126 research outputs found
"Par un ennemi qu'on sait digne de soi": la lunga traccia delle coppie antinomiche
No full textThe contribution deals with antinomic couples, actual rivalries, symbolic confrontations; it is part of a discussion among scholars about the subject, in a column edited by the author and Niccolò Scaffa
Nodier et les « romances pseudographes de Clotilde »
No full textPublished in 1803, and republished several times afterwards, the
“Poésies de Clotilde de Surville”(Poems of Clotilde de Surville) knew a real success in bookshops even though the author, an aristocrat of the 15th century, had very soon been suspected of non-existence. Well aware of the hoax, Nodier nevertheless esteemed that “Clotilde’s pseudographic romances are sublime”
and even “above all critics”. Thus his successive position takings are worth to be observed though their basic ambiguity as they display an unfailing clearsightedness as well as a certain taste for pastiche. It is besides the reason why Sainte-Beuve took pleasure in attributing the entire responsibility of the second book of Poésies inédites de Clotilde (1826) (New poems of Clotilde) to Nodier who, in fact was merely the astute co-editor. If the reception of these apocryphal books allows, as time goes by, to oppose the implacable demystifiers (such as Quérard or Gaston Paris) and the dupes, who stubbornly want to prove the authenticity of a forgery yet manifest, it also lets us catch a
glimpse of Nodier’s elegant serenity and his singular posture: that of a discreet accomplice and an advised reader, who knew, as well, how to salute in his own way the genius of Ossian or of Bonaventure des Périers.Publiées en 1803, et plusieurs fois rééditées par la suite, les Poésies de Clotilde de Surville connurent un franc succès de librairie quoique leur auteur, une aristocrate du XVe siècle, eût très vite été soupçonné d’inexistence. Bien au fait de la supercherie, Nodier n’en a pas moins estimé que « les romances
pseudographes de Clotilde sont sublimes » et même « au-dessus de toutes les critiques ». Ainsi ses prises de position successives valent-elles d’être observées à travers leur ambiguïté foncière, car elles témoignent d’une indéfectible clairvoyance en même temps que d’un goût certain pour le pastiche. C’est d’ailleurs pour cette raison que Sainte-Beuve se plut à attribuer l’entière responsabilité du second recueil de Poésies inédites de Clotilde (1826) à un Nodier qui, au juste, n’en fut que l’astucieux co-éditeur. Si la réception de ces apocryphes permet, au fil du temps, d’opposer les démystificateurs implacables (tels Quérard ou Gaston Paris) et les dupes, qui s’obstinent à prouver l’authenticité d’une contrefaçon pourtant manifeste, elle laisse également entrevoir l’élégante sérénité de Nodier, et sa posture singulière : celle d’un complice discret et d’un lecteur avisé, qui sut pareillement saluer à sa façon le génie d’Ossian ou de Bonaventure des Périers
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Friends, Family gather at Dr. Clotilde Garcia's home honoring Raul Morin (photograph)
No full textFriends, Family gather at Dr. Clotilde Garcia's home honoring Raul Morin. Author of the book “Among the Valient.
Structures archéologiques fossilisées par le milieu forestier et carte archéologique : l'exemple de la forêt de Brotonne
No full textArchaelogical structures fossilized by woodland and archaeological map : the example of the Brotonne forest
The author presents the main results of an interdisciplinary research about Gallo-Roman remains in Brotonne forest. The map of archaeological sites is completed with the description of four of them.L'auteur présente les principaux résultats d'une recherche interdisciplinaire portant sur les vestiges gallo-romains de la forêt de Brotonne. La carte des sites archéologiques est accompagnée de la description de quatre d'entre eux.Lequoy Marie-Clotilde. Structures archéologiques fossilisées par le milieu forestier et carte archéologique : l'exemple de la forêt de Brotonne. In: Hommes et Terres du Nord, 1986/2-3. Actes du colloque Du pollen au cadastre pp. 149-152
Suor Clotilde Morano, educatrice di ginnastica. Esercizi di ginnastica: un Manuale per l’educazione fisica (Seconda parte) : Sister Clotilde Morano, gymnastics educator. Gymnastics Exercises: A Manual for physical education (Part Two)
No full textÈ la seconda parte del saggio che ricorda suor Clotilde Morano FMA attraverso il suo impegno di formatrice di suore insegnanti di educazione fisica nelle scuole private. L’Autrice in questo secondo contributo offre un’analisi del suo testo più famoso, Esercizi di ginnastica (1935), unico di educazione fisica femminile non appartenente alla pubblicistica ufficiale del periodo fascista. La ristampa nel Dopoguerra (1952) ha colmato per diversi anni un vuoto. Nell’opera si rispecchia il carattere libero, forte e tenace di suor Clotilde che ha saputo realizzare il carisma educativo salesiano con cura e attenzione per la formazione della persona delle allieve nella loro interezza in periodi in cui era scarsa l’attenzione all’educazione fisica e sportiva delle donne. Il primo contributo dell’Autrice, che contestualizzava il testo, è stato pubblicato in Rivista di Scienze dell’Educazione 60(2022)2, 312-326.
