention is given to the so-called “contextually conditioned
imperfective past” (Dickey 2000). A corpus based analysis points out that two kinds of
contexts are possible: (i) the events can partially overlap, (ii) they are in strict sequenciality.
A comparison is made with the so-called temporal zeugma in French. The conclusion
provides a brief contrastive analysis of the way the Czech scheme is translated to several
Romance, Germanic and Slavic languages
K vidové opozici u ceských verb dicendi
No full textIn this paper the author examines aspectual usage of the Czech verba dicendi říkat/říci when they introduce direct speech. According to the common opinion (Kopečný, 1962 - see also Forsyth, 1970 about Russian) there is a high degree o indifference in this type of situation. Data from the Czech National Corpus show on the contrary that aspectual choice is always somehow motivated in a broader context. It seems therefore that indifference is a mere illusion created by the observation of artificial or contextless examples
D'un mythe l'autre ou l'intertexte à l'oeuvre dans Le Jour des corneilles de Jean-François Beauchemin
No full textPatricide in Jean-Francois Beauchemin’s “Le jour des corneilles” is interpreted as a pretext to invoke classical myths and texts (Camus’s “The Stranger”, Homer’s “Oddyssey”). The author examines the parallels between the sufferings of an abused son, presented as a new Orpheus, and the emblematic figures of Sisyphus and Prometeus.
Key words: classical myths; rewriting; Jean-Francois Beauchemi
D\u27un mythe l\u27autre ou l\u27intertexte à l\u27oeuvre dans Le Jour des corneilles de Jean-François Beauchemin
No full textPatricide in Jean-Francois Beauchemin’s “Le jour des corneilles” is interpreted as a pretext to invoke classical myths and texts (Camus’s “The Stranger”, Homer’s “Oddyssey”). The author examines the parallels between the sufferings of an abused son, presented as a new Orpheus, and the emblematic figures of Sisyphus and Prometeus.Key words: classical myths; rewriting; Jean-Francois Beauchemi
Beauregard House
No full textGeneral view; The architect Francois Correjolles, whose creole French family emigrated from St. Domingue (Haiti), added new American Federal elements while preserving some of the traditional creole plan. The Beauregard-Keyes House, built in 1826 for wealthy auctioneer Joseph Le Carpentier, is a fine example of a raised, center-hall house. It is named for two of its former tenants, Confederate General Pierre Gustave Toutant (P.G.T.) Beauregard and author Frances Parkinson Keyes. General Beauregard lived in the home from 1866 to 1868 while he was president of the New Orleans, Jackson, and Great Northern Railroad. The home features twin curved staircases, leading to a Tuscan portico. The garden's design duplicates the original 1865 plans. (Common Routes: St. Domingue-Louisiana exhibition, 2006) Source: Historic New Orleans Collection [website]; http://www.hnoc.org/ (accessed 1/24/2008
Alien theory : the decline of materialism in the name of matter
No full textThe thesis tries to define and explain the rudiments of a 'nonphilosophical'
or 'non-decisional' theory of materialism on the basis of a
theoretical framework provided by the 'non-philosophy' of Francois
Laruelle. Neither anti-philosophical nor anti-materialist in character, non-materialism
tries to construct a rigorously transcendental theory of matter by
using certain instances of philosophical materialism as its source material.
The materialist decision to identify the real with matter is seen to retain a
structural isomorphy with the phenomenological decision to identify the real
with the phenomenon. Both decisions are shown to operate on the basis of a
methodological idealism; materialism on account of its confusion of matter
and concept; phenomenology by virtue of its confusion of phenomenon and
logos. By dissolving the respectively 'materiological' and
'phenomenological' amlphibolies which are the result of the failure to effect a
rigorously transcendental separation between matter and concept on the one
hand; and between phenomenon and logos on the other, non-materialist
theory proposes to mobilise the non-hybrid or non-decisional concepts of a
'matter-without-concept' and of a 'phenomenon-without-logos' in order to
effect a unified but non-unitary theory of phenomenology and materialism.
The result is a materialisation of thinking that operates according to matter's
foreclosure to decision. That is to say, a transcendental theory of the
phenomenon that licenses limitless phenomenological plasticity,
unconstrained by the apparatus of eidetic intuition or any horizon of
apophantic disclosure; yet one which is simultaneously a transcendental
theory of matter, uncontaminated by the bounds of empirical perception and
free of all phenomenological circumscription
An Interview with Jean-François Vernay
No full textThe second edition of Jean-François Vernay’s book A Brief Take on the Australian Novel (Adelaide: Wakefield Press) was released in 2016. This incisive history of Australian fiction is remarkable for a relatively young scholar, both for its ambitious scope and its innovative approach, employing structural techniques derived from the world and language of cinema. It is designed to appeal to the general reader seeking to test their views against Vernay’s, to those new to the area of Australian fiction who might use it as a guide to their reading, and to those engaged in academic study. As has often been noted, Jean-François Vernay’s French-Australian parentage and background give him an unusual and distinctive perspective on Australian writing. Jean-François is also the author of Water from the Moon: Illusion and Reality in the Works of Christopher Koch (New York: Cambria Press, 2007), as well as numerous other critical studies. His book The Seduction of Fiction: A Plea for Putting Emotions Back into Literary Interpretation will be released in August 2016 as part of Palgrave Macmillan’s series Studies in Affect Theory and Literary Criticism. He is also a creative writer in his own right, notably of Un doux petit rêveur (2012)
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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