160,163 research outputs found
Simone Juliarosa
No full textJuliarosa Simone. Simone Juliarosa. In: Sorcières : les femmes vivent, n°17, 1979. Vêtement. pp. 112-113
SIMONE LANGLOIS - N °I
No full textComprend : AU PRINTEMPS / J. BREL ; Simone LANGLOIS avec François RAUBER et son orchestre - JE NE SAIS PAS / J. BREL ; Simone LANGLOIS avec François RAUBER et son orchestre - SUR LA PLACE : avec Jacques BREL / J. BREL ; Simone LANGLOIS avec François RAUBER et son orchestre - HEUREUX / J. BREL ; Simone LANGLOIS avec François RAUBER et son orchestre - IL NOUS FAUT REGARDER / J. BREL ; Simone LANGLOIS avec François RAUBER et son orchestre - LA FOULE / A. CABRAL - M. RIVGAUCH ; Simone LANGLOIS avec Franck AUSSMAN et son orchestre - BAL CHEZ TEMPOREL / G. BEART - A. HARDELLET ; Simone LANGLOIS avec François RAUBER et son orchestre - LES AMANTS DE PARIS / Léo FERRE - E. MARNAY ; Simone LANGLOIS avec Franck AUSSMAN et son orchestre - UNE ENFANT / Ch. AZNAVOUR - R. CHAUVIGNY ; Simone LANGLOIS avec Franck AUSSMAN et son orchestre - GLORIA / M. MONNOT - R. ROUZAUD ; Simone LANGLOIS avec Franck AUSSMAN et son orchestreBnF-Partenariats, Collection sonore - BelieveContient une table des matière
Përshëndetja e Prof. Carlo de Simone (Itali)
No full textDe Simone Carlo. Përshëndetja e Prof. Carlo de Simone (Itali) . In: Iliria, vol. 15 n°2, 1985. Kuvendi II i studimeve ilire / IIème Colloque des Études lllyriennes (Tiranë, 20-23. XI. 1985) pp. 41-42
A comparative study of form and theology in the works of Flannery O'Connor and Simone Weil
No full textIn this comparative study of the form and theology of Flannery O'Connor and Simone Weil I interrogate how Weil's philosophical writings and her theology illuminate O'Connor's use of both narrative and non-fictional forms, and her Catholicism. The Introduction analyses how Weil's concept of superposed reading provides a new method of approaching both O'Connor, her writings, and O'Connor
studies, and focuses on how such apparently different women interconnect. Chapter One explores how both Weil and O'Connor attempt to write their theologies on the
souls of their readers yet are each subject to constraints imposed by form. Weil's concept of locating equilibrium between incommensurates is discussed, and her
distinctively philosophical approach to fictions and fictionality is used to investigate O'Connor's notion of prophetic fictions and the writer's role. Chapter Two assesses how both writers revivify Christian paradoxes. Weil's monstrous concept of affiiction, and O'Connor's use of the grotesque genre to jolt secular man into an
awareness of the sacred are scrutinised. Chapter Three studies how both writers consider an encounter between God and man is possible through the action of grace. My Conclusion interrogates how Weil's work can deepen our understanding of O'Connor's writings, and examines how successful O'Connor is at realising a truly
Christian literature. I conclude that despite being a writer of powerful fictions, O'Connor can not be totally successful in her mission as writer-prophet because
ultimately fiction escapes orthodoxy
Intervention de Mme Simone Veil : Athènes - 2 novembre 1992
No full textVeil. Intervention de Mme Simone Veil : Athènes - 2 novembre 1992 . In: Projets féministes, n°2, Avril 1993. Les violences contre les femmes : Un droit des hommes. pp. 185-189
A Metaethical Study of Simone Weil’s Notion of Attention Through Critical Practical Analogy
No full textThis research provides an example of art practice employed within a metaethical framework by addressing Simone Weil‘s ethical notion of attention. In this thesis, 'metaethics‘ is defined as a second order inquiry into first order questions of normative ethics, more specifically, an inquiry into the metaphysical and epistemological premises of Weil‘s discourse on the ethical value of attention.
On one hand, I demonstrate how Weil‘s notion of attention can expand the scope of art so as to include metaethics. On the other hand, I use art to widen the current knowledge of Weilian attention.
The research projects described and analysed in this thesis are predicated on a method which I designate 'critical practical analogy‘; this is an analogy which includes art practical operations for the purpose of critical investigation. This method subsumes both theoretical and practical inquiries. I used two analogies:
– Normative analogy compares (a) the dualistic relation that Weil postulates between agent and reality in her discourse on attention to (b) the relation that I postulate between my agency through observational drawing and the object of observation. The analogy operates by using Weil‘s assertions on attention normatively in observational drawing.
– Imaginal analogy compares (a) Weil‘s use of tautology and contradiction in her arguments for ethical attention to (b) tautology and contradiction considered as argument forms. The analogy operates by giving aesthetic presence to these forms, i.e. by turning them into images through artworks.
The analogies obtained the following outcomes:
– The normative projects afford a practical knowledge of Weilian attention by interpreting it as an ethical practice of detachment. The projects also demonstrate that, notwithstanding Weil‘s transcendent view of truth, such a practice of detachment is compatible with a subjective notion of truth.
– By capitalising on the non-propositional mode of representation which is typical of visual art, the imaginal projects engender a scepticism which favours dialogue and values questions as positive research results.
The outcomes indicate the following implications for visual arts practice:
– The outcomes of the normative projects demonstrate how contemporary artists who regard notions of universal truth with scepticism need not necessarily disavow ethical intentions in their practice.
– Due to its propositional character, theoretical metaethics can reach an impasse from which it can only point discursively to the limits of language. The outcomes of the imaginal projects evidence that art can move beyond these limits non-propositionally.
The use of critical practical analogy also indicates a methodological implication for art practical, interdisciplinary research. Critical practical analogy could provide artists with both a heuristic research tool and a template for articulating a discursive representation of art practice which both acknowledges the non-linearity and indirectness of practice-led research and the need for
interdisciplinary intelligibility
Quelques commentaires au texte de Marceau Gast par Simone Dreyfus-Gamelon, membre élu de la section XXX
No full textDreyfus-Gamelon Simone. Quelques commentaires au texte de Marceau Gast par Simone Dreyfus-Gamelon, membre élu de la section XXX . In: Bulletin de l'Association française des anthropologues, n°6, octobre 1981. pp. 33-34
Rôle des femmes dans le développement du potentiel humain. Conférence publique de Mme Simone Veil (Groningue - 9-8-1983)
No full textVeil Simone. Rôle des femmes dans le développement du potentiel humain. Conférence publique de Mme Simone Veil (Groningue - 9-8-1983). In: Diplômées, n°127, 1983. pp. 70-77
Simone Veil : une vie et un engagement. Entretien avec Marie-Françoise Lévy
No full textLévy Marie-Françoise, Veil Simone. Simone Veil : une vie et un engagement. Entretien avec Marie-Françoise Lévy. In: Raison présente, n°140, 4e trimestre 2001. femmes et sociétes à l'aube du XXIe siècle. pp. 3-19
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