This is the second part of the essay that remembers Sister Clotilde Morano FMA by way of her commitment as a trainer for sisters who taught physical education in private schools. In this second essay, the Author offers an analysis of her most famous work, Gymnastics Exercises (1935), the sole book on women’s physical education that did not belong to the official publications of the fascist era. The post-war reprint (1952) filled that gap for several years. The work reflects Sr. Clotilde’s free, strong, and tenacious character. She knew how to actualize the Salesian educational charism with care and attention to the formation of students’ wholeness as persons in times when attention to physical and sports education for women was scarce. The first part, which contextualized the work, was published in Rivista di Scienze dell’Educazione 60(2022)2, 312-326.
Es la segunda parte del ensayo, que, recuerda a sor Clotilde Morano, FMA, a través de su compromiso como formadora de hermanas profesoras de Educación Física en las escuelas privadas. La Autora de esta segunda contribución ofrece un análisis de su texto más famoso, Ejercicios de gymnasia (1935), único de Educación Física no perteneciente a las publicaciones oficiales del período fascista. Su reedición en la Postguerra (1952) ha colmado durante diversos años la falta de textos de este tipo. En esta obra se refleja el carácter libre, fuerte y tenaz de sor Clotilde, que ha sabido traducir el carisma educativo salesiano con esmero y con atención a la formación de la persona de las alumnas de modo integral en períodos en los que se prestaba poca atención a la Educación Física y Deportiva de las mujeres. La primera contribución, que contextualizaba el texto, se encuentra publicada en Rivista di Scienze dell’Educazione 60(2022)2, 312-326
Targeted resequencing of the EGFR and MET genes using the Fluidigm Access Array System and the Roche GS Junior System
No full textWellington 2013 – Of marriages and happy endings: A reading of Clotilde Masci’s "Vigilia nuziale"
No full textIn "Vigilia nuziale", a 1952 play by Clotilde Masci (1918-1985), the protagonist Cristina, at almost 30 years of age, is about to marry the son of her father’s best friend – a man she barely knows. On the eve of the wedding, however, she claims first to her family and then to the police that she stole a ring from the jeweller’s. After the confession of the true thief proves her innocence, the play ends with a subdued Cristina asking her relatives for forgiveness, as the wedding preparations resume. In this article, I argue that the popular culture of the 1950s appears to have had a great influence on "Vigilia nuziale"’s major and minor characters’ expectations regarding love and marriage. Ironically, however, Masci is making clear that the “happily ever after” which the popular fiction of the early 1950s promises as part of marriage may apply to very few of its readers – and certainly not to the protagonist of this play. Through this drama, the author comments both on the fairy tale view of marriage as offered in the romanzi rosa and fotoromanzi of the time, and on the much grimmer reality of marriage as the only viable opportunity for social status for most women in early 1950s Italy.In "Vigilia nuziale", a 1952 play by Clotilde Masci (1918-1985), the protagonist Cristina, at almost 30 years of age, is about to marry the son of her father’s best friend – a man she barely knows. On the eve of the wedding, however, she claims first to her family and then to the police that she stole a ring from the jeweller’s. After the confession of the true thief proves her innocence, the play ends with a subdued Cristina asking her relatives for forgiveness, as the wedding preparations resume. In this article, I argue that the popular culture of the 1950s appears to have had a great influence on "Vigilia nuziale"’s major and minor characters’ expectations regarding love and marriage. Ironically, however, Masci is making clear that the “happily ever after” which the popular fiction of the early 1950s promises as part of marriage may apply to very few of its readers – and certainly not to the protagonist of this play. Through this drama, the author comments both on the fairy tale view of marriage as offered in the romanzi