30,966 research outputs found
Yves Saint Laurent – Dazzling Colourist
No full textMuch has been written and speculated about the life and career of the French fashion designer, Yves Saint Laurent. To many he is the archetypical tortured genius of fashion, fulfilling the romantic ideal of the sensitive artist suffering for his craft. He is also recognised as one of the defining architects of fashionable clothing in the twentieth century, a designer with a clear vision of how the modern women should be dressed. A shy teenager employed as assistant to Christian Dior, he was catapulted into a global spotlight when appointed chief designer on Dior’s death in 1957. He was fired by Dior for designing an all black, beat-nick styled collection, considered too avant-garde for an established label. The defining outfit from this collection is displayed in the exhibition. In shiny black patent crocodile, edged in black mink it retains a look of lavish modernity. Saint Laurent founded his own couture house with partner Pierre Berge in 1961. Throughout the 1960’s and 1970’s he was a unique creative force within the industry, beginning with the championing of ready to wear: with his boutiques ‘Rive Gauche’, to his hugely influential fashion innovations such as ‘Le Smoking’ in 1966, the Safari Collection’ of 1969, the ‘Forties’ collection of 1971 and the ‘Ballet Russes’ collection of 1976. These collections are purported by chroniclers of fashion to have had a profound impact on the sartorial lives of everyday women and on the work of other fashion designers. As his biographer Alice Rawthorne said:
‘In terms of stylistic innovations he unleashed a storm. His influence was so strong that the innovations of thirty years ago now look like everyday designs.’ (Kelso, (2002), p-3)
By the 1980’s Saint Laurent’s fashion influence had begun to wane. The name remained synominous as a brand associated with Parisian luxury however the collections became a series of sumptuous refinements that were no longer considered cutting edge. Reports also began to circulate about Saint Laurent’s emotional and physical well being; he was portrayed in press reports as a man burnt out through ceaseless creation, tortured by the continuous wheel of fashion and the demands of producing four collections a year. Saint Laurent eventually retired in 2002 and died in 2008
5.07.007: Early Spring by Jean Hewson, 1992
No full textCD case insert for Jean Hewson's Early Spring, 1992
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
Françoise Lieberherr-Gardiol et Erwin Stucki (avec la collaboration de Bernard Lieberherr et de Jean-Laurent Spring) — Sur nos monts — quand la nature... Le Pays d'Enhaut tourné vers l'avenir.
No full textBalseinte Raymond. Françoise Lieberherr-Gardiol et Erwin Stucki (avec la collaboration de Bernard Lieberherr et de Jean-Laurent Spring) — Sur nos monts — quand la nature... Le Pays d'Enhaut tourné vers l'avenir.. In: Revue de géographie alpine, tome 75, n°3, 1987. pp. 290-292
Françoise Lieberherr-Gardiol et Erwin Stucki (avec la collaboration de Bernard Lieberherr et de Jean-Laurent Spring) — Sur nos monts — quand la nature... Le Pays d'Enhaut tourné vers l'avenir.
No full textBalseinte Raymond. Françoise Lieberherr-Gardiol et Erwin Stucki (avec la collaboration de Bernard Lieberherr et de Jean-Laurent Spring) — Sur nos monts — quand la nature... Le Pays d'Enhaut tourné vers l'avenir.. In: Revue de géographie alpine, tome 75, n°3, 1987. pp. 290-292
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
Dynamics of Network Formation Processes in the Co-Author Model
No full textThis article studies the dynamics in the formation processes of a mutual consent network in game theory setting: the Co-Author Model. In this article, a limited observation is applied and analytical results are derived. Then, 2 parameters are varied: the number of individuals in the network and the initial probability of the links in the network in its initial state. A simulation result shows a finding that is consistent with an analytical result for a state of equilibrium while it also shows different possible equilibria.Dynamics, Network, Game Theory, Model,Simulation, Equilibrium, Complexity
The Arab Spring: where was the EU, and what is its future in the region? Jean Monnet/Robert Schuman Paper Series Vol. 13 No. 4, February 2013
No full textFrom the Introduction. In 2010 the martyring of Mohamed Bouazizi began a ripple of civil uprisings across the Middle East, and would lead to a wave of revolutions that the media would dub the Arab Spring. From North Africa to the Gulf Region, these civil uprisings made major headlines but found little intervention on behalf of world superpowers such as the United States or the European Union. Acting as more of an observer than as an active participant in these revolutions, it would seem that the European Union played a small role in preventing civil unrest, or in aiding in the policing of these oppressive governments. By example of the passive position held by Europe during these revolutions, the EU appears to be ill equipped to handle security issues such as the massive revolutionary chain witnessed across the Mediterranean. Now, however, they have a new opportunity to be involved in a post- Arab Spring Mediterranean.
This paper seeks to address some reasons behind the Arab Spring, describe the institutional framework previously and currently in place, as well as to analyze the progress of Europe’s relationship with the Mediterranean by analyzing the EU’s past and current role in the Mediterranean. It will also look at critiques of the EU’s role in the Arab Spring, as well as the opportunities to be taken in the Mediterranean region
121. Snuff boxes owned by Mrs. Jean B. Puzey of Spring City, Utah
No full textPhotograph of and document for two snuff boxes owned by Mrs. Jean B. Puzey of Spring City, Utah. Belonged to owner\u27s grandmother, Jean McKinzie Roble Baxter, brought from Scotland to Utah in 187
Subjectivity, gesture and language consciousness in the early prose fiction of Jean Genet (1910-1986).
No full textPhDThis thesis interprets the language of the self in both editions of Jean Genet's five works
of early prose fiction. Its appendices present the first list of the 65000 words of excisions
and variants between the subscribers' (1943-48) and public editions (1949-53).
Many critics have interpreted Genet's works in terms of his life, applying to them
a reductive notion of the self. Subjectivity in this thesis is a broader concept which
addresses the (self-) representation of narrators and characters. I apply close textual
analysis to two types of passage (relating to gestures and language consciousness
respectively) which represent subjectivity in non-specular language (where one thing does
not clearly reflect or refer to another).
I use the ubiquitous 'geste' as the guide-word for my analysis of gesture since its
usage is similar in each of the texts considered. Gestures are of course mediated by
language in Genet's texts but, surprisingly, are only partially represented in visual terms.
Consequently, gestures do not serve to consolidate subjectivity and resist attribution to
individual characters. It is rather in the interpretation of gestures that narrators and
characters who both perform and interpret gestures can negotiate the assigning of
meaning and the concomitant firming tip of subjectivity.
Language consciousness is a textual speculation on the production and reception
of a passage or text and each of Genet's texts demonstrates different interactions between
such speculations and the representation of subjectivity. My emphasis on language
consciousness helps to elucidate tile structure of the prose text (narrative frames, for
example) and its relation to other genres (literary criticism and poetry, for example).
I conclude that in Genet's texts innovative language represents (and sometimes
fails to represent) plural subjectivity in complex ways. I argue that the interdependence
of these three aspects (language, representation and subjectivity) presents a new paradigm
for understanding Genet's texts. Furthermore, I outline in my conclusions how it is
possible to apply a comparative analysis of these aspects to other works such as Martin
Heidegger's Zur Seiqfrage (1955)
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