rosa and fotoromanzi of the time, and on the much grimmer reality of marriage as the only viable opportunity for social status for most women in early 1950s Italy.In "Vigilia nuziale", a 1952 play by Clotilde Masci (1918-1985), the protagonist Cristina, at almost 30 years of age, is about to marry the son of her father’s best friend – a man she barely knows. On the eve of the wedding, however, she claims first to her family and then to the police that she stole a ring from the jeweller’s. After the confession of the true thief proves her innocence, the play ends with a subdued Cristina asking her relatives for forgiveness, as the wedding preparations resume. In this article, I argue that the popular culture of the 1950s appears to have had a great influence on "Vigilia nuziale"’s major and minor characters’ expectations regarding love and marriage. Ironically, however, Masci is making clear that the “happily ever after” which the popular fiction of the early 1950s promises as part of marriage may apply to very few of its readers – and certainly not to the protagonist of this play. Through this drama, the author comments both on the fairy tale view of marriage as offered in the romanzi rosa and fotoromanzi of the time, and on the much grimmer reality of marriage as the only viable opportunity for social status for most women in early 1950s Italy."Vigilia nuziale" è un dramma di Clotilde Masci (1918-1985) pubblicato e messo in scena nel 1952. La protagonista Cristina, una donna di circa trent\u27anni, sta per sposare un uomo che conosce appena, figlio del migliore amico di suo padre. Alla vigilia delle nozze, Cristina si accusa del furto di un anello. Dopo che la confessione del vero ladro prova l’innocenza di Cristina, i preparativi per il matrimonio riprendono come se niente fosse successo. In questo articolo metto particolarmente in evidenza l’influenza della cultura popolare degli anni ’50 sulle aspettative dei vari personaggi riguardo all’amore e al matrimonio. In "Vigilia nuziale" Clotilde Masci crea un contrasto fra il lieto fine che i romanzi rosa e i fotoromanzi del tempo promettono alle loro lettrici e la grigia realtà del matrimonio, unica opportunità di acquisire uno status sociale per la maggior parte delle donne, nell’Italia dei primi anni ’50
Le sens du poétique. Approche phénoménologique
No full textThis article proposes a reading of poetics under the double horizon of signification and sense. How does the poem make sense? Is there a multiplicity of meanings and/or a global, original sense? Following certain phenomenologists (M. Dufrenne, G. Bachelard...), a first reflection is needed on the possibilities for approaching and understanding a poem. Then the following: 1° An analysis of the poetical language in all its forms (the word and its signification, the poetical image, lexis and grammar, musicality, ...). 2° The approach of the poetical world that is opened up by the poem (studied in the way it appears, in its relationship to the subject, with a view to letting the origin and sense reveal themselves). The study and confrontation of texts on poetics (Dufrenne, Heidegger...) lead the author to envisage «the desire of being» as the origin of the poem.Cet article propose une lecture du poétique sous le double horizon de la signification et du sens. Comment le poème fait-il sens? Y a-t-il une multiplicité de significations et/ou un sens global, originel? Suivant les phénoménologues (Dufrenne, Bachelard...), une première réflexion s'impose sur les conditions de possibilité pour aborder et comprendre un poème. S'ensuivent: 1° L'analyse du langage poétique dans toutes ses composantes (le mot et la signification, l'image poétique, le lexique et la grammaire, la musicalité, etc.). 2° L'approche du monde poétique ouvert par le poème (étudié dans son surgissement, dans son rapport au sujet, de manière à laisser se dévoiler son origine et sa visée de sens). L'étude et la confrontation de textes sur le poétique (Dufrenne, Heidegger...) mènent l'auteur à entrevoir «le désir d'être» comme origine du poème.Roose Marie-Clotilde. Le sens du poétique. Approche phénoménologique. In: Revue Philosophique de Louvain. Quatrième série, tome 94, n°4, 1996. pp. 646-676
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